significance. We do not know, however, that this could bring it beyond what it has appeared to our own sane mind, as if the air was thick with spirits, in an equivocal and surely sad condition, whether of purgatory or downfall; and the air was vocal with all manner of dark intimations. We are glad to see this mood of nature so fitly characterized.
The sweetness and naiveté with which the young girl is made to describe the effects of love upon her, as supposing them to proceed from a spell, are also original, and there is no other way in which this revelation could have been induced that would not have injured the beauty of the character and position. Her visionary sense of her lover, as an ideal figure, is of a high order of poetry, and these facts have very seldom been brought out from the cloisters of the mind into the light of open day.
The play is very deficient as regards rhythm; indeed, we might say there is no apparent reason why the lines should begin with capital letters. The minor personages are mere caricatures, very coarsely drawn; all the power is concentrated on the main characters and their emotions. So did not Shakspeare, does not ever the genuine dramatist, whose mind teems with “the fulness of forms.” As Raphael in his most crowded groups can put in no misplaced or imperfect foot or hand, neither neglect to invest the least important figure of his backgrounds with every characteristic trait, nor could spare the invention of the most beautiful coiffure and accessories for the humblest handmaid of his Madonnas, so doth the great artist always clothe the whole picture with full and breathing life, for it appears so before his mental eye. But minds not perfectly artistical, yet of strong conceptions, subordinate the rest to one or two leading figures, and the imperfectly represented life of the others incloses them, as in a frame.
In originality of conception and resting the main interest upon force of character in a woman, this drama naturally leads us to
