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    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

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    powers to Angelo and Escalus, chiefly to Angelo whose austere and honourable deed is known to all Vienna. The Duke does it in one of those philosophic and moral speeches in his fashion, the less do we think him fit to be ruler of man. He is a thinker, not a man of action; a philosopher in a wrong place. Therefore, he urges Angelo to make full use of his virtue and assumes the disguise of a friar to spy upon his hedonistic subjects and upon Angelo. The Duke has a deep insight to see that Angelo with

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    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

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    That Where Neighbor Boy Is Tortured. Location Name: Joy Complex Building On the across the Blue City, Nathan Ja’Niles, his wife Eveline, Angelo, Angie, and Maltese dog named Cookie had arrived at the Joy Complex Building. Nathan and Eveline were in their Forties. They ring the doorbell of an apartment on the first floor. When Mrs. Evon Ja’Gerges opened the door, the kids hugged her and said, “Grandma.” Mrs. Evon Ja’Gerges was a principle in the Markious Academy. Her husband, Mr. Light Ja’Gerges

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    Exercise of Authority in Measure for Measure

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    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

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    Comparing the Duke and Angelo in Measure for Measure Angelo and the Duke are similar in the following respects: they both initially claim immunity to love and later come to be affected by it; to achieve ends they desire, both manipulate others into situations those others would not willingly choose to be in; both have sought to maintain a particular reputation; they both spend much of the play seeming other than what they appear; both think themselves to be other than what they are in the beginning;

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    Duke preparing for a hasty yet deliberately ambiguous departure. Appointing morally impeccable Angelo as his replacement, the Duke passes over ice, a wise old judge named Escalus. But in a the obvious choice, play preoccupied with tests of character, it is appropriate that the city's most self righteous official undergoes the severest validation of his integrity. What follows is a drama of seduction. Angelo is tempted by the sins he condemns most harshly, sins, that release, him from the custody of

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    Abstinence and Orgy in Measure for Measure

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    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

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    fornication/adultery laws. He sets up Angelo to do it, while he feigns that he will be away. Instead he remains to check up on Angelo and the town (Vienna). Angelo goes ahead and closes down Overdone's brothel and the others, and puts Claudio in jail, condemned to die the morrow, for impregnating Juliet. Isabella, Claudio's sister and about to enter a nunnery, pleads for Angelo's mercy on him. Lucio counsels her to be warm to him, and she is just warm enough to inspire Angelo to seduce her: seduction in exchange

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    Comparing The Prince and Measure for Measure

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    Parallels Between The Prince and Measure for Measure The parallels between Machiavelli's Prince and Shakespeare's Measure for Measure are significant.  The great majority of characters in Measure for Measure - the Duke, Angelo, Claudio, Pompey and even Isabella - display Machiavellian qualities. A comparison of key passages, both of The Prince and Measure for Measure, will establish this clearly. A study of kingship, arguably the entire premise for Measure for Measure, is immediately

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    the Duke, not realizing that his crude remarks are being spoken to the Duke himself; Angelo abuses his power thinking that the Duke is not present to know; and Ragozine happens to die in prison the day a head is needed to substitute for Claudio's.  The play also ends on several merry notes, consistent with the definition of comedy.  For example, Angelo's life is spared and he is forgiven; Mariana is married to Angelo; the Duke punishes Lucio humorously with marriage; Barnardine is pardoned; and Claudio

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    reasons behind the ruse.  The Duke tries to justify the whole scheme once again by saying that Angelo is Mariana's husband on a "pre-contract." In Act IV, Scene II I found it ironic that if Pompey becomes an executioner and stops being a bawd and prisoner he will better himself and become honorable.  I also found it ironic that the Duke, Isabella, and Mariana are conspiring and deceiving Angelo but Angelo, in turn, deceives the three by stepping up the date of Claudio's execution.  It is like practically

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    for Measure Escalus is passed over for the position of deputy in a most explicit fashion. The Duke praises Escalus as peerless in his knowledge of government and then declares without explanation that he is taking leave of his duties and appointing Angelo as his deputy. Escalus, in response to the Duke's request for his opinion on the choice, expresses approval-as he more or less must under the circumstances-but also shows at no subsequent time any hurt pride at not being chosen. In the first scene

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    Shakespeare's Measure for Measure

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    observe events from behind the scenes, then return to restore order at the end. The Duke, seeing that the city of Vienna has degenerated and is desperately in need of reform, decides to remove himself from the post for a period so that his successor Angelo can rectify the problems, even though those problems were created and nurtured by the over-indulgence of the Duke himself. The Duke is practical, he is aware that a sudden strict application of the law might destroy or tarnish the legendary reputation

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    Measure For Measure

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    who is arrested by Lord Angelo, the temporary leader of Vienna. Angelo is left in charge by the Duke, who pretends to leave town but instead dresses as a friar to observe the goings-on in his absence. Angelo is strict, moralistic, and unwavering in his decision-making; he decides that there is too much freedom in Vienna and takes it upon himself to rid the city of brothels and unlawful sexual activity. Laws against these behaviors and institutions already exist, and Angelo simply decides to enforce

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    The Growth of Angelo and Pompey in Measure for Measure It is very difficult for a state to impose morality on its' citizens since morals have a tendency to be relative.  Adding to the complexity is the fact that everyone has sinned - the enforcer is as much at fault as the accused. This problem comes to a boil in Shakespeare's play, "Measure for Measure", where Angelo enforces the death sentence for fornication against Claudio. Angelo then uses Claudio's problem as leverage to get his sister

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    Exploring Morality in Measure for Measure

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    a twist in this play, Shakespeare, in the end, allows his audience to decide for themselves what is right and what is wrong. At the beginning of act one, scene two, Shakespeare uses the bawd, Mistress Overdone, to convey to the audience that Angelo is enforcing the fornication laws of Vienna. While this seems like the more moral, and more right, action to take, Shakespeare puts a twist on what the audience would normally view as a clear cut case. In lines 79 - 81, Mistress Overdone explains

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    his neglectful government, has pretended to leave Vienna and has turned over the government to Angelo, his upright and up-tight Deputy; and that the Duke has resolved to remain in Vienna, in disguise, so that he may observe how Angelo's character is revealed or transformed in the crucible of the power with which he has been invested. The Duke tells Friar Thomas, who is party to the plot: Lord Angelo is precise, Stands at a guard with envy, scarce confesses That his blood flows, or that his appetite

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    of the via media, of moderation over zealotry. Angelo swings from one extreme to the other before, by the play’s conclusion, prompted by the orchestrations of the duke, he adopts a middle way. In Angelo’s first two soliloquies we see him transition from believing himself immune to earthly love (2.3.185-186) to believing he is ruled by his blood (2.4.15). This transition suggests a theme of development of self-knowledge. In the first soliloquy Angelo refers to himself as a saint (2.2.179) and speaks

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    secrets. The friars, or "Fathers" take on a protective role, a paternal one. They seem to relate more with the youth, or the wronged, who become like children needing guidance in their vulnerable states. When the parents, or as in Measure for Measure, Angelo, must be contradicted, the next highest up in the chain of command is the friar. The friars assume these authoritative roles with great conviction. They seem to believe that they must protect their sheep and fight evil. Friar Francis of Much Ado About

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