Charles Gauthier Playter, Thomas Ryder & Robert Smirke

Shakspeare. Measure for Measure. Act II, Scene I. Angelo's House. Escalus, a Justice, Elbow, Froth, Clown, Officers, etc. Published April 23, 1798, by J. & J. Boydell, at Shakspeare Gallery, Pall Mall; & No. 90. Cheapside. Engraved by T. Ryder & C. G. Playter. Painted R. Westall R. A.

Escalus: Now, sir, come on: What was done to Elbow's wife, once more?

Clown: Once, sir? there was nothing done to her once.

Elbow: I beseech you, sir, ask him what this man did to my wife.

Clown: I beseech your honour, ask me.

Escalus: Well, sir: what did this gentleman to her?

Clown: I beseech you, sir, look in this gentleman's face:
Good master, Froth, look upon his honour; 'tis for a
good purpose: Doth your honour mark his face?

Escalus: Ay, sir, very well.

Clown: Nay, I beseech you, mark it well.

Escalus: Well, I do so.

Clown: Doth your honour see any harm in his face?

Escalus: Why, no.

Clown: I'll be supposed upon a book, his face is the worst
thing about him: Good then; if his face be the
worst thing about him, how could master Froth do the
constable's wife any harm? I would know that of
your honour.

Escalus. He's in the right. Constable, what say you to it?

Elbow. First, an it like you, the house is a respected
house; next, this is a respected fellow; and his
mistress is a respected woman.

Pompey. By this hand, sir, his wife is a more respected
person than any of us all.

Elbow. Varlet, thou liest; wicked varlet! the
time has yet to come that she was ever respected
with man, woman, or child.

Pompey. Sir, she was respected with him before he married with her.

Escalus. Which is the wiser? Justice or Iniquity? Is
this true?

Elbow. O thou caitiff! O thou varlet! O thou wicked
Hannibal! I respected with her before I was marry'd
to her! if ever I was respected with her, or she
with me, let not your worship think me the poor
duke's officer. Prove this, thou wicked Hannibal, or
I'll have mine action of battery on thee... *Shakespeare

This original Charles Gauthier Playter and Thomas Ryder engraving was created after a painting created by Robert Smirke as commissioned by Boydell for the Shakespeare Gallery to represent Act 2, Scene 1 from a play entitled, Measure for Measure. Angelo's House. Escalus, Justice, Elbow, Froth, Clown, Officers, etc. by William Shakespeare. The scene takes place at Angelo's House in Venice, with some very interesting characters. A brief overview of the main characters in this play may help to explain what is happening in this engraving. Lord Angelo is a righteous, licentious hypocrite who believes the lack of virtue should be declared a capital punishment. Angelo has recently been placed first in command during the Duke's absence and quickly begins to impose his moral discipline. Lord Escalus is a wise old, judge in the Viennese court, and second in command next to Angelo. Escalus is against the death penalty for crimes of the heart, and tries to save Claudio from being executed after he was arrested for 'getting Julieta with child'. The Justice presides over their meetings. Elbow is the constable in Vienna, who has been given the responsibility of enforcing the law. He is a plebeian (a man from the lower classes), and is easily confused with the proper use of the English language. He arrests Claudio believing he is having an affair with his (Elbow's), wife, but fears he may also be found guilty of doing the same. Claudio is the young, but immature nobleman in question. He is truly in love with Julieta and fully intends to marry her, but was only waiting to secure his finances. Julieta is Claudio's pretty fiance, a young and unassuming girl, and a childhood friend of Isabella. She does not understand why Claudio is to be executed for an act of mutual passion. Isabella is Claudio's sisters, a novice in the order of Saint Clare who agrees with Angelo's puritanical ideas. However, much against her own beliefs, Lucio convinces her to plead for her brother's life. Lucio is a man of poor character and quick to slander, but a good friend. He contrives a plan to save Claudio and speaks to Isabella. Froth is Claudio's friend, a foolish, but wealthy handsome gentleman who enjoys the pleasures of life and is arrested when he is discovered, once again, at Mistress Overdone's establishment. Clown is Pompey, the servant (bartender) of Mistress Overdone, and a witness during the trail. Mistress Overdone is the madam and owner of the house of ill repute. Vincentio, the Duke is the ruler of Vienna. Although he is manipulative, he is also a reasonable man with good intentions, and wishes to enforce the laws that are disregarded by most. Duke Vincentio devises a plan to leave, and entrust the city to Angelo. However he doesn't leave but disguises himself as a monk, only to discover bedlam and must now find a way to fix it etc. etc...

This original engraving is an 'Artist Proof Impression'. 1. 'Artist's Proofs'. These are the earliest of states and were printed in only a handful of impressions. They are identified not only by their vibrant lines and tones but by the fact that they lack any letters along the lower margin. Note: As this is an original proof impression, it lacks the following text that appears in later impressions. "Measure for Measure. Act II, Scene I. Angelo's House. Lord Angelo, Escalus, a Justice, Elbow, Froth, Clown, Officers, etc. Published April 23, 1798, by J. & J. Boydell, at Shakspeare Gallery, Pall Mall; & No. 90. Cheapside. Engraved by T. Ryder & C. G. Playter. Painted R. Westall R. A.

Elb. O thou caitiff! O thou varlet! O thou wicked Hannibal!
I respected with her before I was marry'd to her! if ever I
was respected with her, or she with me, let not your
worship think me the poor duke's officer.-"

An Important Note on Boydell States and Editions: Proof impressions and true first edition impressions are easily identified by their fine lines and strong contrasts of black and white tones. Later more common editions print in a more overall grey tone and contain areas of re-working. Briefly, the publishing history of these great engravings can be categorized into five states or editions:

1. 'Artist's Proofs'. These are the earliest of states and were printed in only a handful of impressions. They are identified not only by their vibrant lines and tones but by the fact that they lack any letters along the lower margin.
2. 'Proofs Before Title'. These impressions usually contain the names of the artist, publisher and engraver along the lower margin. They lack the title of the specific play depicted and usually the heading -- 'Shakspeare' -- is smaller than in the published edition. Once again, this state was printed in a very small numbers.
3. 'Open Letter Proofs'. These impressions bear the title of the play. the heading, 'Shakspeare' (Shakespeare), is yet to be filled in with stippling. These impressions were printed before the publication of the first edition and were probably struck from the plate at a customer's request. Perhaps ten to twenty Open Letter Proofs exist for each engraving.
4. 'First Edition Impressions'. The completed set of Boydell's Shakespeare engravings was published in London in 1803. The full publisher's address appears along the lower margin as well as the text for the play. The heading, 'Shakspeare', is now filled in with stippling. Both first edition impressions and proofs were most often printed on either hand-made, laid paper or wove paper bearing the 'J. Whatman' watermark.
5. 'Posthumous Impressions and Restrikes' As early as 1807, John Stockdale of London issued a second edition of the Shakespeare prints. They continued to be published throughout the first half of the nineteenth century. Finally, in 1852, an enterprising dentist in New York City (with the delightful name of Shearjashub Spooner) acquired the plates, restored them and produced the last edition. These prints are most commonly offered for sale.

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