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.