less we imagine, as is not at all impossible, that the lines respecting "black masks" and some others (to use Tyrwhitt's words), "of particular flattery to James," were inserted after it was known that the play, on account of its popularity, had been chosen for performance before the king. One of these passages seems to have been the following, which may have had reference to the crowds attending the arrival of James I. in London, not very long before "Measure for Measure" was acted at Whitehall: "and even so The general, subject to a well-wish'd King, Steevens quotes a passage from " a True Narration of the Entertainment" of the King on his way from Edinburgh to London, printed in 1603, where it is said, "he was faine to publish an inhibition against the inordinate and dayly accesse of people comming." Taken with the context, the lines above quoted read like an insertion. We may, therefore, arrive pretty safely at the conclusion, that "Measure for Measure" was written either at the close of 1603, or in the beginning of 1604. "Measure for Measure" was first printed in the folio of 1623; and exactly fifty years afterwards was published Sir William Davenant's "Law against Lovers," founded upon it, and "Much ado about Nothing.' With some ingenuity in the combination of the plots, he contrived to avail himself largely, and for his purpose judiciously, of the materials Shakespeare furnished. Of" Measure for Measure," Coleridge observes in his "Literary Remains," ii. 122: "This play, which is Shakespeare's throughout, is to me the most painful, say rather, the only painful part of his genuine works. The comic and tragic parts equally border on the μionτéov-the one being disgusting, the other horrible; and the pardon and marriage of Angelo not merely baffles the strong indignant claim of justice (for cruelty, with lust and damnable baseness, cannot be forgiven, because we cannot conceive them as being morally repented of), but it is likewise degrading to the character of woman." course of Lectures on Shakespeare delivered in the year 1818, Coleridge pointed especially to the artifice of Isabella, and her seeming consent to the suit of Angelo, as the circumstances which tended to lower the character of the female sex. He then called "Measure for Measure" only the "least agreeable" of Shakespeare's dramas. In the Lords, Gentlemen, Guards, Officers, and other Attendants. SCENE, Vienna. This list of characters (with the omission of "a Justice") is appended to the play in the folio of 1623. 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 t' affect speech and discourse; Since I am put to know', that your own science Exceeds, in that, the lists of all advice 2 My strength can give you: then, no more remains, For common justice, y' are as pregnant in As art and practice hath enriched any That we remember. There is our commission, 1 Since I am PUT to know,] i. e. I am compelled to know. 2 lists-] Bounds or limits. 3 - Then no more remains, BUT that to your SUFFICIENCY, as your worth is able, And let THEM work.] This passage is evidently corrupt, as is shown both by the metre and by the sense. The latter will be cleared by the omission of the preposition "to"-" then no more remains [to be said], but that your sufficiency, as your worth is able, and let them work." This change however will only partially cure the defective measure; and even were we to omit "that," as well as "to," the line would not be perfect without reducing "sufficiency" to a trisyllable. It has been thought best, therefore, to leave the text as it stands in the first folio. "Sufficiency" is adequate authority. From which we would not have you warp.-Call hither, I say, bid come before us Angelo. [Exit an Attendant. Lent him our terror, drest him with our love, To undergo such ample grace and honour, 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 in thy life, As if we had them not. Spirits are not finely touch'd, But to fine issues 5; nor nature never lends The smallest scruple of her excellence, 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": THEM on thee.] The old copy reads-" they on thee." 5 to fine issues ;] for high purposes. 6 Both thanks and USE.] Use of old signified interest of money. 7 To one that can my part in him advertise ;] i. e. to one, says Malone, who is already informed as to the duties of my office. Hold, therefore, Angelo : In our remove, be thou at full ourself; Live in thy tongue and heart. Ang. Old Escalus, Now, good my lord, Let there be some more test made of my metal, Be stamp'd upon it. Duke. No more evasion: We have with a leaven'd and prepared choice Of your commissions. Ang. Yet, give leave, my lord, That we may bring you something on the way. Nor need you, on mine honour, have to do With any scruple: your scope is as mine own, So to enforce, or qualify the laws As to your soul seems good. Give me your hand. I'll privily away: I love the people, But do not like to stage me to their eyes. Though it do well, I do not relish well Hold, therefore, Angelo:] In all probability, tendering Angelo his commission, as the Duke had previously given a similar document to Escalus. Having stated its import, he places it in the hands of Angelo at the concluding words of the speech, "Take thy commission." |