the other: for to keep his authority unspotted with favor, and to prevent Cassandra's clamors, he commanded the jailer secretly to present Cassandra with her brother's head. The jailer [touched] with the outcries of Andrugio (abhorring Promos's lewdness), by the providence of God, provided thus for his safety. He presented Cassandra with a felon's head newly executed; who knew it not, being mangled, from her brother's (who was set at liberty by the jailer). [She] was so aggrieved at this treachery, that, at the point to kill herself, she spared that stroke to be avenged of Promos; and devising a way, she concluded to make her fortunes known to the king. She, executing this resolution, was so highly favored of the king, that forthwith he hasted to do justice on Promos; whose judgment was to marry Cassandra, to repair her crazed honor; which done, for his heinous offence, he should lose his head. This marriage solemnized, Cassandra, tied in the greatest bonds of affection to her husband, became an earnest suitor for his life: the king tendering the general benefit of the commonweal before her special case, although he favored her much, would not grant her suit. Andrugio (disguised among the company), sorrowing the grief of his sister, bewrayed his safety, and craved pardon. The king, to renown the virtues of Cassandra, pardoned both him and Promos. The circumstances of this rare history, in action lively followeth.” Whetstone, however, has not afforded a very correct analysis of his play, which contains a mixture of comic scenes, between a bawd, a pimp, felons, &c., together with some serious situations which are not described. A hint, like a seed, is more or less prolific, according to the qualities of the soil on which it is thrown. This story, which in the hands of Whetstone produced little more than barren insipidity, under the culture of Shakspeare became fertile of entertainment. The curious reader may see the old play of Promos and Cassandra among "Six Old Plays on which Shakspeare founded, &c." published by Mr. Steevens, printed for S. Leacroft, Charing Cross. The piece exhibits an almost complete embryo of Measure for Measure; yet the hints on which it is formed are so slight, that it is nearly as impossible to detect them, as it is to point out in the acorn the future ramifications of the oak. The story originally came from the "Hecatommithi" of Cinthio, Decade 8, Novel 5, and is repeated in the Tragic Histories of Belleforest. "This play," says Mr. Hazlitt, "is as full of genius as it is of wisdom. Yet there is an original sin in the nature of the subject, which prevents us from taking a cordial interest in it. The height of moral argument,' which the author has maintained in the intervals of passion, or blended with the more powerful impulses of nature, is hardly surpassed in any of his plays. But there is a general want of passion; the affections are at a stand; our sympathies are repulsed and defeated in all directions." Isabella is a lovely example of female purity and virtue: with mental energies of a very superior kind, she is placed in a situation to make trial of them all, and the firmness with which her virtue resists the appeal of natural affection has something in it heroically sublime. The passages in which she encourages her brother to meet death with firmness rather than dishonor; his burst of indignant passion on learning the price at which his life might be redeemed; and his subsequent clinging to life, and desire that she would make the sacrifice required,—are among the finest dramatic passages of Shakspeare. What heightens the effect is, that this scene follows the fine exhortation of the duke in the character of the friar, about the little value of life, which had almost made Claudio "resolved to die." The comic parts of the play are lively and amusing; and the reckless Barnardine, "fearless of what's past, present, and to come," is in fine contrast to the sentimentality of the other characters. Shakspeare "was a moralist in the same sense in which Nature is one. He taught what he had learnt from her. He showed the greatest knowledge of humanity, with the greatest fellow feeling for it." Malone supposes this play to have been written about the close of the year 1603 332 PERSONS REPRESENTED. VINCENTIO, Duke of Vienna. ANGELO, Lord Deputy in the Duke's absence. ESCALUS, an ancient Lord, joined with Angelo in the Deputation. CLAUDIO, a young Gentleman. LUCIO, a Fantastic. Two other like Gentlemen. VARRIUS, a Gentleman, Servant to the Duke. Provost. THOMAS, } two Friars. } ELBOW, a simple Constable. FROTH, a foolish Gentleman. Clown, Servant to Mrs. Over-done. ABHORSON, an Executioner. Barnardine, a dissolute Prisoner. Lords, Gentlemen, Guards, Officers, and other Attendants. SCENE. Vienna. Elected him our absence to supply ; Lent him our terror, dressed him with our love; Duke. Enter ANGELO. Look, where he comes. Ang. Always obedient to your grace's will, Duke. Did not go forth of us, 'twere all alike As if we had them not. Spirits are not finely touched, But to fine issues: 2 nor nature never lends The smallest scruple of her excellence, But like a thrifty goddess, she determines Herself the glory of a creditor, 3 Both thanks and use. But I do bend my speech To one that can my part in him advértise: Hold, therefore.-Angelo, In our remove, be thou at full ourself; Mortality and mercy in Vienna Live in thy tongue and heart: old Escalus, Take thy commission. Ang. 4 Now, good my lord, Let there be some more test made of my metal, 1 So much thy own property. 2 i. e. high purposes. 3 i. e. interest. 4 i. e. to one who is already sufficiently conversant with the nature and duties of that office which I have now delegated to him. |