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colours."* Schlegel wisely did this to exhibit what is more remarkable in Shakspere than in any other poet, “ the thorough formation of a work, even in its minutest part, according to a leading idea--the dominion of the animating spirit over all the means of execution."! The general criticism of Schlegel upon · Romeo and Juliet' is based upon a perfect comprehension of this great principle upon which Shakspere worked. The following is the close of a celebrated passage upon * Romeo and Juliet,' which has often been quoted ;-but it is altogether so true and so beautiful, that we cannot resist the pleasure of circulating it still more widely :
“ Whatever is most intoxicating in the odour of a southern spring, languishing in the song of the nightingale, or voluptuous on the first opening of the rose, is breathed into this poem. But, even more rapidly than the earliest blossoms of youth and beauty decay, it hurries on from the first timidly-bold declaration of love and modest return, to the most unlimited passion, to an irrevocable union; then, amidst alternating storms of rapture and despair, to the death of the two lovers, who still appear enviable as their love survives them, and as by their death they have obtained a triumph over every separating power. The sweetest and the bitterest, love and hatred, festivity and dark forebodings, tender embraces and sepulchres, the fulness of life and self-anni. hilation, are all here brought close to each other; and all these contrasts are so blended in the harmonious and wonderful work into a unity of impression, that the echo which the whole leaves behind in the mind resembles a single but endless sigh." I • Lectures.
ROMEO AND JULIET.
In fair Verona, where we lay our scene,
Where civil blood makes civil hands unclean.
A pair of star-cross'd lovers take their life;
Do, with their death, bury their parents' strife.
And the continuance of their parents' rage,
Is now the two hours' traffic of our stage;
ACT I. SCENE I.-A public Place. Enter SAMPSON and GREGORY, armed with swords
and bucklers. Sam. Gregory, o' my word, we'll not carry coals.& Gre. No, for then we should be colliers. Sam. I mean, if we be in choler, we 'll draw.
Gre. Ay, while you live, draw your neck out of the collar.
Sam. I strike quickly, being moved.
a To carry coals was to submit to servile offices.
Sam. A dog of the house of Montague moves me.
Gre. To move is to stir; and to be valiant, is to stand; therefore, if thou art moved, thou runn'st away.
Sam. A dog of that house shall move me to stand : I will take the wall of any man or maid of Montague's.
Gre. That shows thee a weak slave; for the weakest goes to the wall.
Sam. True; and therefore women, being the weaker vessels, are ever thrust to the wall :-therefore I will push Montague's men from the wall, and thrust his maids to the wall.
Gre. The quarrel is between our masters, and us their men.
Sam. 'T is all one, I will show myself a tyrant : when I have fought with the men, I will be civil with the maids, and cut off their heads.
Gre. The heads of the maids ?
Sam. Ay, the heads of the maids, or their maidenheads; take it in what sense thou wilt.“
Gre. They must take it sense, that feel it.
Sam. Me they shall feel, while I am able to stand : and 't is known I am a pretty piece of flesh.
Gre. 'T is well, thou art not fish; if thou hadst, thou hadst been poor John.a Draw thy tool; here comes of the house of Montagues.
Enter Abram and BALTHASAR. Sam. My naked weapon is out; quarrel, I will back thee.
Gre. How? turn thy back, and run ?
Sam. Let us take the law of our sides ; let them be. gin.
Gre. I will frown, as I pass by; and let them take it as they list.
A Poor John-hake, dried and sulted.