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From fasting maids, whose minds are dedicate
To nothing temporal.

Well: come to me

LucIo. Go to; it is well; away. [Afde to IS ABEL.
ISAB. Heaven keep your honour safe!

Amen: for I
Am that way going to temptation, [Aside.
Where prayers cross.

3. I am that way going to temptation,

Where prayers cross.] Which way Angelo is going to temptation, we begin to perceive; but how prayers cross that way, or cross each oiher, at that way, more than any other, I do not understand.

Isabella prays that his honour may be safe, meaning only to give him his title: his imagination is caught by the word honour: he feels that his honour is in danger, and therefore, I believe, answers thus :

I am that way going to temptation,

Which your prayers cross.
That is, I am tempted to lose that honour of which thou im-
plorest the preservation. The temptation under which I labour
is that which thou hast unknowingly thwaited with thy prayer.
He uses the same mode of language a few lines lower. Isabella,
parting, says:

Save your honour !
Angelo catches the word Save it! From what?

From thee; even from thy virtue ! Johnson.
The best method of illustrating this passage will be to quote a
similar one from The Merchant of Venice, A&. III. sc. i:

Sal. I would it might prove the end of his losses !
- Sola. Let une fay Amen betimes, left the devil cross thy

For the same reason Angelo fcems to say Amen to Isabella's
prayer; but, to make the exprellion clear, we ihould read per-
haps - Where prayers are crossed. TYRWHITT.
The petition of the Lord's Prayer -

---lcad us not into temptation' - is here coulidered as croíhug or intercepting the onward way in which Angelo was going; this appointment of his for the morrow's meeting, being a premeditated exposure of himself to, temptation, which it was the general object of prayer to thwart.




At what hour to-morrow Shall I attend your lordship? ANG.

At any time 'fore noon, ISAB. Save your honour!

[Exeunt Lucio, ISABELLA, and Provost. ANG. From thee; even from thy virtue ! What's this? what's this? Is this her fault, or mine? The tempter, or the tempted, who fins most? Ha! Not she; nor doth she tempt: but it is I, That lying by the violet, in the sun, Do, as the carrion does, not as the flower Corrupt with virtuous season. Can it be, That modesty may more betray our sense Than woman's lightness ? 6 Having waste ground

enough, Shall we desire to raze the sanctuary,

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Ha!] This tragedy - Ha! ( which clogs the metre) was certainly thrown in by the player editors. STEEVENS.

it is I, That lying by the violet, in the fun, &c. ) I am not corrupted hy' her, but my own heart, which excites foul desires under the fame benign influences that exalt her purity, as the carrion grows putrid by those beams which increase the fragrance of the violet.

Can it be,
That modesty may more betray our sense

Than woman's lightness ? ] So, in Promos and Cassandra, 1578:

I do protest her modest wordes hath wrought in me a

". Though The be faire, she is not deackt with garish shewes
Hir bewtie lures, her lookes cut off fond suits with chast

« O God, I feele a fodaine change, that doth my

freedome chayne. es What didst thou say?, lie, Promos fie, &c. STEEVENS. Sense has in this passage the same' fignification as in that above - that my sense breeds with it.” MALONE.

for gaze.

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And pitch our evils there? 6 0, fie, fie, fie !
What dost thou? or what art thou, Angelo?
Doft thou defire her foully, for those things
That inake her good? O, let her brother live :
Thieves for their robbery have authority,
When judges steal themselves. What? do I love

That I desire to hear her speak again,
And feast upon her eyes? What is't I dream on?
O cunning enemy, that, to catch a saint,
With saints doft bait thy hook! Most dangerous
Is that temptation, that doth goad us on
To fin in loving virtue: never could the strumpet,
With all her double vigour, art, and nature,
Once ftir my temper; but this virtuous maid

6 And pitch our evils there? ] So, in King Henry VIII :

6. Nor build their evils on the graves of great men. Neither of these paffages appears to contain a very elegant allu« fion.

Evils, in the present instance, undoubtedly ftand for forice, Dr. Farmer assures me he has seen the word evil used in this sense by our ancient writers; and it appears from Harrington's Metamorphosis of Ajax, &c. that privies were originally so ill.contrived, even in royal palaces, as to deserve the title of evils or nuisances.

STEEVENS. One of Sir John Berkenhead's queries confirms the foregoing observation :

Whether, ever since the House of Commons has been locked up, the speaker's chair has not been a close-stool? "

" Whether it is not seasonable to stop the nose of my evil?" Two CENTURIES OF PAUL'S CHURCH-YARD, Svo, no date.

MALONE, No language could more forcibly express the aggravated profligacy of Angelo's passion, which the purity of Isabella but served the more to inilame. · The defecration of edifices devoted to religion, by converting them to the most abjec purposes of nature, was an eastern method of exprefling contempt. See 2 Kings, X. 27.


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Subdues me quite, Ever, till now,
When men were fond. I fmil'd; and wonder'd how.?

[ Exit. S CE N E. 111.

A Room in a Prison.
Enter DùKE, ħabited like a Friar, and Provost.
DUKE. Hail to you, provost! fo, I think you are.
Prov. I am the provost: What's your will, good

E. Bound by my charity, and my bless'dorder,
I come to visit the afflicted spirits
Here in the prison : do me the common right
To let me see them; and to make me know
The nature of their crimes, that I may minister
To them accordingly.
Prov. I would do more than that, if more were

needful. ,



Look, here comes one; a gentlewoman of mine,
Who falling in the flames of her own youth,
Hath blister'd her report: ' She is with child;


I smild, and wonder'd how.] As a day must now intervene between this conference of Ilabella with Angelo, and the next, the act might more properly end here; and here, in my opinion, it was ended by the poet. JOHNSON. 3 I come to visit the afflicted spirits

Here in the prison: ] This is a scriptural expresion, very suitable to the grave character which the Duke allumes. • By which also he went and preached unto the spirits in prison."

I Pet. WHALLEY. 9 Who falling in the flames of her own youth,

Hath blister'd her report: ] Thcold copy reads --- flaws. Steevens.

iii. 19.

And he that got it, fentenc'd: a young man
More fit to do another such offence,
Than die for this.

When must he die ?
Prov. As I do think, to-morrow.--
I have provided for you ; stay a while, [TO Juliet.
And you shall be conducted.

Duke. Repent you, fair one, of the fin you carry ?

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Who doth not fợc that the integrity of the metaphor requires we should read :

Hames of her own youth? WARBURTON. Who does, not see that, upon such principles, there is no end of correction? JOHNSON.

Dr. Johnson did not know, nor perhaps Dr. Warburton either, that Sir William D'Avenant reads flames initead of flaws in his Law against Lovers, a play almost literally taken from Measure for Measure, and Níuch ado about Nothing. FARMER.

Shakspeare has flaming youth in Hamiet; and Greene, in his Never too Late, 1616, says she measured the flames of youth by his own dead cinders.” Blijler'at her report, is disfigur'd her fame. Blister seems to have reference to the flames mentioned in the preceding line.

A similar use of this word occurs in Hamlet :

takes the rose
- From the fair forehead of an innocent love,

« And fets a blister there. STEEVENS.
In fupport of this emendation, it should be remembered, that
flawes (for so it was anciently (pelled) and flames differ only by a
letter that is very frequently mistaken at the press. The fame mis-
take is found in Macbeth, Ad il. sc. i. edit. 1623 :

my steps, which may they walk,"; instead of which way. Again, in this play of Measure for Measure, A& y. sc. i. edit. 1623 : give we your hand;

of me. - In a former fcene of the play before us we meet with
co burning youth. Again, in All's Well that ends IVell:

Yet, in his idle fire,
16 To buy his will, it would not seem too dear."
To fall in, (not indo ) was the language of the time. So, in
Cymbeline :

almos spent with hunger,
I am fallen in offence," MALONE,

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