The stage in Shakespeare's time was a naked room with a blanket for a curtain; but he made it a field for monarchs. The law of unity, which has its foundations, not in the factitious necessity of custom, but in 11 itself, the unity of feeling, is everywhere and at all times observed by Shakespeare in his plays. Read Romeo and Juliet: all is youth and spring; youth with its 12 , its virtues, its precipitancies; spring with its odors, its flowers, and its 13 ; it is one and the same feeling that 14 , goes through, and ends the play. The old men, the Capulets and the Montagues, are not common old men; they have an eagerness, a heartiness, a(n) 15 , the effect of spring; with Romeo, his change of 16 , his sudden marriage, and his 17 death, are all the effects of youth; whilst in Juliet love has all that is tender and melancholy in the 18 , all that is voluptuous in the 19 with whatever is sweet in the freshness of spring; but it ends with a long deep sigh like the last breeze of the Italian evening. This unity of feeling and character 20 every drama of Shakespeare.
(~~ from Samuel Taylor Coleridge’s essay “Characteristics of Shakespeare’s Dramas”)
(E)manifests (AB)adversary (AC)passion (AD)nature
(AE)nightingale (BC)rash (BD)pervades (BE)daffodil (CD)begotten (CE)illusion (DE)transciency (ABC)rose