Page:The Psychology of Shakespeare.pdf/228

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Constance is delineated with Greek simplicity. The grandeur of one great passion is weakened by no subordinate parts of character on which the mind can rest and feel relief. All is simple and clear, like the one thrilling note of a trumpet, rising higher or falling lower, but never altering its tone. The wondrous eloquence in which the passion clothes itself does but display its force. Its unity and direction of purpose remain unchanging and unchangeable. Passion is not seen except when transformed into action. Like a great wind, it would be voiceless except for opposition; it would be viewless except for its effects. There may be a few tossed leaves, or a whirling cloud-rack, or the crash of forests. The invisible force remains the same, measured most imperfectly by the casualties of resistance.

But this passion itself, single in its onward force, is not altogether so in its nature and origin. It wears the garb of maternal affection, of the strong love a widowed mother bears to her only child; but as in Queen Margaret, the fury of ambition is added: ambition for herself, as much as for her son, which Elinor perceives, and with wounding truth expresses:

This fierce desire of power and place, which is but coldly expressed in the word ambition, is as undeniable in Con-