Imatges de pÓgina
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SHAKSPEARE took the fable of this play from the Promos and Cassandra of George Whetstone, published in 1578, of which this is The Argument.'

'In the city of Julio (sometimes under the dominion of Corvinus King of Hungary and Bohemia), there was a law, that what man soever committed adultery should lose his head, and the woman offender should wear some disguised apparel, during her life, to make her infamously noted. This severe law, by the favour of some merciful magistrate, became little regarded, until the time of Lord Promos's authority; who convicting a young gentleman named Andrugio of incontinency, condemned both him and his minion to the execution of this statute. Andrugio had a very virtuous and beautiful gentlewoman to his sister, named Cassandra. Cassandra, to enlarge her brother's life, submitted an humble petition to the Lord Promos. Promos regarding her good behaviour, and fantasying her great beauty, was much delighted with the sweet order of her talk; and doing good, that evil might come thereof, for a time he reprieved her brother: but wicked man, turning his liking into unlawful lust, he set down the spoil of her honour, ransom for her brother's life: chaste Cassandra, abhorring both him and his suit, by no persuasion would yield to this ransom. But in fine, won by the importunity of her brother (pleading for life), upon these conditions she agreed to Promos: First, that he should pardon her brother, and after marry her. Promos, as fearless in promise, as careless in performance, with solemn vow signed her conditions; but worse than any infidel, his will satisfied, he performed neither the one nor the other: for to keep his authority unspotted with favour, and to prevent Cassandra's clamours, he commanded the jailer secretly to present Cassandra with her brother's head. The jailer [touched] with the outcries

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of Andrugio (abhorring Promos's lewdness), by the providence of God provided thus for his safety. He presented Cassandra with a felon's head newly executed; who knew it not, being mangled, from her brother's (who was set at liberty by the jailer). [She] was so aggrieved at this treachery, that, at the point to kill herself, she spared that stroke to be avenged of Promos: and devising a way, she concluded, to make her fortunes known to the king. She, executing this resolution, was so highly favoured of the king, that forthwith he hasted to do justice on Promos: whose judgment was to marry Cassandra, to repair her crased honour; which done, for his heinous offence, he should lose his head. This marriage solemnized, Cassandra tied in the greatest bonds of affection to her husband, became an earnest suitor for his life: the king tendering the general benefit of the commonweal before her special case, although he favoured her much, would not grant her suit. Andrugio (disguised among the company), sorrowing the grief of his sister, bewrayed his safety, and craved pardon. The king to renown the virtues of Cassandra, pardoned both him and Promos. The circumstances of this rare history, in action lively followeth.'

Whetstone, however, has not afforded a very correct analysis of his play, which contains a mixture of comic scenes, between a bawd, a pimp, felons, &c. together with some serious situations which are not described. 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 may see the old play of Promos and Cassandra among 'Six old plays on which Shakspeare founded, &c.' published by Mr. Steevens, printed for S. Leacroft, Charing Cross. The piece 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. The story originally came from the Hecatommithi' of Cinthio. Decad 8, novel 5, and is repeated in the Tragic Histories of Belleforest.

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"This play," says Mr. Hazlitt, "is as full of genius as it is of wisdom. Yet there is an original sin in the nature of the subject, which prevents us from taking a cordial interest in it. The height of moral argument,' which the author has maintained in

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