Abstinence and Orgy in Measure for Measure
Many existing views of Measure for Measure seem intriguing but incomplete. They might reinforce our perception of this play as fragmented and baffling, because they do not integrate apparently conflicting outlooks presented in the play’s Vienna, and generated by the mysterious action of Vincentio. Notice how the following different interpretations display the conflicts: the extreme view proposed by Roy Battenhouse that the Duke stands for God (Rossiter 108-28); the modified position of Elizabeth Marie Pope that the Duke is a successful magistrate with divinely-delegated powers ("Renaissance" 66-82), almost in line with Eliade’s version of a receding sky-god replaced by a local delegate (see Eliade 52); the attack upon Vincentio’s foolish "mystification" by Clifford Leech (69-71); and the concomitant understanding by Wylie Sypher that the Duke’s Vienna is merely an arbitrary, chaotic locale where passion and abstinence indifferently change place (262-80). Missing from such interpretations of Measure for Measure is isolation of controlling motifs: that of trial by temptation—or "assaying," as both the play and contemporary religious tracts name it; and of classical concepts of restrained chaos. Understanding these ideas will not resolve all the necessary ambiguities, but may provide a coherent approach to viewing or directing this perplexing drama. Analyzing Vincentio as a self-appointed "assayer" means exploring the chaotic world of Vienna, transformed by Vincentio’s incompetence into a predatory dis-order. To refer to Eliade again, the Duke has perhaps assumed the role of demiurge only to recede himself, giving way to a lesser divinity (40, 50-52) in Angelo—a character signi...
... middle of paper ...
...n UP, 1966.
Knight, G. Wilson. The Wheel of Fire: Essays in Interpretation of Shakespeare’s Sombre Tragedies. London: Oxford UP, 1930.
Leech, Clifford. "The ‘Meaning’ of Measure for Measure." Shakespeare Survey 3 (1950): 69-71.
Pope, Elizabeth Marie. Paradise Regained: The Tradition and the Poem. 1947. New York: Russell and Russell, 1962.
---. "The Renaissance Background of Measure for Measure." Shakespeare Survey 2 (1949): 66-82.
Rossiter, A. P. Angel with Horns and Other Shakespeare Lectures. Ed. Graham Storey. London: Longmans, Green, 1961.
Shakespeare, William. William Shakespeare: The Complete Works. Ed. Alfred Harbage. 1969. Baltimore: Penguin, 1971.
Sypher, Wylie. "Shakespeare as Casuist: Measure for Measure." The Sewanee Review 58 (1950): 262-80.
Taylor, Thomas. Christs Combate and Conquest. Cambridge, 1618.
The character in the play, Romeo and Juliet by Shakespeare, that I think has the largest impact on the audience is probably the Friar. Although the Friar might not have that big of a role, he was the one with the plan that got Romeo and Juliet killed. Some people might say that it was Juliet’s fault because she was the one that was so desperate for a plan to get her and Romeo together, the Friar had no choice but to go along. But still, the Friar was the one that came up with a plan. That plan might not have worked for many reasons, but the Friar didn’t think ahead.
forget,' and so we don't expect that by the next act Romeo will be out
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
"O cunning enemy that, to catch a saint, with saints dost bait thy hook." A disturbing tale of suspense, dark comedy and corruption, Shakespeare's Measure for Measure explores sexuality, morality and the law, exposing the abuse of authority in high places amid the seething underworld of Vienna. This essay will explore Isabella’s moral dilemma.
Clark, W. G. and Wright, W. Aldis , ed. The Complete Works of William Shakespeare. Vol. 1. New York: Nelson-Doubleday
Cohen, Walter, J.E. Howard, K. Eisaman Maus. The Norton Shakespeare. Vol. 2 Stephen Greenblatt, General Editor. New York, London. 2008. ISBN 978-0-393-92991-1
English Coursework: Shakespeare Knowledge of the play Shakespeare's play Romeo and Juliet was based on a poem about an Italian couple. Shakespeare based "Romeo and Juliet" on a long, boring poem by Arthur Brooke called "The Tragical Historie of Romeus and Juliet." But Brooke's poem was based on a French story by Pierre Boaistrau, and this story was taken from Italian writer Matteo Bandellom, whose story is supposedly a true account from the 11th century. And this chain goes back all the way to a Greek story from around the year 400 A.D. Introduction ‘Romeo and Juliet’ was set in Verona, Italy. I believe that Shakespeare set this play in Verona because the play was originally based on a poem of an Italian couple ‘Romeus and Juliet’.
William Shakespeare's Romeo and Juliet Romeo and Juliet is a famous play by William Shakespeare, a famous playwright. He displays this play as a tragedy because on what happens on the characters and the conflict between the two families. He is from the Elizabethan era. This play is set in Italy, Verona during the 13th century during time when between higher-class families was rife.
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
At the outset, we find the Duke transferring his power and authority to Angelo. He lends to Angelo his own terror and dresses Angelo with his love, “giving his deputation all the organs of his own power”. He says that from now on “mortality and mercy” in Vienna would live in Angelo’s tongue and heart. The Duke motive in appointing Angelo to function in his stead is, as he tells Friar Thomas, to rid the country of the evils which have taken strong roots and which, he thinks, he himself cannot eradicate because of his reputation as a very lenient man. Now the question is how far the Duke is justified in appointing a substitute to rule the kingdom and reform the corrupt Vienna society. We do not think that the Duke is justified in taking such a step. We are certainly not convinced by the reason which he gives to Friar Thomas for not undertaking the task of reform himself. Why should the Duke evade his responsibility? He tells Friar Thomas that, if he were now suddenly to become strict and stern, his actions would cause much resentment among the people. But this is no reason why a ruler should himself go into the background and appoint another man to take his place. Besides, we soon afterwards find that the Duke in interested more in observing Angelo at work as his deputy, and less is seeing evil being eradicated. We find that the Duke is concerned more with spying his deputy’ actions than with the process of reform. He becomes more interested in watching and prying into the personal as well as official life of Angelo than in the direction which the public affairs of the country are taking.
William Shakespeare’s Measure for Measure immediately begins with a radical shift in power and its effect on punishment. The Duke appoints Angelo to take his place while he is “away;” under the impression that Angelo is unwaveringly honorable and just. Yet, immediately Angelo’s first decision as temporary Duke is to publically and shamefully arrest Claudio, and sentence him to death for impregnating his lover out of wedlock. Isabella, Claudio’s sister, confronts Angelo about her brother’s sentence. Through Isabella and Angelo’s interaction, Shakespeare creates a myriad of questions and comments about power defined by law and by society.
Romeo is a living, breathing hopeless romantic. He can be described as in love with the idea of ‘love’ itself. He was completely and utterly captivated by Rosaline. Unfortunately, she rejected him. Romeo’s friends take him to ‘crash’ the ball (Juliet’s family
In Shakespeare's Measure for Measure, Angelo emerges as a double-sided character. Scholars have argued for centuries whether or not Angelo is a moral character or an evil character. Those scholars who support the notion of Angelo as moral often cite the following facts: the Duke obviously trusts Angelo, Angelo is disheartened enough by the end of the play to offer a sincere apology, and Angelo tries to resist the temptation that Isabella presents. On the other hand, others have argued that Shakespeare depicts Angelo as a purely evil man. These critics emphasize Angelo's treatment of Marian, the Duke's possible suspicion of Angelo, his desire for Isabella, and his broken promise to Isabella. By examining Angelo in both of these circumstances, it will become apparent that the most successful interpretation of Angelo's character is a combination of both of these facets.
Scott, Mark W. Shakespearean Criticism: Volume 8, Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations. Detroit, MI: Gale Research, 1987. Print.
Titles are a crucial part to any story. Shakespeare especially had an understanding of the importance of titles for certain texts. Some of Shakespeare’s titles that do not simply name the protagonist are “Measure for Measure,” “The Tempest,” “A Midsummer Night’s Dream,” and the “Twelfth Night.” Something to examine when reading Shakespeare is the title. If the title is not simply something like “Hamlet,” or “Romeo and Juliet,” then there is a method to his madness. Titles bear much importance in the content of a story. First, the title sets the mood of the story. To focus primarily on “Measure for Measure,” the title sets the tone that there is something to be measured to determine