The Complete Works of William Shakespeare - Israel Gollancz William Shakespeare [3312]
It is not to be denied, indeed, that Isabella's chastity is rather too demonstrative and self-pronounced; but this is because of the unblushing and emphatic licentiousness of her social environment. Goodness cannot remain undemonstrative amidst such a rank demonstrativeness of its opposite: the necessity it is under of fighting against so much and such aggressive evil forces it into stress, and so into taking a full measure of itself. Isabella, accordingly, is deeply conscious and mindful of her virtue, which somewhat mars the beauty of it, I admit; but in the circumstances it could not be otherwise: with such a strong stew of corruption boiling and bubbling all about her, it was not possible that purity in her case should retain that bland, unconscious repose which is indeed its greatest charm. From the prevailing rampancy of vice, a certain air of over-sternness and rigidity has wrought itself into her character, displacing somewhat of its proper sweetness and amiability: but, in the right view of things, this loss is well made up in that she is the more an object of reverence; albeit I have to confess that she would touch me rather more potently, if she had a little more of loveliness and a little less of awfulness. And it is remarkable that even Lucio, light-minded libertine as he is, whose familiar sin it is to jest with maids, "tongue far from heart," cannot approach her, but that his levity is at once awed into soberness, and he regards her as one "to be talk'd with in sincerity, as with a saint."
* * *
The Duke has been rather hardly dealt with by critics. Shakespeare—than whom it would not be easy to find a better judge of what belongs to wisdom and goodness—seems to have meant him for a wise and good man: yet he represents him as having rather more skill and pleasure in strategical arts and roundabout ways than is altogether in keeping with such a character. Some of his alleged reasons for the action he goes about reflect no honour on him; but it is observable that the sequel does not approve them to have been his real ones: his conduct, as the action proceeds, infers better motives than his speech offered at the beginning; which naturally suggests that there may have been more of purpose than of truth in his speaking. His first dialogue with Angelo is, no doubt, partly ironical. A liberal, thoughtful, and merciful prince, but with more of whim and caprice than exactly suits the dignity