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and the stage do not agree well together. The attempt to reconcile them in this instance fails not only of effect, but of decorum.
The ideal can have no place upon the stage, which is a picture without perspective: every thing there is in the foreground. That which was merely an airy shape, a dream, a passing thought, immediately becomes an unmanageable reality. Where all is left to the imagination (as is the case in reading) every circumstance, near or remote, has an equal chance of being kept in mind, and tells according to the mixed impression of all that has been suggested. But the imagination cannot sufficiently qualify the actual impressions of the senses. Any offence given to the eye is not to be got rid of by explanation. Thus Bottom's head in the play is a fantastick illusion, produced by Magick spells: on the stage, it is an ass's head, and nothing more ; certainly a very strange costume for a gentleman to appear in. Fancy cannot be embodied any more than a simile can be painted; and it is as idle to attempt it as to personate Wall or Moonshine. Fairies are not incredible, but fairies six feet high are so. Monsters are pot shocking, if they are seen at a proper distance. When ghosts appear at mid-day, when apparitions stalk along Cheapside, then may the MIDSUMMER Night's DREAM be represented without injury at Covent-garden or at Drury-lane. The boards of a theatre and the regions of fancy are not the same thing.
ROMEO AND Juliet is the only tragedy which Shakspeare has written entirely on a love-story. It is supposed to have been bis first play, and it deserves to stand in that proud rank. There is the buoyant spirit of youth in every line, in the rapturous intoxication of hope, and in the bitterness of despair. It has been said of ROMEO AND JULIET by a great critick, that " whatever is most intoxicating in the odour of a southern spring, languishing in the song of the nightingale, or voluptuous in the first opening of the rose, is to be found in this poem.” The description is true ; and yet it does not answer to our idea of the play. For it has the sweetness of the rose, it has its freshness too; if it has the languor of the nightingale's song, it has also its giddy transport; if it has the softness of a southern spring, it is as glowing and as bright. There is 1 nothing of a sickly and sentimental cast. Romeo and Juliet are in love, but they are not lovesick. Every thing speaks the very soul of pleasure, the high and healtby pulse of the passions: the heart beats, the blood circulates and mantles throughout.
Their courtship is not an insipid interchange of sentiments lip deep, learnt at second hand from poems and plays,-made up of beauties of the most shadowy kind, of “fancies wan that hang the pensive head,” of evanescent smiles and sigbs that breathe not, of delicacy that shrinks from the touch, and feebleness that scarce supports itself, an elaborate vacuity of thought, and an artificial dearth of sense, spirit, truth, and nature! It is the reverse of all this. It is Shakspeare all over, and Shakspeare when he was young
We have heard it objected to ROMEO AND JULIET, that it is founded on an idle passion between a boy and a girl, who have scarcely seen and can have but little sympathy or rational esteem for one another, who have had no experience of the good or ills of life, or whose raptures or despair must be therefore equally groundless and fantastical. Whoever objects to the youth of the parties in this play as “ too unripe and crude” to pluck the sweets of love, and wishes to see a first love carried on into a good old
age, and the passions taken at the rebound, when their force is spent, may find all this done in the Stranger and in other German plays, where they do things by contraries, and transpose nature to inspire sentiment and create philosophy. Shakspeare proceeded in a more strait-forward, and, we think, effectual way. He did not endeavour to extract beauty from wrinkles, or the wild throb of passion from the last expiring sigh of indifference. He did not "gather grapes of thorns, nor figs of thistles.” It was not his way. But he has given a picture of human life, such as it is in the order of nature. He has
founded the passion of the two lovers not on the pleasures they had experienced, but on all the pleasures they bad not experienced. All that was to come of life was theirs. At that untried source of promised happiness they slaked their thirst, and the first eager draught made them drunk with love and joy. They were in full possession of their senses and their affections. Their hopes were of air, their desires of fire. Youth is the season of love, because the heart is then first melted in tenderness from the touch of novelty, and kindled to rapture, for it knows no end of its enjoyments or its wishes. Desire has no limit but itself. Passion, the love and expectation of pleasure, is infinite, extravagant, inexhaustible, till experience cones to check and kill it. Juliet exclaims on her first interview with Romeo
“My bounty is as boundless as the sea, My love as deep."
And why should it not? What was to hinder the thrilling tide of pleasure, which had just gushed from her heart, from flowing on without stint or measure, but experience which she was yet without? What was to abate the transport of the first sweet sense of pleasure, which her heart and her senses had just tasted, but indifference which she was yet a stranger to? What was there to check the ardour of hope, of faith, of constancy, just rising in her breast, but disappointment which she had not yet felt? As are the desires and the hopes of youthful passion, such is the keenness of its disappointments, and their baleful effect. Such is the transition in this play from the highest bliss to the lowest despair, from the nup
tial couch to an untimely grave. The only evil that even in apprehension befalls the two lovers is the loss of the greatest possible felicity; yet this loss is fatal to both, for they had rather part with life than bear the thought of surviving all that had made life dear to them. In all this, Shakspeare has but followed nature, which existed in his time, as well as now. The modern philosophy, which reduces the whole theory of the mind to habitual impressions, and leaves the natural impulses of passion and imagination out of the account, had not then been discovered; or if it had, would have been little calculated for the uses of poetry.
It is the inadequacy of the same false system of philosophy to account for the strength of our earliest attachments, which has led Mr. Wordsworth to indulge in the mystical visions of Platonism in his Ode on the Progress of Life. He has very admirably described the vividness of our impressions in youth and childhood, and how “they fade by degrees into the light of common day," and he ascribes the change to the supposition of a preexistent state, as if our early thoughts were nearer heaven, reflections of former trails of glory, shadows of our past being. This is idle. It is not from the knowledge of the past that the first impressions of things derive their gloss and splendour, but from our ignorance of the future, which fills the void to come with the warmth of our desires, with our gayest hopes, and brightest fancies. It is obscurity spread before it that colours the progpect of life with hope, as it is the cloud which reflects the rainbow. There is no occasion to resort