and Vesta. Unlike in the expression of their beauty, but alike in this,—that each was self-sufficing. Other forms were only accessories and illustrations, none the complement to one like these. Another might, indeed, be the companion, and the Apollo and Diana set off one another's beauty. Of the Vesta, it is to be observed, that not only deep-eyed, deep-discerning Greece, but ruder Rome, who represents the only form of good man, (the always busy warrior,) that could be indifferent to woman, confided the permanence of its glory to a tutelary goddess, and her wisest legislator spoke of meditation as a nymph.
Perhaps in Rome the neglect of woman was a reaction on the manners of Etruria, where the priestess Queen, warrior Queen, would seem to have been so usual a character.
An instance of the noble Roman marriage, where the stern and calm nobleness of the nation was common to both, we see in the historic page through the little that is told us of Brutus and Portia. Shakspeare has seized on the relation in its native lineaments, harmonizing the particular with the universal; and, while it is conjugal love, and no other, making it unlike the same relation, as seen in Cymbeline, or Othello, even as one star differeth from another in glory.
| “By that great vow |
| Which did incorporate and make us one, |
| Unfold to me, yourself, your half, |
| Why you are heavy.*** |
| Dwell I but in the suburbs |
| Of your good pleasure? If it be no more, |
| Portia is Brutus' harlot, not his wife.” |
Mark the sad majesty of his tone in answer. Who
