But how does beauty make "riches pleasant"? We should read "bounty", which compleats the sense, and is this; Thou hast neither the pleasure of enjoying riches thy self, for thou wantest vigour: nor of seeing it enjoyed by others, for thou wantest "bounty". Where the making the want of "bounty" as inseparable from old age as the want of "health", is extremely satyrical tho' not altogether just. —Warburton.

I am inclined to believe that neither man nor woman will have much difficulty to tell how "beauty makes riches pleasant". Surely this emendation, though it is elegant and ingenious, is not such as that an opportunity of inserting it should be purchased by declaring ignorance of what every one knows, by confessing insensibility of what every one feels.

ACT III. SCENE ii. (III. i. 137-8.)

Is't not a kind of incest, to take life From thine own sister's shame?

In Isabella's declamation there is something harsh, and something forced and far-fetched. But her indignation cannot be thought violent when we consider her not only as a virgin but as a nun.

ACT IV. SCENE viii. (iv. iii. 4-5.)

First here's young Mr. Rash, &c.

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.

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