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Thou desperate pilot, now at once run on
The lines in this speech describing the loveliness of Juliet, who is supposed to be dead, have been compared to those in which it is said of Cleopatra after her death, that she looked “as she would take another Antony in her strong toil of grace;" and a question has been started which is the finest, that we do not pretend to decide. We can more easily decide between Shakspeare and any other author, than between him and himself.-Shall we quote any more passages to shew his genius or the beauty of ROMEO AND JULIET ? At that rate, we might quote the whole. The late Mr. Sheridan, on being shown a volume of the Beauties of Shakspeare, very properly asked" But where are the other eleven ?" The character of Mercutio in this play is one of the most mercurial and spirited of the productions of Shakspeare's comick muse.
We wish that we could pass this play over, and say nothing about it. All that we can say must fall far short of the subject; or even of what we ourselves conceive of it. To attempt to give a description of the play itself, or of its effect upon the mind, is mere impertinence : yet we must say something. It is then the best of all Shakspeare's plays, for it is the one in which he was the most in earnest. He was here fairly caught in the web of his own imagination. The passion which he has taken as his subject, is that which strikes its root deepest into the human heart; of which the bond is the hardest to be unloosed ; and the cancelling and tearing to pieces of which gives the greatest revulsion to the frame. This depth of nature, this force of passion, this tug and war of the elements of our being, this firm faith in filial piety, and the giddy anarchy and whirling tumult of the thoughts at finding this prop failing it, the contrast between the fixed, immovable basis of natural affection, and the rapid, irregular starts of imagination, suddenly wrenched from all its accustomed holds and resting places in the soul, this is what Shak
speare bas given, and what nobody else but he could give. So we believe.-The mind of Lear staggering between the weight of attachment and the hurried movements of passion, is like a tall ship driven about by the winds, buffetted by the furious waves, but that still rides above the storm, having its anchor fixed in the bottom of the sea; or it is like the sharp rock circled by the eddying whirlpool that foams and beats against it, or like the solid promontory pushed from its basis by the force of an earthquake.
The character of Lear itself is very finely conceived for the purpose. It is the only ground on which such a story could be built with the greatest truth and effect. It is his rash haste, his violent impetuosity, his blindness to every thing but the dictates of his passions or affections, that produces all his misfortunes, that aggravates his impatience of them, that enforces our pity for him. The part which Cordelia bears in the scene is extremely beautiful : the story is almost told in the first words she utters. We see at once the precipice on which the poor old king stands from his own extravagant and credulous importunity, the indiscreet simplicity of her love (which, to be sure, has a little of her father's obstinacy in it) and the hollowness of her sisters' pretensions. Almost the first burst of that poble tide of passion, which runs through the play, is in the remonstrance of Kent to his royal master on the injustice of his sentence against his youngest daughter-", Be Kent unmannerly, when Lear is mad!” This manly plaioness, which draws down on him the displeasure of the unadvised king, is worthy of the fidelity with which he adheres to
his fallen fortunes. The true character of the two eldest daughters, Regan and Gonerill, (they are so thoroughly hateful that we do not even like to repeat their names) breaks out in their answer to Cordelia, who desires them to treat their father well—" Prescribe not us our duties”-their hatred of advice being in proportion to their determinas tion to do wrong, and to their hypocritical pretensions to do right. Their deliberate hypocrisy adds the last finishing to the odiousness of their characters. It is the absence of this detestable quality that is the only relief in the character of Edmund the Bastard, and that at times reconciles us to him. We are not tempted to exaggerate the guilt of his conduct, when he himself gives it up as a bad business, and writes himself down “ plain villain.” Nothing
can be said about it. His religious honesty in this respect is admirable. One speech of his is worth a million. His father, Gloster, whom he has just deluded with a forged story of his brother Edgar's designs against his life, accounts for his unnatural behaviour and the strange depravity of the times from the late eclipses in the sun and moon. Edmund, who is in the secret, says when he is gone" This is the excellent foppery of the world, that when we are sick in fortune (often the surfeits of our own behaviour) we make guilty of our disasters the sun, the moon, and stars : as if we were villains on necessity; fools by heavenly compulsion; knaves, thieves, and treacherous by spherical predominance; drunkards, liars, and adulterers by ap enforced obedience of planetary influence; and all that we are evil in, by a divine
thrusting on. An admirable evasion of whoremaster man, to lay his goatish disposition on the charge of a star! My father compounded with my mother under the Dragon's tail, and my nativity was under Ursa Major: so that it follows, I am rough and Jecherous. I should have been what I am, had the maidenliest star in the firmament twiokled on my bastardizing."-The whole character, its careless, light-hearted villany, contrasted with the sullen, rancorous malignity of Regan and Gonerill, its connexion with the conduct of the under-plot, in which Gloster's persecution of one of his sons and the ingratitude of another, form a counterpart to the mistakes and misfortunes of Lear,-his double amour with the two sisters, and the share which he has in bringing about the fatal catastrophe, are all managed with an uncommon degree of skill and power.
It has been said, and we think justly, that the third act of Othello and the three first acts of LEAR, are Shakspeare's great masterpieces in the logick of passion : that they contain the highest examples not only of the force of individual passion, but of its dramatick vicissitudes and striking effects arising from the different circumstances and characters of the persons speaking. We see the ebb and flow of the feeling, its pauses and feverish starts, its impatience of opposition, its accumulating force when it has time to recollect itself, the manner ip which it avails itself of every passing word or gesture, its haste to repel insinuation, the alternate contraction and dilatation of the soul, and all “ the dazzling fence of controversy” in this mortal combat with poisoned weapons, aimed at the heart, where each