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And this distilling liquor drink thou off,
When presently through all thy veins shall run.
A cold and drowsy humour; for no pulse.
Shall keep his native progress, but surcease.
No warmth, no breath shall testify thou livest.
The rose in thy lips and cheeks shall fade.
To wanny ashes, thy eyes’ windows fall.
Like death when he shuts up the day of life.
Each part, deprived of supple government,
Shall, stiff and stark and cold, appear like death;
24 There is a beautiful statue of St John the Evangelist in Blaubeuren Abbey in Ulm (Germany), which (. )
30 The various phrases used to describe the potion’s effects on Juliet, i.e. “cold”, “no pulse”, “[n]o warmth, no breath”, no “roses in thy lips”, “stiff and stark and cold”, are all part of a lexical field of death, much closer to a tomb sculpture than to a living being. It is indeed easily conceivable to picture a white lying Juliet like a monochrome, recumbent statue. However, this representation is twofold for the spectators, since they first hear the description from Friar Laurence (4.1), before listening to that of Romeo (5.3). The fundamental difference between the priest’s description and Romeo’s vision of Juliet lying in the tomb is the “crimson” (5.3.95) colour found on her lips and cheeks. As she is slowly coming back to life, Juliet looks like one of those colourful statues so much criticized during the Reformation. 24 As much of a temptation as Hermione and her red lips in The Winter’s Tale , the fair Juliet could actually be compared to those devilish strumpets or superstitious images then abhorred by the Puritans as she is both charming and fascinating. Yet, Friar Laurence’s machiavelic Machiavellian plan and Paulina’s deceitful scheme mimic the colours of death only up to a certain point. For if Juliet’s monochromed immobility first resembles a “borrowed likeness of shrunk death” (4.1.104), it is soon suggestive of life. The age of Hermione and the wrinkles on her face cannot be concealed, and neither can Juliet’s natural complexion. Farah Karim-Cooper remarks that Hermione’s statue.
is painted to in the likeness of her ‘former’ self. However, she is not dead, and although Nature triumphs in this scene, Leontes attributes to art the vitality upon her face: ‘The fixture of her eye has motion in’t, / As we are mocked with art’ (5.3.67-8). (Karim-Cooper 2006, 81)
31 But, once again, the limited power of colours is quite distinct in both plays. In The Winter’s Tale , the coloured artifice of Hermione’s lips and the movements of her eyes (which was, at the time of the play, still associated, with colours), 25 do not manage to match God’s creation. In other words, the artist who shaped and painted the statue did not succeed in outdoing nature. In Romeo and Juliet , when Juliet is really dead, her colours mislead those still alive by making her look asleep.
32 Unlike his Juliet, Romeo is ascribed to grey, i.e. to a blend of white and black that follows him through the whole play. In the opening scene, when the young man is about to enter the Capulets’ ball, he complains about having “a soul of lead / So stakes me to the ground I cannot move” (1.4.15-16), as if he were a heavy grey statue fixed to the ground. Montague reiterates the same metaphorical images when, speaking about the sad Romeo whose love for Rosaline proves unrequited, he states that the young lover is “adding to clouds more clouds with his deep sighs” (1.1.121). Grey is in his mind, his body is made of “valour’s steel” (3.1.115), and his extensive sorrow is symbolized by a grey hue which has seeped into his whole being, turning him into a raw statue, unfinished and unpolished, carrying a “heavy burden” (1.4.22), “too rough, too rude” (1.4.25-6). Interestingly, Romeo continues: “I’ll be a candle-holder and look on […] I am done” (1.4.38-39) implying with the pun on “dun” and “done” that he is dead and greyish-brown like a statue.
33 A greyish-brown shade may have been seen as a rather plain shade in Catholic Verona, but it was regarded as a respectable tincture in Protestant England. For Shakespeare’s contemporaries, colours, generally speaking, could be classified according to their density. If a shade is being abnormally coloured, i.e. either “o’ershade[d]” (1.2.457) as Polixenes says, or “o’er-dyed blacks” (1.2.134) according to Leontes, then it becomes unnatural, worrying, and infects the people around. For instance, in The Winter’s Tale , the conventional colour of life is metamorphosed into a stone-like colour (5.3.42) and when Leontes loses his colours at his supposed wife’s misbehaviour, he is said to “blench” (1.2.335). [N.B.: See the pun on ‘blench’ and ‘bleach’ in the Winter’s Tale which as to do with the process of ‘whitening’]. Both characters are conventionally described with a “flesh-stone metaphor” (Teague 154). Similarly, when a gentleman tells the story of the statue of Hermione, he asserts that “[w]ho was most marble there changed colour” (5.2.89) probably with a pun on ‘marble/marvelled’. Indeed, Hermione’s pseudo-statue coming back to life so much impressed the audience that colour, that is to say the sparkle of life, was blown into them as much as into her. Much has already been said on the information delivered by the same gentleman about the author of such an admirable sculpture:

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