humourist, the gentleman, and the soldier, are combined in Benedick. It is to be lamented, indeed, that the first and most splendid of these distinctions, is disgraced by unnecessary profaneness; for the goodness of his heart is hardly sufficient to atone for the licence of his tongue. The too sarcastic levity, which flashes out in the conversation of Beatrice, may be excused on account of the steadiness and friendship so apparent in her behaviour, when she urges her lover to risque his life by a challenge to Claudio. In the conduct of the fable, however, there is an imperfection similar to that which Dr. Johnson has pointed out in The Merry Wives of Windsor:-the second contrivance is less ingenious than the first:-or, to speak more plainly, the same incident is become stale by repetition. I wish some other method had been found to entrap Beatrice, than that very one which before had been successfully practised on Benedick, Much Ado about Nothing, (as I understand from one of Mr. Vertue's MSS.) formerly passed under the title of Benedick and Beatrix. Heming the player received, on the 20th of May, 1613, the sum of forty pounds, and twenty pounds more as his Majesty's gratuity, for exhibiting six plays at Hampton Court, among which was this comedy. STEEVENS. The story is taken from * MEASURE FOR MEASURE.] Cinthio's Novels, Decad. 8, Novel 5. We are sent to Cinthio for the plot of Measure for Measure, and Shakspeare's judgment hath been attacked for some deviations from him in the conduct of it, when probably all he knew of the matter was from Madam Isabella, in The Heptameron of Whetstone, Lond. 4to. 1582.-She reports, in the fourth dayes Exercise, the rare Historie of Promos and Cassandra. A marginal note informs us, that Whetstone was the author of the Comedie on that subject; which likewise had probably fallen into the hands of Shakspeare. FARMER. There is perhaps not one of Shakspeare's plays more darkened than this by the peculiarities of its author, and the unskilfulness of its editors, by distortions of phrase, or negligence of transcription. JOHNSON. Dr. Johnson's remark is so just respecting the corruptions of this play, that I shall not attempt much reformation in its metre, which is too often rough, redundant, and irregular. Additions and omissions (however trifling) cannot be made without constant notice of them; and such notices, in the present instance, would so frequently occur, as to become equally tiresome to the commentator and the reader. Shakspeare took the fable of this play from the Promos and Cassandra of George Whetstone, published in 1578. See Theobald's note at the end. 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 will find that the old play of Promos and Cassandra 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. Whetstone opens his play thus: ACT I.-SCENE I. "Promos, Mayor, Shirife, Sworde Bearer: one with a bunche of keyes: Phallax, Promos Man. "You officers which now in Julio staye, "Know you your leadge, the King of Hungarie, "Sent me to Promos, to joyne with you in sway: "That styll we may to Justice have an eye. "And now to show my rule and power at lardge, "Phallax, reade out-my Soveraines chardge. Phal. "As you commaunde I wyll: give heedeful eare. Phallax readeth the Kinges Letters Pattents, which must be fayre written in parchment, with some great counterfeat zeale. Pro." Loe, here you see what is our Soveraignes wyl, "Loe, heare his wish, that right, not might, beare swaye: "Loe, heare his care, to weede from good the yll, "To scoorge the wights, good lawes that disobay. "Such zeale he beares, unto the common weale, "(How so he byds, the ignoraunt to save) "As he commaundes, the lewde doo rigor feele, &c. &c. &c. Pro." Both swoorde and keięs, unto my princes use, "We poynt a tyme of councell more at lardge, "To treate of which, a whyle we wyll depart. Al. speake. "To worke your wyll, we yeelde a willing hart. Exeunt." The reader will find the argument of G. Whetstone's Promos and Cassandra, at the end of this play. It is too bulky to be inserted here. See likewise the piece itself among Six old Plays on which Shakspeare founded, &c. published by S. Leacroft, Charing Cross. STEEVENS. Measure for Measure was, I believe, written in 1603. See An Attempt to ascertain the Order of Shakspeare's Plays, Vol. II. MALONE. 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 fantastick. Two other like gentlemen. Varrius,* a gentleman, servant to the duke. Elbow, a simple constable. Froth, a foolish gentleman. Clown, servant to Mrs. Over-done. Abhorson, an executioner. Barnardine, a dissolute prisoner. Isabella, sister to Claudio. Mariana, betrothed to Angelo. Juliet, beloved by Claudio. Francisca, a nun. Mistress Over-done, a bawd. Lords, Gentlemen, Guards, Officers, and other Attendants. SCENE, Vienna. Varrius might be omitted, for he is only once spoken to, and says nothing. JOHNSON. |