for Measure]. 1
______
Shakspeare displays such genius in
the characters, poetry, and incident of his dramas, that it is to be regretted, he
ever found materials for a plot, excepting those of history, from any other source
than his own invention. Had the plots of old tales been exhausted in his time, as
in
the present, the world might have had Shakspeare's foundation as well as superstructure, and the whole edifice
had been additionally magnificent.
"Measure for Measure," like his other plays, is taken from an old
story—Cinthio's novels,
or a play of Whetstone's, has
furnished the subject.2
The illustrious Bard had certainly
taste to despise many of those books from whence he borrowed his fable, and yet would
not apply to his own prolifick mind. This adoption of other men's plans, led him to
adopt their incoherencies. He found he improved what they had done, and content with
improvement, stopped short of perfection.
Had Shakspeare been the inventor
of the fable of the present play, he would assuredly have avoidedb 2[Page 4] the incredible occurrences here
inserted. Allowing that the Duke's3 disguise, as a friar, could
possibly conceal him from the knowledge of his intimate friends, and that Angelo
should be so blind a lover, as not to distinguish, in closest conference, her he
loved, from her he hated, (for these are stage inconsistencies, permitted for stage
accommodation,) there still remains a most disgraceful improbability, in representing
the deputy Angelo, a monster, instead of a man. The few lines he speaks in a
soliloquy, offer a plea too weak for his enormity, in giving orders for the death
of
Claudio,4 after the supposed ransom
paid by his sister. This plea is besides reduced in part from all show of reason,
by
a sentence which precedes it in the very same speech.—In that sentence, Angelo
says—"He rests satisfied Isabella will not reveal her dishonour"5 —yet he has ordered the brother's execution, lest she should
disclose this dishonour to him, and that he should proclaim it to all the world by
taking his revenge.
But as this declaration of the deputy's is not made till after the brother is
supposed to be dead, an auditor,—unacquainted with the story, and expecting but
natural events,—when the order comes for the execution of Claudio, makes this
conclusion—Angelo has detected the imposition (not unlikely) Isabella meant for
him, and now persues vengeance.
Here had been an argument for his cruelty, and it would have been of blacker die,
with a plausible motive. In fine, were Angelo less wicked, he would [Page 5]be
hated more;—but wickedness without views, is but a pitiable insanity.6
Mrs. Siddons's exquisite acting, and
beautiful appearance in Isabella, are proverbial—still, as a character of
declamation, rather than of passion, she gives more exalted proof of her art in many
other plays.
Mrs. Yates was admired in the
part—both her person and voice were favourable for the representation—but
Mrs. Siddons had not at that time
appeared.
Henderson played the Duke
well—Kemble performs it still
better, as he has that dignity of person and manner, in which Henderson was deficient.
But, with all the science of acting, "Measure for Measure" is a heavy
performance. The grave scenes, except where some brilliant poetry is interspersed
are
tedious and dull.—That Dr.
Johnson, in his criticism on this play, should write in praise of the comick
characters,7 seems surprising! To a delicate critic of the
present day, and one thoroughly acquainted with his moral character, it must surely
appear, as if Johnson's pure mind had
been somewhat sullied by having merely read them.
b 3