in which it has been argued by very learned counsel, and maintained by very eminent physicians, that, because an educated gentleman retains some knowledge of his previous acquirements, it is impossible that he can be insane. It is noteworthy that Shakespeare does not introduce the
exorcist in the grave and tragic instances of insanity, but only to cope with the comic instances of falsely imputed madness, in Malvolio and the Antipholi. The Clown puts off the character of the reverend exorcist, and appears in his own. He well advises Malvolio to “endea vour thyself to sleep and leave thy vain bibble babble;” and in the very acme of pretended good faith, he exhorts the victim, “tell me true, are you mad indeed ? or do you but counterfeit?” and in reply to the strenuous denial of both, he closes the argument with the assertion which might have prevented it, “nay, I'll never believe a madman 'till I see his brains.”
The Clown provides the poor dupe with materials and means to write a letter, and undertakes to carry it to Olivia, whom
Malvolio thinks the cause of his ill-usage. The Clown, how ever, does with the letter much as the letters of insane pa tients are too often treated at the present time. He detains it until the writer comes in question respecting the imprisonment of Viola's friend, the sea captain, and then presents it with the remark that, “a madman's epistles are no gospels, so it skills not much when they are delivered.”
The Duke rightly thinks that the letter “savours not much of distraction.” Malvolio comes into the presence, and gives a temperate account of the treatment by which he has been “made the most notorious geck and gull that e'er invention played on.” It is to be feared, however, that if the steward's vanity is diminished under treatment, the gall and malice of his dispo sition are increased.
He takes leave with the threat, “I’ll
