the scene too long with him, as 'twas, being in no more action.

MIT. You may inforce the length as a necessary reason; but for propriety,
the scene wou'd very well have borne it, in my judgment.

COR. O, worst of both; why, you mistake his humour utterly then.

MIT. How do I mistake it? Is it not envy?

COR. Yes, but you must understand, signior, he envies him not as he is a
villain, a wolf in the commonwealth, but as he is rich and fortunate; for
the true condition of envy is, 'dolor alienae felicitatis', to have our
eyes continually fixed upon another man's prosperity that is, his chief
happiness, and to grieve at that. Whereas, if we make his monstrous and
abhorr'd actions our object, the grief we take then comes nearer the nature
of hate than envy, as being bred out of a kind of contempt and loathing in
ourselves.

MIT. So you'll infer it had been hate, not envy in him, to reprehend the
humour of Sordido?

COR. Right, for what a man truly envies in another, he could always love
and cherish in himself; but no man truly reprehends in another, what he
loves in himself; therefore reprehension is out of his hate. And this
distinction hath he himself made in a speech there, if you marked it, where
he says, "I envy not this Buffone, but I hate him." Why might he not as
well have hated Sordido as him?

COR. No, sir, there was subject for his envy in Sordido, his wealth: so
was there not in the other. He stood possest of no one eminent gift, but a