founded the passion of the two lovers not on the pleasures they had experienced, but on all the pleasures they had not experienced. All that was to come of life was theirs. At that untried source of promised happiness they slaked their thirst, and the first eager draught made them drunk with love and joy. They were in full possession of their senses and their affections. Their hopes were of air, their desires of fire. Youth is the season of love, because the heart is then first melted in tenderness from the touch of novelty, and kindled to rapture, for it knows no end of its enjoyments or its wishes. Desire has no limit but itself. Passion, the love and expectation of pleasure, is infinite, extravagant, inexhaustible, till experience comes to check and kill it. Juliet exclaims on her first interview with Romeo

"My bounty is as boundless as the sea, My love as deep."

And why should it not? What was to hinder the thrilling tide of pleasure, which had just gushed from her heart, from flowing on without stint or measure, but experience which she was yet without? What was to abate the transport of the first sweet sense of pleasure, which her heart and her senses had just tasted, but indifference which she was yet a stranger to? What was there to check the ardour of hope, of faith, of constancy, just rising in her breast, but disappointment which she had not yet felt? As are the desires and the hopes of youthful passion, such is the - keenness of its disappointments, and their baleful effect. Such is the transition in this play from the highest bliss to the lowest despair, from the nup

tial couch to an untimely grave. The only evil that even in apprehension befalls the two lovers is the loss of the greatest possible felicity; yet this loss is fatal to both, for they had rather part with life than bear the thought of surviving all that had made life dear to them. In all this, Shakspeare has but followed nature, which existed in his time, as well as now. The modern philosophy, which reduces the whole theory of the mind to habitual impressions, and leaves the natural impulses of passion and imagination out of the account, had not then been discovered; or if it had, would have been little calculated for the uses of poetry.

It is the inadequacy of the same false system of philosophy to account for the strength of our earliest attachments, which has led Mr. Wordsworth to indulge in the mystical visions of Platonism in his Ode on the Progress of Life. He has very admirably described the vividness of our impressions in youth and childhood, and how "they fade by degrees into the light of common day," and he ascribes the change to the supposition of a preexistent state, as if our early thoughts were nearer heaven, reflections of former trails of glory, shadows of our past being. This is idle. It is not from the knowledge of the past that the first impressions of things derive their gloss and splendour, but from our ignorance of the future, which fills the void to come with the warmth of our desires, with our gayest hopes, and brightest fancies. It is the obscurity spread before it that colours the prospect of life with hope, as it is the cloud which reflects the rainbow. There is no occasion to resort

to any mystical union and transmission of feeling through different states of being to account for the romantick enthusiasm of youth; nor to plant the root of hope in the grave, nor to derive it from the skies. Its root is in the heart of man: it lifts its head above the stars. Desire and imagination are inmates of the human breast. The heaven "that lies about us in our infancy" is only a new world, of which we know nothing but what we wish it to be, and believe all that we wish. In youth and boyhood, the world we live in is the world of desire, and of fancy: it is experience that brings us down to the world of reality. What is it that in youth sheds a dewy light round the evening star? That makes the daisy look so bright? That perfumes the hyacinth? That embalms the first kiss of love? It is the delight of novelty, and the seeing no end to the pleasure that we fondly believe is still in store for us. The heart revels in the luxury of its own thoughts, and is unable to sustain the weight of hope and love that presses upon it.-The effects of the passion of love alone might have dissipated Mr. Wordsworth's theory, if he means any thing more by it than an ingenious and poetical allegory. That at least is not

a link in the chain let down from other worlds; "the purple light of love" is not a dim reflection of the smiles of celestial bliss. It does not appear till the middle of life, and then seems like "another morn risen on mid-day." In this respect the soul comes into the world "in utter nakedness." Love waits for the ripening of the youthful blood. The sense of pleasure precedes the love of pleasure, but

with the sense of pleasure, as soon as it is felt, come thronging infinite desires and hopes of pleasure, and love is mature as soon as born. It withers and it "dies almost as soon!

This play presents a beautiful coup-d'œil of the progress of human life. In thought it occupies years, and embraces the circle of the affections from childhood to old age. Juliet has become a great girl, a young woman, since we first remember her a little thing in the idle prattle of the nurse; Lady Capulet was about her age when she became a mother, and old Capulet somewhat impatiently tells his younger visitors,

"I've seen the day,

That I have worn a visor, and could tell

A whispering tale in a fair lady's ear,

Such as would please: 'tis gone, 'tis gone, 'tis gone."

Thus one period of life makes way for the following, and one generation pushes another off the stage. One of the most striking passages to shew the intense feeling of youth in this play, is Capulet's invitation to Paris to visit his entertainment.

"At my poor house, look to behold this night
Earth-treading stars that make dark heav'n light;
Such comfort as do lusty young men feel
When well-apparel'd April on the heel
Of limping winter treads, even such delight
Among fresh female buds shall you this night
Inherit at my house."

The feelings of youth and of the spring are here blended together like the breath of opening flowers. Images of vernal beauty appear to have floated before the author's mind, in writing this poem, in pro

fusion. Here is another of exquisite beauty, brought in more by accident than by necessity. Montague declares of his son smit with a hopeless passion which he will not reveal

"But he, his own affection's counsellor,

Is to himself so secret and so close,

So far from sounding and discovery,

As is the bud bit with an envious worm,

Ere he can spread his sweet leaves to the air,
Or dedicate his beauty to the sun."

This casual description is as full of passionate beauty as when Romeo dwells in frantick fondness on "the white wonder of his Juliet's hand." The reader may, if he pleases, contrast the exquisite pastoral simplicity of the above lines with the gorgeous description of Juliet when Romeo first sees her at her father's house, surrounded by company and artificial splendour.

"What lady's that which doth enrich the hand

Of yonder knight?

O she doth teach the torches to burn bright;

Her beauty hangs upon the cheek of night,

Like a rich jewel in an Ethiop's ear."

er

It would be hard to say which of the two garden scenes is the finest, that where he first converses with his love, or takes leave of her the morning after their marriage. Both are like a heaven upon earth the blissful bowers of Paradise let down upon this lower world. We will give only one passage of these well known scenes to shew the perfect refinement and delicacy of Shakspeare's conception of the female character. It is wonderful how Collins, who was a critick and a poet of great sensibility, should