CHAPTER XVIII.
DIGNITY.
The eye of Dignity moves calmly, whilst all the parts adjacent to the eye possess great freedom of motion, which motion is somewhat governed by mood of mind, though always under constraint. The eye seems not only capable of including everything, but also of critically examining every detail.
Woman has generally sweet alliances attending dignity of mien, and many reserve powers. The dignified never allow much outward demonstration, as this is rather a characteristic of weakness of mind.
In representing the figures of heroes, the ancient artist exercised great judgment, by exhibiting only those human affections which become a wise and heroic mind; scarcely allowing a glimmer of the flame of passion to be seen, lest that variety of fears and doubts might rush into the mind of the beholder which sometimes distracts admiration. The two great classical instances we may quote—Niobe and her daughters, against whom Diana shot her fatal darts—are represented as seized with terror and extreme anguish. The fable gives us an idea in the metamorphosis of Niobe into a stone; and hence, Æschylus introduces her in a frantic state: but the mighty artist has taken care to evince no extreme distrought, but preserves all in beauty, as though passion was in abeyance, held back by some internal
