These reflections are almost "asides." They ought hardly to be spoken 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 customary to give Romeo's words in this passage of the play shows how far most actors are from understanding the true purport of the lines; how far from realizing that these few lines are the only opportunity the actor has of establishing the character of Romeo as a gentleman, a man of sense and courage, a formidable fellow, not unfit to be the hero of a play:-- "Alive, in triumph! and Mercutio slain! Away to heaven, respective lenity, And fire-ey'd fury be my conduct now! Now, Tybalt, take the 'villain' back again That late thou gay'st me;--for Mercutio's soul Is but a little way above our heads, Staying for thine to keep him company: Either thou, or I, or both, must go with him."