plaining Jaques, honourable of conduct, high in moral position, fearless of the future, and lying in the forest away from trouble,-which of them, I say, feels more the load of care? I think Shakspeare well knew, and depicted them accordingly. But I must leave it to my readers, si qui sunt. W. M.

ROMEO.

"Of this unlucky sort our Romeus is one,

For all his hap turns to mishap, and all his mirth to mone." The Tragicall Historye of Romeus and Juliet.

66

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

Than this of Juliet and her Romeo."

It is a story which, in the inartificial shape of a blackletter 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,

"The course of true love never did run smooth."

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

['Ah me! for aught that ever I could read,' &c.]

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."*

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

*Was Sir Walter thinking of his own case when he wrote this passage? See his Life by Lockhart, vol. i. p. 242. His family used to call Sir Walter Old Peveril, from some fancied resemblance of the character.

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

"What set this ancient quarrel new abroach ?"

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: