And therefore hath the wind-swift Cupid—wings."
—and the soliloquy in the second scene of the third act, "Gallop apace, ye fiery-footed steeds!" in which there is no particular point of dramatic effect to be made, are instances of that innate sense of poetical harmony, which enabled her to impart the most exquisite pleasure, merely by her feeling, graceful, animated delivery of these beautiful lines. The most musical intonation of voice, the happiest emphasis, and the utmost refinement, as well as the most expressive grace of action, were here combined to carry passion and poetry at once and vividly to the heart: but this perfect triumph of illusion is more than painting could convey.
The ninth and tenth sketches are from the second scene with the nurse, called in theatrical phrase "the Banishment Scene." One of the grandest and most impressive passages in the whole performance was Juliet's reply to her nurse.
"Nurse. Shame come to Romeo!
Juliet. Blister'd be thy tongue,
For such a wish! he was not born to shame:
Upon his brow shame is asham'd to sit;
For 'tis a throne where honour may be crown'd
Sole monarch of the universal earth."
The loftiness of look and gesture with which she pronounced the last line, cannot be forgotten: but the effect consisted so much in the action of the arm, as she stepped across the stage, and in the kindling eye and brow, rather than in the attitude only, that it could not well be conveyed in a drawing. The first point selected is from the passage, "O break, my heart!—poor bankrupt, break at once!" in which the gesture is full of expressive and pathetic grace. The tenth drawing represents the action which accompanied her exclamation, "Tybalt is dead—and Romeo—banished!" The tone of piercing anguish in which she pronounced the last word, banished, and then threw herself into the arms of her nurse, in all the helplessness of utter desolation, formed one of the finest passages in her performance.