over the city of the poet. The philosophical ruler, the saintly votaress, and the sanctimonions deputy, appear to belong to another region to that in which they move. This, possibly, was not necessary for the higher dramatic effects of the comedy; but it was necessary for those lessons of political philosophy which we think Shakspere here meant to inculcate, and which he appears to us on many occasions to have kept in view in his later plays. In this play he manifests, as we apprehend, his philosophical view of a corrupt state of manners fostered by weak government: but the subject i scarcely dramatic, and it struggles with his own proper powers.

ANGELO, the deputy [in the Duke's absence].

Appears, Act I. sc. 1. Act II. sc. 1; sc. 2; sc. 4. Act IV. sc. 4. Act V. sc. 1.

ESCALUS, an ancient lord [joined with Angelo in the

deputation].

Appears, Act I. sc. 1. Act II. sc. 1. Act III. sc. 2.
Act IV. sc. 4. Act V. sc. 1.

CLAUDIO, a young gentleman.

Appears, Act I. sc. 3.

Act III. sc. 1. Act IV. sc. 2.
Act V. sc. 1.

LUCIO, a fantastic.

Appears, Act I. sc. 2; sc. 3; sc. 5. Act II. sc. 2. Act III. sc. 2; sc. 3. Act V. sc. 1.

Two other like Gentlemen.
Appear, Act I. sc. 2; sc. 3.

Provost.

Appears, Act I. sc. 3. Act II. sc. 1; sc. 2; sc. 3. Act III.

sc. 1; sc. 2.

Act IV. sc. 2; sc. 3.

Act V. sc. 1.

THOMAS, a friar.

Appears, Act I. sc. 4.

PETER, a friar.

Appears, Act IV. sc. 5; sc. 6. Act V. sc. 1.

A Justice.

Appears, Act II. sc. 1.

ELBOW, a simple constable.
Appears, Act II. sc. 1. Act III. sc. 2.

FROTH, a foolish gentleman,
Appears, Act II. sc. 1.

Clown.

Appears, Act II. sc. 1. Act IV. sc. 2; sc. 3.

ABHORSON, an executioner.

Appears, Act IV. sc. 2; sc. 3.
BARNARDINE, a dissolute prisoner.
Appears, Act IV. sc. 3. Act V. sc. 1.
ISABELLA, sister to Claudio.

Appears, Act I. sc. 5.

Act II. sc. 2; sc. 4. Act III. sc. 1. Act IV. sc. 1; sc. 3; sc. 6. Act V. sc. 1.

MARIANA, betrothed to Angelo.

Appears, Act IV. sc. 1; sc. 6. Act V. sc. 1.

JULIET, beloved of Claudio.

Appears, Act I. sc. 3. Act II. sc. 3. Act V. sc. 1.
FRANCISCA, a nun.

Appears, Act I. sc. 5.

MISTRESS OVERDONE, a bawd.

Appears, Act I. sc. 2. Act III. sc. 2.

Lords, Gentlemen, Guards, Officers, and other
Attendants.

SCENE-VIENNA.

MEASURE FOR MEASURE.

ACT I.

SCENE I.-An Apartment in the Duke's Palace. Enter DUKE, ESCALUS, Lords, and Attendants.

Duke. Escalus,——

Escal. My lord.

Duke. Of government the properties to unfold,
Would seem in me to affect speech and discourse;
Since I am put to know," that your own science
Exceeds, in that, the lists b of all advice

My strength can give you: Then, no more remains
But that, to your sufficiency as your worth, is able;
And let them work. The nature of our people,
Our city's institutions, and the terms d

For common justice, you are as pregnant in,
As art and practice hath enriched any

That we remember: There is our commission,

From which we would not have you warp.-Call hither, I say, bid come before us Angelo.-[Exit an Attendant. What figure of us think you he will bear?

a Put to know-equivalent to I cannot avoid knowing.

b Lists-limits.

c We encounter at the onset one of the obscure passages for which this play is remarkable. We believe it may be read thus, without much difficulty: Then, no more remains: (to say on government) But that, (your science) to your sufficiency, (joined to your authority) as your worth (as well as your virtue) is able; (equal to the duty) and let them work (call them into action).

d Terms. Blackstone explains this to mean the technical language of the courts.

For you must know, we have with special soul
Elected him our absence to supply;

Lent him our terror, dress'd him with our love;
And given his deputation all the organs
Of our own power: What think you of it?
Escal. If any in Vienna be of worth
To undergo such ample grace and honour,
It is lord Angelo.

Duke.

Enter ANGELO.

Look, where he comes.

Ang. Always obedient to your grace's will,
I come to know your pleasure.

Duke.
Angelo,
There is a kind of character a in thy life,
That, to the observer, doth thy history
Fully unfold: Thyself and thy belongings
Are not thine own so proper, as to waste
Thyself upon thy virtues, they on thee.
Heaven doth with us as we with torches do;
Not light them for themselves: for if our virtues
Did not go forth of us, 't were all alike

As if we had them not. Spirits are not finely touch'd But to fine issues: nor Nature never lends

The smallest scruple of her excellence,

But, like a thrifty goddess, she determines

Herself the glory of a creditor,

Both thanks and use. But I do bend my speech
To one that can my part in him advertise;

d

Hold, therefore, Angelo:

a Character has here the original meaning of something en graved or inscribed; thy life is thy habits.

с

b Use-interest of money.

My part in him is, my part deputed to him, which he can advertise-direct his attention to-without my speech.

Hold. The word hold is, we believe, addressed to Angelo; and used technically in the sense of to have and to hold. Hold, therefore, our power, Angelo.