aloud. They denote that Romeo is still in his trance. They have,
however, another and unfortunate influence: they retard the action of
the play. As we read the play to ourselves, this accompaniment of
lyrical feeling on Romeo's part does not interfere with our enjoyment.
It seems to accentuate the more direct and human strain of Juliet's
love.

But on the stage the actor who plays Romeo requires the very highest
powers. While speaking at a distance from Juliet, and in a constrained
position, he must by his voice and gestures convey these subtlest shades
of feeling, throw these garlands of verse into his talk without
interrupting its naturalness, give all the "asides" in such a manner
that the audience feels they are in place, even as the reader does. It
is no wonder that the rôle of Romeo is one of the most difficult in all
Shakespeare. The demands made upon the stage are almost more than the
stage can meet. The truth to nature is of a kind that the stage is
almost powerless to render.

The character of Romeo cannot hope to be popular. Such pure passion,
such unreasonable giving way, is not easily forgiven in a man. He must
roll on the floor and blubber and kick. There is no getting away from
this. He is not Romeo unless he cries like a baby or a Greek hero. This
is the penalty for being a lyric poet. Had he used his mind more upon
the problems of his love, and less upon its celebration in petalled
phrases, his mind would not have deserted him so lamentably in the hour
of his need. In fact, throughout the play, Romeo, by the exigencies of
the plot, is in fair danger of becoming contemptible. For one instant
only does he rise into respectability,--at the moment of his quarrel
with Tybalt. At this crisis he is stung into life by the death of
Mercutio, and acts like a man. The ranting manner in which it is