rontery and poltroonery cannot possibly have soul
enough to be inwardly hurt by the utmost pressure of disgrace and
scorn. And yet, strange as it may seem, Parolles represents a class of
actual men; how truly, is well shown in that the delineation, in its
main features, but especially as of "one that lies three thirds, and
uses a known truth to pass a thousand nothings with," might almost be
mistaken for a portrait of a very noted character of our time,--a man
too--which is strangest of all--whose success with the voters has even
beaten that of his dramatic prototype with Bertram.

* * * * *

Verplanck thinks, as he well may, that the Poet's special purpose in
this play was to set forth the precedence of innate over
circumstantial distinctions. Gervinus also takes the same view: "The
idea that merit goes before rank is the soul of this piece and of the
relation between Bertram and Helena." And this high moral centre is
not only pronounced strongly in verbal discourse, but, which is still
better, is silently placed in the characters themselves and in the
facts of the play. Yet observe with what a catholic spirit the Poet
teaches this great lesson; frankly recognizing the noble man in the
nobleman, and telling us, in effect, that none know so well how to
prize the nobilities of nature as those who, like the King and the
Countess of this play, have experienced the nothingness of all other
claims. To be sure, their generous superiority to adventitious
distinctions is partly because of a certain regenerative efficacy
flowing from the heroine: pride of birth is sweetly rebuked in her
presence; a subtile inspiration from her seems to steal away whatever
prejudice of rank they may have, and to cheat them into full sympathy
with truth and virtue; and, with the exception of Bertram and the
bescarfed coxcomb that spaniels him, all from the King downwards are
won to the free worship of untitled merit directly they begin to
converse with this meek and modest incarnation of Nature's eloquence.

MEASURE FOR MEASURE.

Measure for Measure, in its vein of thought and complexion of
character, is the deepest of Shakespeare's comedies,--deeper even than
some of his tragedies. The foundation principles of ethics are here
explored far as the plummet of thought can sound; the subtleties and
intricacies of the human heart are searched with an insight which the
sharpest and most inquisitive criticism may stri