Page:Papers on Literature and Art (Fuller).djvu/159

From Wikisource
Jump to navigation Jump to search
This page has been proofread, but needs to be validated.
THE MODERN DRAMA.
143

which, though its head towers above those of its companions when they are on the same level, yet has not taken a sufficiently high platform, to see what passes around or above it. Strafford’s strength cannot redeem his infatuation, while he struggles; vanquished, not overwhelmed, he is a majestic figure, whose features[1] are well marked in various passages.

Compared with him, whom I for eighteen years
Have seen familiar as my friend, all men
Seem but as chance-born flies, and only he
Great Nature's chosen and all-gifted son.

[2]Van Artevelde also bears testimony to the belief of the author, that familiarity breeds no contempt, but the reverse in the service of genuine nobility. A familiarity of eighteen years will not make any but a stage hero, other than a hero to his valet de chambre.

King Charles says,

To pass the bill,—
Under his eye, with that fixed quiet look
Of imperturbable and thoughtful greatness,
I cannot do it.

Strafford himself says, on the final certainty of the king’s desertion,

Dear Everard, peace! for there is nothing here
I have not weighed before, and made my own.


  1. “A poet, who was present, exclaimed,

    On thy brow
    Sate terror mixed with wisdom, and at once
    Saturn and Hermes in thy countenance.”
    Life of Strafford, p. 338.

    Certainly there could not be a more pointed and pregnant account given of the man than is suggested by this last line.

  2. That with familiarity respect
    Doth slacken, is a word of common use;
    I never found it so.
    Philip Van Artevelde, 2d Part, p. 29.