Speak to me, son; Thou hast affected the fine strains of honour, To imitate the graces of the gods; To tear with thunder the wide cheeks o' the air, And yet to charge thy sulphur with a bolt That should but rive an oak. Why dost not speak? Still to remember wrongs? Daughter, speak you : When she, (poor hen!) fond of no second brood, But kneels, and holds up hands, for fellowship, Does reason our petition with more strength Than thou hast to deny't.* It is an instance of Shakspeare's fine judgment, that after this magnificent and touching piece of *The corresponding passage in the old English Plutarch runs thus" My son, why dost thou not answer me? Dost thou think it good altogether to give place unto thy choler and revenge, and thinkest thou it not honesty for thee to grant thy mother's request in so weighty a cause? Dost thou take it honourable for a nobleman to remember the wrongs and injuries done him, and dost not in like case think it an honest nobleman's part to be thankful for the goodness that parents do show to their children, acknowledging the duty and reverence they ought to bear unto them? No man living is more bound to show himself thankful in all parts and respects than thyself, who so universally showest all ingratitude. Moreover, my son, thou hast sorely taken of thy country, exacting grievous payments upon them in revenge of the injuries offered thee: besides, thou hast not hitherto showed thy poor mother any courtesy. And, therefore, it is not only honest, but due unto me, that without compulsion I should obtain my so just and reasonable request of thee. But since by reason I cannot persuade ye to it, to what purpose do I defer my last hope?" And with these words, herself, his wife, and children, fell down upon their knees before him. VOL. II. eloquence, which saved Rome, Volumnia should speak no more, for she could say nothing that would not deteriorate from the effect thus left on the imagination. She is at last dismissed from our admiring gaze amid the thunder of grateful acclamations- Behold our patroness,-the life of Rome. WE have seen that in the mother of Coriolanus, the principal qualities are exceeding pride, selfwill, strong maternal affection, great power of imagination, and energy of temper. Precisely the same qualities enter into the mind of Constance of Bretagne; but in her these qualities are so VOL. II. differently modified by circumstances and education, that not even in fancy do we think of instituting a comparison between the gothic grandeur of Constance, and the more severe and classical dignity of the Roman matron. The scenes and circumstances with which Shakspeare has surrounded Constance are strictly faithful to the old chronicles, and are as vividly as they are accurately represented. On the other hand, the hints on which the character has been constructed are few and vague; but the portrait harmonizes so wonderfully with its historic background, and with all that later researches have discovered relative to the personal adventures of Constance, that I have not the slightest doubt of its individual truth. The result of a life of strange vicissitude; the picture of a tameless will, and high passions, for ever struggling in vain against a superior power; and the real situation of women in those chivalrous times, are placed before us in a few noble scenes. The manner in which Shakshas applied the scattered hints of history to peare the formation of the character, reminds us of that |