shock of moral electricity rather thrills us with admiration and faith than chills us with repulsion or distrust. The passionate intensity and moral ardour of imagination which we feel to vibrate and penetrate through every turn and every phrase of the dialogue would suffice to enforce upon our belief a more nearly incredible revolution of nature or revulsion of the soul.
It is so difficult for even the very greatest poets to give any vivid force of living interest to a figure of passive endurance that perhaps the only instance of perfect triumph over this difficulty is to be found in the character of Desdemona. Shakespeare alone could have made her as interesting as Imogen or Cordelia; though these have so much to do and dare, and she after her first appearance has simply to suffer: even Webster could not give such individual vigour of characteristic life to the figure of his martyr as to the figure of his criminal heroine. Her courage and sweetness, her delicacy and sincerity, her patience and her passion, are painted with equal power and tenderness of touch: yet she hardly stands before us as distinct from others of her half-angelic sisterhood as does the White Devil from the fellowship of her comrades in perdition. But if, as we may assuredly assume, it was on the twenty-third 'nouell' of William Painter's Palace of Pleasure that Webster's
