Bentley's Miscellany, Volume II. Various

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      "How will it be possible," thought I, "to unravel this intricate question? It is plain these English are a nation of madmen. Oh! could they but take one look at my country, where the will of one man is all in all, – where no man's head is safe on his shoulders for one moment, – where, if he heaps up riches in the course of many years, they may be taken from him in an hour, – where he does not even think for himself, much less speak, – where man is as withering grass of the field, and life as the wind blowing over it; could they but know this, short would be their controversies. They would praise Allah with gratitude for their condition, be content with their fate, and drive all wish of change from their thoughts, as threatening the overthrow of their happiness."

      SHAKSPEARE PAPERS. – No. III

      "Never," says Prince Escalus, in the concluding distich of Romeo and Juliet,

      It is a story which, in the inartificial shape of a black-letter ballad, powerfully affected the imagination, and awakened the sensibilities, of our ancestors, and in the hands of Shakspeare has become the love-story of the whole world. Who cares for the loves of Petrarch and Laura, or of Eloisa and Abelard, compared with those of Romeo and Juliet? The gallantries of Petrarch are conveyed in models of polished and ornate verse; but, in spite of their elegance, we feel that they are frosty as the Alps beneath which they were written. They are only the exercises of genius, not the ebullitions of feeling; and we can easily credit the story that Petrarch refused a dispensation to marry Laura, lest marriage might spoil his poetry. The muse, and not the lady, was his mistress. In the case of Abelard there are many associations which are not agreeable; and, after all, we can hardly help looking upon him as a fitter hero for Bayle's Dictionary than a romance. In Romeo and Juliet we have the poetry of Petrarch without its iciness, and the passion of Eloisa free from its coarse exhibition. We have, too, philosophy far more profound than ever was scattered over the syllogistic pages of Abelard, full of knowledge and acuteness as they undoubtedly are.

      But I am not about to consider Romeo merely as a lover, or to use him as an illustration of Lysander's often-quoted line,

      In that course the current has been as rough to others as to Romeo; who, in spite of all his misfortunes, has wooed and won the lady of his affections. That Lysander's line is often true, cannot be questioned; though it is no more than the exaggeration of an annoyed suitor to say that love has never run smoothly. The reason why it should be so generally true, is given in "Peveril of the Peak" by Sir Walter Scott; a man who closely approached to the genius of Shakspeare in depicting character, and who, above all writers of imagination, most nearly resembled him in the possession of keen, shrewd, every-day common-sense, rendered more remarkable by the contrast of the romantic, pathetic, and picturesque by which it is in all directions surrounded.

      "This celebrated passage which we have prefixed to this chapter, [chap. xii. vol. i. Peveril of the Peak,] has, like most observations of the same author, its foundation in real experience. The period at which love is felt most strongly is seldom that at which there is much prospect of its being brought to a happy issue. In fine, there are few men who do not look back in secret to some period of their youth at which a sincere and early affection was repulsed or betrayed, or became abortive under opposing circumstances. It is these little passages of secret history, which leave a tinge of romance in every bosom, scarce permitting us, even in the most busy or the most advanced period of life, to listen with total indifference to a tale of true love."5

      These remarks, the justice of which cannot be questioned, scarcely apply to the case of Romeo. In no respect, save that the families were at variance, was the match between him and Juliet such as not to afford a prospect of happy issue; and everything indicated the possibility of making their marriage a ground of reconciliation between their respective houses. Both are tired of the quarrel. Lady Capulet and Lady Montague are introduced in the very first scene of the play, endeavouring to pacify their husbands; and, when the brawl is over, Paris laments to Juliet's father that it is a pity persons of such honourable reckoning should have lived so long at variance. For Romeo himself old Capulet expresses the highest respect, as being one of the ornaments of the city; and, after the death of Juliet, old Montague, touched by her truth and constancy, proposes to raise to her a statue of gold. With such sentiments and predispositions, the early passion of the Veronese lovers does not come within the canon of Sir Walter Scott; and, as I have said, I do not think that Romeo is designed merely as an exhibition of a man unfortunate in love.

      I consider him to be meant as the character of an unlucky man, – a man who, with the best views and fairest intentions, is perpetually so unfortunate as to fail in every aspiration, and, while exerting himself to the utmost in their behalf, to involve all whom he holds dearest in misery and ruin. At the commencement of the play an idle quarrel among some low retainers of the rival families produces a general riot, with which he has nothing to do. He is not present from beginning to end; the tumult has been so sudden and unexpected, that his father is obliged to ask

      And yet it is this very quarrel which lays him prostrate in death by his own hand, outside Capulet's monument, before the tragedy concludes. While the fray was going on, he was nursing love-fancies, and endeavouring to persuade himself that his heart was breaking for Rosaline. How afflicting his passion must have been, we see by the conundrums he makes upon it:

      And so forth. The sorrows which we can balance in such trim antitheses do not lie very deep. The time is rapidly advancing when his sentences will be less sounding.

      speaks more touchingly the state of his engrossed soul than all the fine metaphors ever vented. The supercilious Spartans in the days of their success prided themselves upon the laconic brevity of their despatches to states in hostility or alliance with them. When they were sinking before the Macedonians, another style was adopted; and Philip observed that he had taught them to lengthen their monosyllables. Real love has had a contrary effect upon Romeo. It has abridged his swelling passages, and brought him to the language of prose. The reason of the alteration is the same in both cases. The brevity of the Spartans was the result of studied affectation. They sought, by the insolence of threats obscurely insinuated in a sort of demi-oracular language, to impose upon others, – perhaps they imposed upon themselves, – an extravagant opinion of their mysterious power. The secret was found out at last, and their anger bubbled over in big words and lengthened sentences. The love of Rosaline is as much affected on the part of Romeo, and it explodes in wire-drawn conceits.