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(McGann 4.468), it seems unlikely that any association with an ancient West Asiandeity was intended by the naming <strong>of</strong> Manfred’s love, Martyn Corbett’s suggestion thatAstarte is a tool <strong>of</strong> Arimanes notwithstanding. 422Astarte’s first appearance in the play may be in 1.1.188, when Manfred has asked themost powerful <strong>of</strong> the spirits to “take such aspect /As unto him may seem most fitting”(1.1.186-7). Manfred responds with passion:Oh God! if it be thus, and thouArt not a madness and a mockery,I yet might be most happy. – I will clasp thee,And we again will be – [<strong>The</strong> figure vanishesMy heart is crush’d![MANFRED falls senseless (1.1.188-91)Astarte remains tantalisingly just out <strong>of</strong> sight for the duration <strong>of</strong> the drama: in the firstscene, she is apparently present, but unnamed; in Manfred’s conversation with theWitch <strong>of</strong> the Alps, she forms a major part <strong>of</strong> the subject-matter (2.2.104ff.), butremains unnamed; in Arimanes’ hall, she is both named and summoned, but speaksonly eleven words, five being “To-morrow ends thine earthly ills”, the others being“Manfred!” thrice and “Farewell!” thrice (2.4.150-6), and so she remains largelyunknown; finally, Manuel’s story to Herman and the other servants about Manfredand Astarte is interrupted just when he is about to identify the precise nature <strong>of</strong> theirrelationship (3.3.47). 423 Astarte’s mysterious identity is a key element <strong>of</strong> theconstruction <strong>of</strong> tension within the drama.<strong>The</strong>re are other mysteries with Astarte. One is the possible autobiographicalreference; 424 another is her precise fate. In this regard, Chew asks, “But is Astarte422 Corbett, p.39.423 This interruption occurs, tellingly, in both versions <strong>of</strong> the ending <strong>of</strong> the play: in the original version,it is interrupted by the mystical fire which devastates the tower and mortally wounds Manfred; in thepublished version, it is interrupted by the arrival <strong>of</strong> the Abbot. <strong>The</strong> story was meant to go untold.424 Chew, pp.72-3, especially in the footnotes there, presents a very plausible theory that anyautobiographical reference might well be to Mary Chaworth, rather than to Augusta Leigh, as is mostcommonly assumed. If she can plausibly be both, then she can plausibly not be either.268

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