Romeo and Juliet essay features Samuel Taylor Colleridge's famous critique based on his legendary and influential Shakespeare notes and lectures
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Romeo and Juliet Essay

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Romeo and Juliet Essay features Samuel Taylor Coleridge's famous critique based on his legendary and influential Shakespeare notes and lectures.

I HAVE, previously had occasion to speak at large on the subject of the three unities of time, place, and action, as applied to the drama in the abstract, arid to the particular stage for which Shakspeare wrote, as far as he can be said to have written for any stage but that of the universal mind. I hope I have in some measure succeeded in demonstrating that the former two, instead of being rules, were mere inconveniences attached to the local peculiarities of the Athenian drama; that the last alone deserved the name of a principle, and that in the preservation of this unity Shakspeare stood pre-eminent. Yet, instead of unity of action, I should greatly prefer the more appropriate, though scholastic and uncouth, words homogeneity, proportionateness, and totality of interest,—expressions, which involve the distinction, or rather the essential difference, betwixt the shaping skill of mechanical talent, and the creative, productive, life-power of inspired, genius. In the former each part is separately conceived, and then by a succeeding act put together;—not as watches are made for wholesale—(for there each part supposes a preconception of the whole in some mind)—but more like pictures on a motley screen. Whence arises the harmony that strikes us in the wildest natural landscapes,— in the relative shapes of rocks, the harmony of colours in the heaths, ferns, and lichens, the leaves of the beech and the oak, the stems and rich brown branches of the birch and other mountain trees, varying from verging autumn to returning spring,—compared with the visual effect from the greater number of artificial plantations? —From this, that the natural landscape is effected, as it were, by a single energy modified ab intra in each component part. And as this is the particular excellence of the Shakspearian drama generally, so is it especially characteristic of the Romeo and Juliet.

The groundwork of the tale is altogether in family life, and the events of the play have their first origin in family feuds. Filmy as are the eyes of party-spirit, at once dim and truculent, still there is commonly some real or supposed object in view, or principle to be maintained; and though but the twisted wires on the plate of rosin in the preparation for electrical pictures, it is still a guide in some degree, an assimilation to an outline. But in family quarrels, which have proved scarcely less injurious to states, wilfulness, and precipitancy, and passion from mere habit and custom, can alone be expected. With his accustomed judgment, Shakspeare has begun by placing before us a lively picture of all the impulses of the play; and, as nature ever presents two sides, one for Heraclitus, and one for Democritus, he has, by way of prelude, shown the laughable absurdity of the evil by the contagion of it reaching the servants, who have so little to do with it, but who are under the necessity of letting the superfluity of sensoreal power fly off through the escape-valve of wit-combats, and of quarrelling with weapons of sharper edge, all in humble imitation of their masters. Yet there is a sort of unhired fidelity, an ourishness about all this that makes it rest pleasant on one's feelings. All the first scene, down to the conclusion of the Prince's speech, is a motley dance of all ranks and ages to one tune, as if the horn of Huon had been playing behind the scenes.

Benvolio's speech—

Madam, an honr before the worshipp'd sun
Peer'd forth the golden window of the east—

and, far more strikingly, the following speech of old
Montague—

Many a morning hath he there been seen
With tears augmenting the fresh morning's dew-

prove that Shakspeare meant the Romeo and Juliet to approach to a poem, which, and indeed its early date, may be also inferred from the multitude of rhyming couplets throughout. And if we are right, from the internal evidence, in pronouncing this one of Shakspeare's early dramas, it affords a strong instance of the fineness of his insight into the nature of the passions, that Romeo is introduced already love-bewildered. The necessity of loving creates an object for itself in man and woman; and yet there is a difference in this respect between the sexes, though only to be known by a perception of it. It would have displeased us if Juliet had been represented as already in love, or as fancying herself so;—but no one, I believe, ever experiences any shock at Romeo's "forgetting his Rosaline, who had been a mere name for the yearning of his youthful imagination, and rushing into his passion for Juliet. Rosaline was a mere creation of his fancy; and we should remark the boastful positiveness of Romeo in a love of his own making, which is never shown where love is really near the heart.

When the devout religion of mine eye
Maintains such falsehood, then turn tears to fires!

One fairer than my love I the all-seeing sun Ne'er saw her match, since first the world begun.

The character of the Nurse is the nearest of any thing in Shakspeare to a direct borrowing from mere observation; and the reason is, that as in infancy and childhood the individual in nature is a representative of a class,—just as in describing one larch tree, you generalize a grove of them, —so it is nearly as much so in old age. The generalization is done to the poet's hand. Here you have the garrulity of age strengthened by the feelings of a long-trusted servant, whose sympathy with the mother's affections gives her privileges and rank in the household; and observe the mode of connection by accidents of time and place, and the childlike fondness of repetition in a second childhood, and also that happy, humble, ducking under, yet constant resurgence against, the check of her superiors!—

Yes, madam!—Yet I cannot choose but laugh, &c.

In the fourth scene we have Mercutio introduced to us. O! how shall I describe that exquisite ebullience and overflow of youthful life, wafted on over the laughing waves of pleasure and prosperity, as a wanton beauty that dis-torts the face on which she knows her lover is gazing enraptured, and wrinkles her forehead in the triumph of its smoothness! Wit ever wakeful, fancy busy and procreative as an insect, courage, an easy mind that, without cares of its own, is at once disposed to laugh away those of others, and yet to be interested in them,—these and all congenial qualities, melting into the common copula of them all, the man of rank and the gentleman, with all its excellences and all its weaknesses, constitute the character of Mercutio!

Act i. sc. 5.

Tyb. It fits when such a villain is a guest;
I'll not endure him.
Cap. He shall be endur'd.
What, goodman boy!—I say, he shall:—Go to;—
Am I the master here, or you?—Go to.
You'll not endure him!—God shall mend my soul—
You'll make a mutiny among my guests!
You will set cock-a-hoop! you'll be the man!
Tyb. Why, uncle, 'tis a shame.
Cap. Go to, go to, You are a saucy boy! &c.—

How admirable is the old man's impetuosity at once contrasting, yet harmonized, with young Tybalt's quarrel-some violence! But it would be endless to repeat observa-tions of this sort. Every leaf is different on an oak tree; but still we can only say—our tongues defrauding our eyes —'This is another oak-leaf!'

Act ii. sc. 2. The garden scene:

Take notice in this enchanting scene of the contrast of Romeo's love with his former fancy; and weigh the skill shown in justifying him from his inconstancy by making us feel the difference of his passion. Yet this, too, is a love in, although not merely of, the imagination.

Ib.

Jul. Well, do not swear; although I joy in thee,
I have no joy of this contract to-night:
It is too rash, too unadvis'd, too sudden, &c.

With love, pure love, there is always an anxiety for the safety of the object, a disinterestedness, by which it is distinguished from the counterfeits of its name. Compare this scene with Act iii. sc. 1. of the Tempest. I do not know a more wonderful instance of Shakspeare's mastery in playing a distinctly rememberable variety on the same remembered air, than in the transporting love confessions of Romeo and Juliet and Ferdinand and Miranda. There seems more passion in the one, and more dignity in the other; yet you feel that the sweet girlish lingering and busy movement of Juliet, and the calmer and more maidenly fondness of Miranda, might easily pass into each other.

Ib. sc. 3. The Friar's speech:—

The reverend character of the Friar, like all Shakspeare's representations of the great professions, is very delightful and tranquillizing, yet it is no digression, but immediately necessary to the carrying on of the plot.

Ib. sc. 4.

Rom. Good morrow to yon both.
What counterfeit did I give you? &c.

Compare again, Romeo's half-exerted, and half-real, ease of mind with his first manner when in love with Rosaline! His will had come to the clenching point.

Ib. sc. 6.

Rom. Do thou but close our hands with holy words,
Then love-devouring death do what be dare,
It is enough I may but call her mine.

The precipitancy, which is the character of the play, is well marked in this short scene of waiting for Juliet's arrival.
Act iii. sc. i.

Mer. No, 'tis not so deep as a well, nor so wide as a church door; but 'tis enough: 'twill serve: ask for me tomorrow, and you shall find me a grave man, &c.

How fine an effect the wit and raillery habitual to Mer-cutio, even struggling with his pain, give to Romeo's following speech, and at the same time so completely justifying his passionate revenge on Tybalt!

Ib. Benvolio's speech:

But that he tilts
With piercing steel at bold Mercutio's breast.

This small portion of untruth in Benvolio's narrative is finely conceived.

Ib. sc. 2. Juliet's speech:

For thou wilt lie upon the wings of night
Whiter than new snow on a raven's back.—

Indeed the whole of this speech is imagination strained to the highest; and observe the blessed effect on the purity of the mind. What would Dryden have made of it?—

Ib.

Nurse. Shame come to Romeo.
Jul. Blister'd be thy tongue For such a wish!

Note the Nurse's mistake of the mind's audible struggles with itself for its decision in toto.

Ib. sc. 3. Romeo's speech:—

'Tis torture, and not mercy: heaven is here, Where Juliet lives, &c.

All deep passions are a sort of atheists, that believe no future.

Ib. sc. 5.

Cap. Soft, take me with you, take me with you, wife—
How I will she none? &c.

A noble scene! Don't I see it with my own eyes?— Yes! but not with Juliet's. And observe in Capulet's last speech in this scene his mistake, as if love's causes were capable of being generalized.

Act iv. sc. 3. Juliet's speech:—

O, look I methinks I see my cousin's ghost
Seeking out Romeo, that did spit his body
Upon a rapier's point:—Stay, Tybalt, stay!—
Romeo, I come! this do I drink to thee.

Shakspeare provides for the finest decencies. It would have been too bold a thing for a girl of fifteen;—but she swallows the draught in a fit of fright.

Ib. sc. 5.

As the audience know that Juliet is not dead, this scene is, perhaps, excusable. But it is a strong warning to minor dramatists not to introduce at one time many separate characters agitated by one and the same circum-stance. It is difficult to understand what effect, whether that of pity or of laughter, Shakspeare meant to produce; —the occasion and the characteristic speeches are so little in harmony! For example, what the Nurse says is excellently suited to the Nurse's character, but grotesquely unsuited to the occasion.

Act v. sc. i. Romeo's speech:—

O mischief I thou art swift
To enter in the thoughts of desperate men!
I do remember an apothecary, &c.

This famous passage is so beautiful as to be self-justified;
yet, in addition, what a fine preparation it is for the tomb scene!

Ib. sc. 3. Romeo's speech:—

Good gentle youth, tempt not a desperate man,
Fly hence and leave me.

The gentleness of Romeo was shown before, as softened by love; and now it is doubled by love and sorrow and awe of the place where he is.

Ib. Romeo's speech:—

How oft when men are at the point of death
Have they been merry! which their keepers call
A lightning before death. O, how may I
Call this a lightning?—O, my love, my wife! &c.

Here, here, is the master example how beauty can at once increase and modify passion!

Ib. Last scene.

How beautiful is the close! The spring and the winter meet;—winter assumes the character of spring, and spring the sadness of winter

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