Abstinence and Orgy in Measure for Measure

Shakespeare’s famous play Measure for Measure is usually put into the genre of a dark comedy. I’m not exactly sure if that best fits this particular Shakespearian writing or not, but I do know that there is more dark than there is comedy in it. The writing is set in Vienna, Italy around the time of the 17th-18th century. The Duke of Vienna has decided to leave on a trip, and he will place a successor, Lord Angelo, in his position while he is away. Little does anyone in the town know, but the Duke decides to stay put within his town so that he may spy upon the citizens and leadership. This minor development begins a whirlwind of plots, themes, and character development. However, one character and plotline is highlighted within this famous writing. Isabella, a virtuous and pious woman, has to make the decision to either give up her chastity and vow to God, or to allow her brother to face seemingly certain death. It is the many facets and reasons behind this choice that has made this Shakespearian play so popular. The person watching or reading wants to know what choice she will make.

Measure for Measure, by William Shakespeare, provides less freedom and control for independent women than other Shakespearian plays in existence. Unlike other the other plays, the function of marriage is not necessarily a crystal clear punishment or reward. Union to higher power depends upon individual qualities and specific situations that are unable to be classified as fitting only into comedy or tragedy. The explanation of "Measure still for Measure" (IV.i.414) focuses on punishments and retributions as well as an obedience to transferred power.

A Title to be Reckoned With: An analysis of “Measure for Measure.” 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.”

The Good and Evil Angelo of Measure for Measure 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.

Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.

Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.

The Vienna of Measure for Measure, under the rule of Duke Vincentio, is a garden gone to seed. Permissiveness, corruption, and debauchery have choked out healthy growth in the absence of prudent cultivation. The play's climate of disillusionment finds modem resonance in the cynicism of the youth of today.

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.

Muir, Kenneth. Shakespeare and the Tragic Pattern, Proceedings of the British Academy, Vol.XLIV (London: Oxford University Press, 1958).