Perhaps no greater nonsense has been talked upon any subject
than this one, especially in relation to Shakspere's own marriage, by
critics who seem to have thought that a fervent expression of acute
moral feeling would replace and render unnecessary patient
investigation.
In illustration of this difference, a play of Massinger's, "The Maid of
Honour," may be advantageously cited, as the catastrophe turns upon this
question of marriage contracts. Camiola, the heroine, having been
precontracted by oath[1] to Bertoldo, the king's natural brother, and
hearing of his subsequent engagement to the Duchess of Sienna,
determines to quit the world and take the veil. But before doing so, and
without informing any one, except her confessor, of her intention, she
contrives a somewhat dramatic scene for the purpose of exposing her
false lover. She comes into the presence of the king and all the court,
produces her contract, claims Bertoldo as her husband, and demands
justice of the king, adjuring him that he shall not--
"Swayed or by favour or affection,
By a false gloss or wrested comment, alter
The true intent and letter of the law."
[Footnote 1: Act v. sc. I.]
Now, the only remedy that would occur to the mind of the reader of the
present day under such circumstances, would be an action for breach of
promise of marriage, and he would probably be aware of the very recent
origin of that method of procedure.
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