When Romeo approached to address to her in a low voice, the lines, so brilliant in English, so magnificent in the Italian translation, upon her grace and beauty, the spectators, charmed to hear their own sentiments so finely interpreted, joined in the transport of Romeo; and the sudden passion which the first look of Juliet kindled in his soul, appeared like reality to every eye.  Oswald from this moment felt disturbed; it appeared to him that all was near to being revealed, that Corinne was about to be proclaimed an angel among women, that he should be forced to reveal his sentiments, that his claim would be disputed and the prize ravished from him—­a kind of dazzling cloud seemed to pass before his eyes—­he feared his sight might fail him—­he was ready to faint, and retired for some moments behind a pillar.  Corinne, uneasy, sought him with anxiety, and pronounced this line,

     “Too early seen unknown, and known too late!”

with such a tone of voice, that Oswald started as he heard it, for it seemed to him to be applied to their personal situation.

He could never feel tired of admiring the grace of her actions, the dignity of her motions, and the expression of her countenance, in which was painted what language could not reveal, all those mysteries of the heart which cannot be reduced to words; but which, nevertheless, dispose of our life.  The accent, the look, the least gesture of an actor, truly inspired and influenced by genuine emotion, are a continual revelation of the human heart; and the ideal of the fine arts is always mingled with these revelations of nature.  The harmony of the verse and the charm of the attitudes, lend to passion that grace and dignity which it often wants in reality.  Thus every sentiment of the heart, and every emotion of the soul, pass before the imagination without losing anything of their truth.

In the second act, Juliet appears in the balcony to converse with Romeo.  Corinne had preserved, of her former ornaments, only the flowers, and those were soon to disappear:  the theatre half-lighted to represent night, cast a milder reflection upon the countenance of Corinne.  There was now something more melodious in her voice, than when surrounded with the splendour of a fete.  Her hand lifted towards the stars, seemed to invoke the only witnesses worthy of hearing her, and when she repeated, “Romeo!  Romeo!” although Oswald was certain that she thought of him, he felt jealous that these delicious accents should make the air resound with any other name than his.  Oswald was seated opposite the balcony, and he who performed Romeo being a little concealed by the darkness of the scene, Corinne was enabled to fix her eyes upon Oswald when pronouncing these lines: