play, and it is impossible to judge of the feelings of St. Columba, when
she must leave the stage in half a minute after mistaking the headless
clown for headless Arlecchino.

7. Desdemona, Ophelia, Rosalind. They are under different conditions from
all the rest, in having entirely heroic and faultless persons to love. I
can't class them, therefore,--fate is too strong, and leaves them no free
will.

8. Perdita, Miranda. Rather mythic visions of maiden beauty than mere
girls.

9. Viola and Juliet. Love the ruling power in the entire character: wholly
virginal and pure, but quite earthly, and recognizing no other life than
his own. Viola is, however, far the noblest. Juliet will die unless Romeo
loves _her_: "If he be wed, the grave is like to be my wedding bed;" but
Viola is ready to die for the happiness of the man who does _not_ love her;
faithfully doing his messages to her rival, whom she examines strictly for
his sake. It is not in envy that she says, "Excellently done,--if God did
all." The key to her character is given in the least selfish of all lover's
songs, the one to which the Duke bids her listen:

"Mark it, Cesario,--it is old and plain,
The spinsters and the knitters in the sun,
And the free maids, that _weave their thread with bones_,
Do use to chaunt it."

(They, the unconscious Fates, weaving the fair vanity of life with death);
and the burden of it is--