HIS is a play in which one of the main features of conventional morality is treated in a very extraordinary manner, being equally enforced and set at defiance: sometimes regarded, even to a vindictive and sanguinary degree, as the purest code of conduct; and in the next scene, either by sentiments or actions, ridiculed and utterly dismissed with characteristic impartiality. The philosophy of Shakspere is always upon the broadest scale; and in that universality of view, each man may find his own likeness, and the world its lasting lessons. The principle and plot of the play, taken as a whole, are very fine: its parts are, however, unequal, defective, and in some scenes as trivial and offensive as they are unnecessary. To speak in general terms, the only really objectionable things in Shakspere are those which have nothing to do with his subject. "MEASURE FOR MEASURE" is also a good illustration, in other respects, of his mode of composition. He enforces no particular theories or opinions; but, with intense dramatic truth, makes all his characters individually think and act for themselves. They give their own justifications-good, bad, and indifferent-for their conduct; and according to the understanding, and the natural and acquired moral standard of the reader, so do they become the objects of sympathy or antipathy, of aversion or admiration, or of mixed feelings in which the abstract intellect and imagination exercise their speculations, and thus, perhaps, add to knowledge, and extend the bounds of mental experience. Dr. Johnson's estimate of "MEASURE FOR MEASURE" does not tend to enhance our admiration of the play, nor of his critical judgment. "Of this play," says he, "the light or comic part is very natural and pleasing; but the grave scenes, if a few passages be excepted, have more labour than elegance." Giving the elegance or inelegance (a mere matter of style and externals) its due weight only in the question, most readers will be apt to consider the comic part as sometimes very heavy, and always rather idle and supererogatory, however natural; while most of the serious scenes have long been felt to be admirable in spirit and masterly in execution, both as wholes, and in the many noble passages they contain. The story of " MEASURE FOR MEASURE," and a portion of the construction of the plot for acting, were probably taken directly from a comedy by George Whetstone, entitled "THE RIGHT EXCELLENT AND FAMOUS HISTORIE OF PROMOS AND CASSANDRA," of which a black-letter edition was printed in 1578. The same story was also published by Whetstone in his "HEPTAMERON" (1582). The origin of the main incidents will be found in an old Italian novel, by Cintio Giraldi, of which no translations, it is said, were extant in Shakspere's time. The crime of Angelo, in "MEASURE FOR MEASURE," has many historical parallels, which the curious reader may find in an anecdote of Charles the Bold, who punished a noble with death for a similar offence, as related by Lipsius (on which story a French tragedy was written); in the conduct of Olivier le Dain, described in "THE MEMOIRS OF PHILIP DE COMINES;" in the story of Colonel Kirke, as told by Hume; and in the story of Don Garcias, related in "COOKE'S VINDICATION OF THE PROFESSORS AND PROFESSION OF THE LAW" (1646). A similar anecdote also occurs in Lupton, and in the writings of Belleforest. But the chief, if not the only source from which Shakspere derived the raw materials of "MEASURE FOR MEASURE," seems really to have been the above-mentioned comedy of Whetstone. In this old play, he found enough to save himself much trouble; and to its crude management, after altering various details with the finest judgment, he communicated that spiritual force and reality by which he always so far excels and outshines his models, that it becomes difficult to distinguish their dull outlines amidst his dazzling fulness. "MEASURE FOR MEASURE" is considered by the most recondite authorities to have been written in 1603 or 1604. R. H. H. Ang. Yet give leave, my lord, As to your soul seems good. Give me your hand. piness, SCENE II.-A Street. Enter LUCIO and two Gentlemen. Lucio. If the Duke, with the other dukes, come not to composition with the King of Hungary, why then all the dukes fall upon the king. 1st Gent. Heaven grant us its peace, but not the King of Hungary's! 2nd Gent. Amen. Lucio. Thou concludest like the sanctimonious pirate, that went to sea with the ten commandments, but scraped one out of the table. 2nd Gent. "Thou shalt not steal ?" Lucio. Ay, that he razed. 1st Gent. Why, 't was a commandment to command the captain and all the rest from their functions: they put forth to steal. There's not a soldier of us all, that, in the thanksgiving before meat, doth relish the petition well that prays for peace. 2nd Gent. I never heard any soldier dislike it. Lucio. I believe thee; for I think thou never wast where grace was said. 2nd Gent. No ?-a dozen times at least. 1st Gent. What, in metre? Lucio. In any proportion, or in any language. 1st Gent. I think, or in any religion. Lucio. Ay! why not?-Grace is grace, despite of all controversy: as for example; thou thyself art a wicked villain, despite of all grace. 1st Gent. Well, there went but a pair of shears between us. Lucio. I grant; as there may between the lists and the velvet: thou art the list. 1st Gent. And thou the velvet: thou art good velvet; thou art a three-piled piece, I warrant thee I had as lief be a list of an English kersey, as be piled, as thou art piled, for a French velvet. Do I speak feelingly now? Lucio. I think thou dost; and, indeed, with most painful feeling of thy speech: I will, out of thine own confession, learn to begin thy health; but, whilst I live, forget to drink after thee. 1st Gent. I think I have done myself wrong; have I not? 2nd Gent. Yes, that thou hast; whether thou art tainted or free. Lucio. Behold, behold, where Madam Mitigation comes! I have purchased as many diseases under her roof as come to 2nd Gent. To what, I pray? 1st Gent. Judge. 2nd Gent. To three thousand dollars a-year. 1st Gent. Ay, and more. Lucio. A French crown more. 1st Gent. Thou art always figuring diseases in me; but thou art full of error; I am sound. Lucio. Nay, not as one would say, healthy; but so sound as things that are hollow: thy bones are hollow; impiety has made a feast of thee. Enter Bawd. 1st Gent. How now? which of your hips has the most profound sciatica ? Bawd. Well, well: there's one yonder arrested and carried to prison, was worth five thousand of you all. 1st Gent. Who 's that, I pray thee? Bawd. Marry, sir, that's Claudio, Signior Claudio. 1st Gent. Claudio to prison! 't is not so. Bawd. Nay, but I know 't is so: I saw him arrested; saw him carried away; and, which is more, within these three days his head's to be chopped off. Lucio. But, after all this fooling I would not have it so art thou sure of this? Bawd. I am too sure of it: and it is for getting Madam Julietta with child. Lucio. Believe me, this may be; he promised to meet me two hours since; and he was ever precise in promise-keeping. 2nd Gent. Besides, you know, it draws something near to the speech we had to such a purpose. 1st Gent. But most of all, agreeing with the proclamation. Lucio. Away; let's go learn the truth of it. [Exeunt LUCIO and Gentleman. Bawd. Thus, what with the war, what with the sweat, what with the gallows, and what with poverty, I am custom-shrunk. How now? what's the news with you? Enter Clown. Clo. Yonder man is carried to prison. Bawd. But what's his offence? Clo. Groping for trouts in a peculiar river Bawd. What, is there a maid with child by him? Clo. No; but there is a woman with maid by him. You have not heard of the proclamation, have you? Bawd. What proclamation, man? Clo. All houses in the suburbs of Vienna must be plucked down. Bawd. And what shall become of those in the city? Clo. They shall stand for seed: they had gone down too, but that a wise burgher put in for them. Bawd. But shall all our houses of resort in the suburbs be pulled down? |