Shakespeare's Measure for Measure
This reading of Measure for Measure will try to do more than draw attention to the extent to which Shakespeare goes beyond the conventional happy ending in this play. There are indications that the conclusions of many of the comedies are not really meant to bear up to close scrutiny; in Jaques¹ words, their loving voyages are not victual¹d for very long. In Measure for Measure we are openly challenged to question the adequacy of attaching a happy ending to a deeply troubling play. It seems that a stern question, regarding human nature and the adequacy of the comic resolution, cannot be deferred any longer. How do we preserve a community that will sustain and encourage the virtues after every Jaques gets his Jill? These were the fears that Jaques voiced, with bad timing but better perspicacity in As You Like It. The attempt to flee civilization and seek refuge in the imagination was undertaken because the prevalent state of civil society placed human integrity and virtue in grave jeopardy. Appropriate political measures are necessary to ensure that the human renewals and fresh beginnings celebrated in the comedies can be preserved and fostered when we leave Arden to resume our places in the workaday world. This reading will suggest that Measure for Measure is not a celebration of family values, The play points towards both the political virtuosity which sustains the comic oikos, and the humbler self-knowledge that preserves the integrity of the virtuoso. Human virtue can only be chosen in freedom, but we need not deny ourselves the opportunity of ensuring that this choice is not stifled by the subtly related powers of abstract intellectualism and carnal necessity. It is thus desirable that the moderate pleasures of humanity are revealed to their best advantage; the statesman¹s task is to direct the erotic energies of his subjects towards their true fruition. In this essay, we shall concern ourselves with Shakespeare¹s suggestively incomplete account of the process through which a self-professed philosopher-king forsakes contemplation to rescue his carnally en-mired dukedom.
While the subject matter of this play is unequivocally political, Shakespeare is not offering political blueprints. We must learn from his unequalled ability to depict and illustrate the workings of the human soul. Poetry is a tool at the disposal of the statesman and Shakespeare pleads convincingly for the respectability of his art. However, the imagination cannot create virtue in the real world; only individuals can do this and they are influenced by other factors that reside outside the purview of the imagination.
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For the theater-going people of the Elizabethan age, there were many hardships. Many of them experienced poor living conditions and treatment. All of them faced the dangers of a comparatively underdeveloped medical knowledge which often left the young and elderly to die of common diseases. The magic of Shakespeare is not only that historians can learn of otherwise undocumented details of the 1500's, but also that all readers can discover the many similarities between Shakespeare's day and now. These similarities reside heavily not only in speech, but also the human condition. When compared with the people we know today, Shakespeare's characters exhibit only skin-deep differences. Some identical language expressions may owe their modern existance to Shakespeare's presence in literary education, but identical emotional reactions surely cannot stem solely from the lecture hall. The English inhabitants of the 16th century, as seen through William Shakespeare's eyes, experienced the same love, hate, and jealousy that we do today. Just as our modern films and music often include implied moral lessons, so too does Shakespeare's The Tragedy of Othello the Moor of Venice. All its primary characters and themes of unstable love and exploitation culminate into one simple message about the key importance of loving oneself.
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Measure for Measure is an English play written by the famous playwright William Shakespeare (26 April 1564 (baptized) – 23 April 1616) in around 1603. The first publication of the play is originally in the First Folio of 1623 (where it was for the first time categorized as a comedy), while the play's first recorded performance was in the year 1604. Measure for Measure deals with many religious, political and humanistic issues, such as mercy, justice, and truth and their relationship to pride and humility, as it is said, "Some rise by sin, and some by virtue fall". Although the play has always been categorized as a comedy, there is a mood in it that to some degree unfits the classification. According to Brian Gibbons in his introduction to the New Cambridge Shakespeare Measure for Measure, ‘Many critics [of Measure for Measure] have been troubled by the impression of a disorder, and a latent anarchy, more rooted, defiant, and aggressive than might be thought compatible with ‘festive’ (that is, ultimately reconciliatory) comedy’ (Brian Gibbons, introduction to the New Cambridge Shakespeare Measure for Measure, updated edition [Cambridge: Cambridge University Press, 2006], p.23). As a result, some critics have labeled Measure for Measure as one of Shakespeare's problem plays.
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In Hamlet’s speech, Shakespeare’s efforts to target his Elizabethan audience develop the theme of the frailty of man. Shakespeare conveys this underlying theme of the play by subt...
I must mention that I am biased toward the debate of film vs. digital cinema. I am an avid Tarantino and Hitchcock film collector and my favorite decades for filmmaking are the 1950s and 1960s. I enjoy digital films just as much as the next person (because seriously, how can you not be impressed with Avatar and Muppets Most Wanted?), but there is some...
It makes sense to me to see in this Shakespeare's sense of his own art--both what it can achieve and what it cannot. The theatre--that magical world of poetry, song, illusion, pleasing and threatening apparitions--can, like Prospero's magic, educate us into a better sense of ourselves, into a final acceptance of the world, a state in which we forgive and forget in the interests of the greater human community. The theatre, that is, can reconcile us to the joys of the human community so that we do not destroy our families in a search for righting past evils in a spirit of personal revenge or as crude assertions of our own egos. It can, in a very real sense, help us fully to understand the central Christian commitment to charity, to loving our neighbour as ourselves. The magic here brings about a total reconciliation of all levels of society from sophisticated rulers to semi-human brutes, momentarily holding off Machiavellian deceit, drunken foolishness, and animalistic rebellion--each person, no matter how he has lived, has a place in the magic circle at the end. And no one is asking any awkward questions.
The Elizabethan Era under the rule of Queen Elizabeth I in England not only produced an expansion of growth in the suburbs and a more unified nation, but also introduced the world’s most famous playwright of all times, William Shakespeare. During this period of greatest artistic achievement, Shakespeare, who produced about thirty- seven plays as well as many other great works, created what is considered his greatest achievement, Hamlet, Prince of Denmark. Surprisingly, this particular five-act play depicts numerous aspects which are relevant to today’s society, four hundred years later. Some of these aspects of human values are not only questioned, but also rigorously criticized, as well as generously supported throughout this play. These aspects include family loyalty, revenge, honesty, understanding, deception, and most notably value of human life, and gender roles. While many writers do not often compare to Shakespeare, a few, including Susan Glaspell, in her play, Trifles, compares yet contrasts greatly in dealing with similar lessons and values. Through the analyses of both literary pieces, it is clear that while some aspects in Hamlet directly compare, some contrast with those of Susan Glaspell’s shorter play, Trifles, and both demonstrate values relevant to today’s society.
The Dark Comedy of Measure for Measure & nbsp; Measure for Measure, the last of Shakespeare's great comedies, is also the darkest of his comedies, and represents his transition to tragic plays. This play differs from Shakespeare's other comedies, and is in many ways more akin to tragedy than to comedy. In setting, plot, and character development Measure for Measure has a tragic tone, however, because none of the main characters actually loses his life, this play is considered a comedy. & nbsp; Almost all of Shakespeare's comedies have dual localities: the real world of crime, punishment, and responsibility, and an idyllic world, where reality is malleable, and forgiving. For example, As You Like It occurs in both the world of the court, dangerous for almost all of the primary characters, and the forest of Arden, a sanctuary that nurses conflict to resolution. Measure for Measure, on the other hand, offers no safe haven for the characters.
William Shakespeare has influenced many individuals in extraordinary ways, and he will continue to do so as life prospers. The many plays created by him have taught the readers new morals towards life itself. Shakespeare’s literature ranges from poetry to plays that countless people have had the luxury of reading and enjoying. His plays show the viewpoints of most of his characters, such as the play The Merchant of Venice does. The thoughts that could have gone through his head are unimaginable, and make us think of how blessed he was to have such an astonishing gift. In today’s society, people can view the various influences of Shakespeare’s plays and learn from them. His plays are still read today, movies have been made about him and his works, and almost every person on this planet knows who William Shakespeare is. In order to attain more knowledge on Shakespeare, we examine his life, works of literature, and the various criticisms pertaining to his plays.