The Man Shakespeare | Page 8

passion, and after he is banished
from Juliet's arms we only see him for a moment as he rushes madly by
into never-ending night, and all the while Shakespeare is thinking more
of the poetry of the theme than of his hero's character. Romeo is crude
and immature when compared with a profound psychological study like
Hamlet. In "Hamlet" the action often stands still while incidents are
invented for the mere purpose of displaying the peculiarities of the
protagonist. "Hamlet," too, is the longest of Shakespeare's plays with
the exception of "Antony and Cleopatra," and "the total length of
Hamlet's speeches," says Dryasdust, "far exceeds that of those allotted
by Shakespeare to any other of his characters." The important point,
however, is that Romeo has a more than family likeness to Hamlet.
Even in the heat and heyday of his passion Romeo plays thinker; Juliet
says, "Good-night" and disappears, but he finds time to give us the
abstract truth:
"Love goes towards love, as schoolboys from their books, But love
from love, toward school with heavy looks."
Juliet appears again unexpectedly, and again Hamlet's generalizing
habit asserts itself in Romeo:
"How silver-sweet sound lovers' tongues by night, Like softest music to
attending ears."

We may be certain that Juliet would have preferred more pointed praise.
He is indeed so lost in his ill-timed reverie that Juliet has to call him
again and again by name before he attends to her.
Romeo has Hamlet's peculiar habit of talking to himself. He falls into a
soliloquy on his way to Juliet in Capulet's orchard, when his heart must
have been beating so loudly that it would have prevented him from
hearing himself talk, and into another when hurrying to the apothecary.
In this latter monologue, too, when all his thoughts must have been of
Juliet and their star-crossed fates, and love-devouring Death, he is able
to picture for us the apothecary and his shop with a wealth of detail that
says more for Shakespeare's painstaking and memory than for his
insight into character. The fault, however, is not so grave as it would be
if Romeo were a different kind of man; but like Hamlet he is always
ready to unpack his heart with words, and if they are not the best words
sometimes, sometimes even very inappropriate words, it only shows
that in his first tragedy Shakespeare was not the master of his art that he
afterwards became.
In the churchyard scene of the fifth act Romeo's likeness to Hamlet
comes into clearest light.
Hamlet says to Laertes:
"I pr'ythee, take thy fingers from my throat; For though I am not
splenitive and rash Yet have I something in me dangerous Which let
thy wisdom fear."
In precisely the same temper, Romeo says to Paris:
"Good, gentle youth, tempt not a desperate man; Fly hence and leave
me; think upon these gone, Let them affright thee."
This magnanimity is so rare that its existence would almost of itself be
sufficient to establish a close relationship between Romeo and Hamlet.
Romeo's last speech, too, is characteristic of Hamlet: on the very
threshold of death he generalizes:

"How oft when men are at the point of death, Have they been merry?
which their keepers call A lightening before death."
There is in Romeo, too, that peculiar mixture of pensive sadness and
loving sympathy which is the very vesture of Hamlet's soul; he says to
"Noble County Paris":
"O, give me thy hand, One writ with me in sour misfortune's book."
And finally Shakespeare's supreme lyrical gift is used by Romeo as
unconstrainedly as by Hamlet himself. The beauty in the last soliloquy
is of passion rather than of intellect, but in sheer triumphant beauty
some lines of it have never been surpassed:
"Here, here will I remain With worms that are thy chambermaids; O,
here Will I set up my everlasting rest And shake the yoke of
inauspicious stars From this world-wearied flesh."
The whole soliloquy and especially the superb epithet "world-wearied"
are at least as suitable to Hamlet as to Romeo. Passion, it is true, is
more accentuated in Romeo, just as there is greater irresolution
combined with intenser self-consciousness in Hamlet, yet all the
qualities of the youthful lover are to be found in the student-prince.
Hamlet is evidently the later finished picture of which Romeo was
merely the charming sketch. Hamlet says he is revengeful and
ambitious, although he is nothing of the kind, and in much the same
way Romeo says:
"I'll be a candle-holder and look on,"
whereas he plays the chief part and a very active part in the drama. If
he were more of a "candle-holder" and onlooker, he would more
resemble Hamlet. Then too, though he generalizes, he does not search
the darkness with aching eyeballs as