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Page 23
This enumeration of the inhabitants of the prison affords a very
striking view of the practices predominant in Shakespeare's age.
Besides those whose follies are common to all times, we have four
fighting men and a traveller. It is not unlikely that the originals
of these pictures were then known.
ACT IV. SCENE xiii. (IV. V. 1.)
Duke. These letters at fit time deliver me.
Peter never delivers the letters, but tells his story without any
credentials. The poet forgot the plot which he had formed.
ACT V. SCENE vii. (V. i. 448.)
'Till he did look on me.
The Duke has justly observed that Isabel is importuned against all
sense to solicit for Angelo, yet here against all sense she solicits
for him. Her argument is extraordinary.
A due sincerity govern'd his deeds,
'Till he did look on me; since it is so,
Let him not die. That Angelo had committed
all the crimes charged against him, as far as he could commit
them, is evident. The only INTENT which his act did not overtake,
was the defilement of Isabel. Of this Angelo was only intentionally
guilty. Angelo's crimes were such, as must sufficiently justify
punishment, whether its end be to secure the innocent from wrong,
or to deter guilt by example; and I believe every reader feels some
indignation when he finds him spared. From what extenuation of his
crime can Isabel, who yet supposes her brother dead, form any plea
in his favour. Since he was good 'till he looked in me, let him
not die. I am afraid our Varlet Poet intended to inculcate, that
women think ill of nothing that raises the credit of their beauty,
and are ready, however virtuous, to pardon any act which they think
incited by their own charms.
ACT V. SCENE viii. (v. i. 479 foll.)
It is somewhat strange, that Isabel is not made to express either
gratitude, wonder or joy at the sight of her brother.
After the pardon of two murderers Lucio might be treated by the
good Duke with less harshness; but perhaps the Poet intended to
show, what is too often seen, that men easily forgive wrongs which
are not committed against themselves.
The novel of Cynthio Giraldi, from which Shakespeare is supposed to
have borrowed this fable, may be read in Shakespeare illustrated,
elegantly translated, with remarks which will assist the enquirer
to discover how much absurdity Shakespeare has admitted or avoided.
I cannot but suspect that some other had new modelled the novel
of Cynthio, or written a story which in some particulars resembled
it, and that Cinthio was not the authour whom Shakespeare immediately
followed. The Emperour in Cinthio is named Maximine, the Duke, in
Shakespeare's enumeration of the persons of the drama, is called
Vincentio. This appears a very slight remark; but since the Duke
has no name in the play, nor is ever mentioned but by his title,
why should he be called Vincentio among the "Persons", but because
the name was copied from the story, and placed superfluously
at the head of the list by the mere habit of transcription? It is
therefore likely that there was then a story of Vincentio Duke of
Vienna, different from that of Maximine Emperour of the Romans.
Of this play the light or comick part is very natural and pleasing,
but the grave scenes, if a few passages be excepted, have more labour
than elegance. The plot is rather intricate than artful. The time
of the action is indefinite; some time, we know not how much, must
have elapsed between the recess of the Duke and the imprisonment
of Claudio; for he must have learned the story of Mariana in his
disguise, or he delegated his power to a man already known to be
corrupted. The unities of action and place are sufficiently preserved.
HENRY IV
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