O LOVE thou teacher-O Grief! thou tamer-and Time, thou healer of human hearts!-bring hither all your deep and serious revelations! And ye too, rich

fancies of unbruised, unbowed youth-ye visions of long perished hopes-shadows of unborn joys-gay colourings of the dawn of existence! whatever memory hath treasured up of bright and beautiful in nature or in art; all soft and delicate images -all lovely forms-divinest voices and entrancing melodies-gleams of sunnier skies and fairer climes-Italian moonlights and airs that "breathe of the sweet south"

-now, if it be possible, revive to my imagination-live once more to my heart! Come, thronging around me, all inspirations that wait on passion, on power, on beauty; give me to tread, not bold, and yet unblamed, within the inmost sanctuary of Shakspeare's genius, in Juliet's moonlight bower, and Miranda's enchanted isle!

It is not without emotion, that I attempt to touch on the character of Juliet. Such beautiful things have already been said of her-only to be exceeded in beauty by the subject that inspired them!—it is impossible to say anything better; but it is possible to

say something more. Such, in fact, is the simplicity, the truth, and the loveliness of Juliet's character, that we are not at first aware of its complexity, its depth and its variety. There is in it an intensity of passion, a singleness of purpose, an entireness, a completeness of effect, which we feel as a whole; and to attempt to analyse the impression thus conveyed at once to soul and sense, is as if while hanging over a half-blown rose, and revelling in its intoxicating perfume, we should pull it asunder, leaflet by leaflet, the better to display its bloom and fragrance. Yet how otherwise should we disclose the wonders of its formation, or do justice to the skill of the divine hand that hath thus fashioned it in its beauty?

Love, as a passion, forms the groundwork of the drama. Now, admitting the axiom of Rochefoucauld, that there is but one love, though a thousand different copies, yet the true sentiment itself has as many different aspects as the human soul of which it forms a part. It is not only

modified by the individual character and temperament, but it is under the influence of climate and circumstance. The love that is calm in one moment, shall show itself vehement and tumultuous at another. The love that is wild and passionate in the south, is deep and contemplative in the north; as the Spanish or Roman girl perhaps poisons a rival, or stabs herself for the sake of a living lover, and the German or Russian girl pines into the grave for love of the false, the absent, or the dead. Love is ardent or deep, bold or timid, jealous or confiding, impatient or humble, hopeful or desponding and yet there are not many loves, but one love.

All Shakspeare's women, being essentially women, either love or have loved, or are capable of loving; but Juliet is love itself. The passion is her state of being, and out of it she has no existence. It is the soul within her soul; the pulse within her heart; the life-blood along her veins, "blending with every atom of her frame." The love that is so chaste and dignified in

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Portia so airy-delicate and fearless in Miranda-so sweetly confiding in Perdita— so playfully fond in Rosalind-so constant in Imogen-so devoted in Desdemona-so fervent in Helen-so tender in Viola-is each and all of these in Juliet. All these remind us of her; but she reminds us of nothing but her own sweet self; or if she does, it is of the Gismunda, or the Lisetta, or the Fiametta of Boccaccio, to whom she is allied, not in the character or circumstances, but in the truly Italian spirit, the glowing, national complexion of the portrait.1

There was an Italian painter who said

1 Lord Byron remarked of the Italian women (and he could speak avec connaissance de fuit), that they are the only women in the world capable of impressions, at once very sudden and very durable; which, he adds, is to be found in no other nation. Mr. Moore observes afterwards, how completely an Italian woman, either from nature or her social position, is led to invert the usual course of frailty among ourselves, and, weak in resisting the first impulses of passion, to reserve the whole strength of her character for a display of constancy and devotedness afterwards. Both these traits of national character are exemplified in Juliet. -Moore's Life of Byron, vol. ii., pp. 303, 338, 4to edit.