Schlegel's observations are also brief and general, and in no way distinguish Isabella from many other characters; neither did his plan allow him to be more minute. Of the play altogether, he observes very beautifully, "that the title Measure for Measure is in reality a misnomer, the sense of the whole being properly the triumph of mercy over strict justice:" but it is also true that there is "an original sin in the nature of the subject, which prevents us from taking a cordial interest in it."[12] Of all the characters, Isabella alone has our sympathy. But though she triumphs in the conclusion, her triumph is not produced in a pleasing manner. There are too many disguises and tricks, too many "by-paths and indirect crooked ways," to conduct us to the natural and foreseen catastrophe, which the Duke's presence throughout renders inevitable. This Duke seems to have a predilection for bringing about justice by a most unjustifiable succession of falsehoods and counterplots. He really deserves Lucio's satirical designation, who somewhere styles him "The Fantastical Duke of Dark Corners." But Isabella is ever consistent in her pure and upright simplicity, and in the midst of this simulation, expresses a characteristic disapprobation of the part she is made to play, To speak so indirectly I am loth: I would say the truth.[13] She yields to the supposed Friar with a kind of forced docility, because her situation as a religious novice, and his station, habit, and authority, as her spiritual director, demand this sacrifice. In the end we are made to feel that her transition from the convent to the throne has but placed this noble creature in her natural sphere: for though Isabella, as Duchess of Vienna, could not more command our highest reverence than Isabella, the novice of Saint Clare, yet a wider range of usefulness and benevolence, of trial and action, was better suited to the large capacity, the ardent affections, the energetic intellect, and firm principle of such a woman as Isabella, than the walls of a cloister. The philosophical Duke observes in the very first scene-- Spirits are not finely touched, But to fine issues: nor nature never lends The smallest scruple of her excellence, But like a thrifty goddess she determines, Herself the glory of a creditor, Both thanks and use.[14] This profound and beautiful sentiment is illustrated in the character and destiny of Isabella. She says, of herself, that "she has spirit to act whatever her heart approves;" and what her heart approves we know.