The English Novel in the Time of ShakespeareJusserand, J. J. (Jean Jules)
History
The English Novel in the Time of Shakespeare
Jusserand, J. J. (Jean Jules)
English fiction -- Early modern, 1500-1700 -- History and criticism
Happiness produces the same effect on these heroes. Pyrocles-Zelmane
when present in his false quality of woman at the bath of his mistress
in the Ladon is on the point of swooning with admiration.[203] His
friend, Prince Musidorus, in the ecstasies of his passion, falls "downe
prostrate," uttering this prayer to the awful god who reigns paramount
in Arcady: "O thou, celestiall or infernall spirit of Love, or what
other heavenly or hellish title thou list to have (for effects of both I
find in my selfe), have compassion of me, and let thy glory be as great
in pardoning of them that be submitted to thee as in conquering them
that were rebellious."[204]
But Sidney painted also amours of another sort, and one of the great
attractions of his book is the variety in the descriptions of this
passion. Never had the like been seen before in any English novel, and
as for France, it must be remembered, that d'Urfe's "Astree," which has
kept its place in literature for the very same quality, for its
inconstant Hylas and its faithful Celadon, for its Astree and its
Madonte, was yet to be written. Sidney has, among several others,
created one character which, forgotten as it is now, would be enough to
give a permanent interest to this too much neglected romance; it is the
Queen Gynecia, who is consumed by a guilty love, and who is the worthy
contemporary of the strongly passionate heroes of Marlowe's plays. With
her, and for the first time, the dramatic power of English genius leaves
the stage and comes to light in the novel; it was destined to pass into
it entirely.
Gynecia does not allow herself to be blinded by any subterfuge; love has
taken possession of her; the rules of the world, the laws of blood, the
precepts of virtue that she has observed all her life, are lost sight
of; she is conscious of nothing but that she loves, and is ready, like
Phaedra of old, to trample everything under foot, to forsake everything,
the domestic hearth, child, husband: and it is very interesting to see,
about the time of Shakespeare, this purely dramatic character develop
itself in a novel.
Public-domain text, read in full here on John Shaqi.
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