courts thee in her best array,"
The events which occur during his enforced absence, the haste of Paris to be wedded, the zeal of old Capulet in promoting the wishes of his expected son-in-law, the desperate expedient of the sleeping-draught,8 the accident which prevented the delivery of the friar's letter, the officious haste of Balthazar to communicate the tidings of Juliet's burial, are all matters out of his control. But the mode of his death is chosen by himself; and in that he is as unlucky as in everything else. Utterly loathing life, the manner of his leaving it must be instantaneous. He stipulates that the poison by which he is to die shall not be slow of effect. He calls for
"such soon-speeding gear
As will disperse itself through all the veins,
That the life-weary taker may fall dead."
He leaves himself no chance of escape. Instant death is in his hand; and, thanking the true apothecary for the quickness of his drugs, he scarcely leaves himself a moment with a kiss to die. If he had been less in a hurry, – if he had not felt it impossible to delay posting off to Verona for a single night, – if his riding had been less rapid, or his medicine less sudden in its effect, he might have lived. The friar was at hand to release Juliet from her tomb the very instant after the fatal phial had been emptied. That instant was enough: the unlucky man had effected his purpose just when there was still a chance that things might be amended. Those who wrote the scene between Romeo and Juliet which is intended to be pathetic, after her awakening and before his death, quite mistake the character of the hero of the play. I do not blame them for their poetry, which is as good as that of second-rate writers of tragedy in general; and think them, on the whole, deserving of our commendation for giving us an additional proof how unable clever men upon town are to follow the conceptions of genius. Shakspeare, if he thought it consistent with the character which he had with so much deliberation framed, could have written a parting scene at least as good as that with which his tragedy has been supplied; but he saw the inconsistency, though his unasked assistants did not. They tell us they did it to consult popular taste. I do not believe them. I am sure that popular taste would approve of a recurrence to the old play in all its parts; but a harlotry play-actor might think it hard upon him to be deprived of a "point," pointless as that point may be.
Haste is made a remarkable characteristic of Romeo, – because it is at once the parent and the child of uniform misfortune. As from the acorn springs the oak, and from the oak the acorn, so does the temperament that inclines to haste predispose to misadventure, and a continuance of misadventure confirms the habit of haste. A man whom his rashness has made continually unlucky, is strengthened in the determination to persevere in his rapid movements by the very feeling that the "run" is against him, and that it is of no use to think. In the case of Romeo, he leaves it all to the steerage of Heaven, i. e. to the heady current of his own passions; and he succeeds accordingly. All through the play care is taken to show his impatience. The very first word he speaks indicates that he is anxious for the quick passage of time.
"Ben. Good morrow, cousin.
Rom. Is the day so young?
Ben. But new struck nine.
Rom. Ay me, sad hours seem long."
The same impatience marks his speech in the moment of death:
"O true apothecary,
Thy drugs are quick!"
From his first words to his last the feeling is the same. The lady of his love, even in the full swell of her awakened affections, cannot avoid remarking that his contract is
"Too rash, too unadvised, too sudden,
Too like the lightning, which does cease to be
Ere one can say, It lightens."
When he urges his marriage on the friar,
"Rom. O let us home: I stand on sudden haste.
Friar. Wisely and slow. They stumble that run fast."
The metaphors put into his mouth are remarkable for their allusions to abrupt and violent haste. He wishes that he may die
"As violently as hasty powder fired
Doth hurry from the fatal cannon's womb."
When he thinks that Juliet mentions his name in anger, it is
"as if that name,
Shot from the deadly level of a gun,
Did murder her."
When Lawrence remonstrates with him on his violence, he compares the use to which he puts his wit to
and tells him that
"Violent delights have violent ends,
And in their triumph die; like fire and powder,
Which, as they kiss, consume."
Lightning, flame, shot, explosion, are the favourite parallels to the conduct and career of Romeo. Swift are his loves; as swift to enter his thought, the mischief which ends them for ever. Rapid have been all the pulsations of his life; as rapid, the determination which decides that they shall beat no more.
A gentleman he was in heart and soul. All his habitual companions love him: Benvolio and Mercutio, who represent the young gentlemen of his house, are ready to peril their lives, and to strain all their energies, serious or gay, in his service. His father is filled with an anxiety on his account so delicate, that he will not venture to interfere with his son's private sorrows, while he desires to discover their source, and if possible to relieve them. The heart of his mother bursts in his calamity; the head of the rival house bestows upon him the warmest panegyrics; the tutor of his youth sacrifices everything to gratify his wishes; his servant, though no man is a hero to his valet de chambre, dares not remonstrate with him on his intentions, even when they are avowed to be savage-wild,
"More fierce, and more inexorable far,
Than empty tigers or the roaring sea," —
but with an eager solicitude he breaks his commands by remaining as close as he can venture, to watch over his safety. Kind is he to all. He wins the heart of the romantic Juliet by his tender gallantry: the worldly-minded nurse praises him for being as gentle as a lamb. When it is necessary or natural that the Prince or Lady Montague should speak harshly of him, it is done in his absence. No words of anger or reproach are addressed to his ears save by Tybalt; and from him they are in some sort a compliment, as signifying that the self-chosen prize-fighter of the opposing party deems Romeo the worthiest antagonist of his blade. We find that he fights two blood-stained duels, but both are forced upon him; the first under circumstances impossible of avoidance, the last after the humblest supplications to be excused.
"O begone!
By Heaven, I love thee better than myself,
For I came hither armed against myself.
Stay not; begone! – live, and hereafter say
A madman's mercy bade thee run away."
With all the qualities and emotions which can inspire affection and esteem, – with all the advantages that birth, heaven, and earth could at once confer, – with the most honourable feelings and the kindliest intentions, – he is eminently an unlucky man. The record of his actions in the play before us does not extend to the period of a week; but we feel that there is no dramatic straining to shorten their course. Everything occurs naturally and probably. It was his concluding week; but it tells us all his life. Fortune was against him; and would have been against him, no matter what might have been his pursuit. He was born to win battles, but to lose campaigns. If we desired to moralize with the harsh-minded satirist, who never can be suspected of romance, we should join with him in extracting as a moral from the play and attribute the mishaps