less plausible. Works Cited David, R. W., ed. The Arden Shakespeare: Love's Labour's Lost. London: Methuen, 1951. Erasmus, Desiderius. In Praise of Folly. Trans. Hoyt Hopewell Hudson, Princeton, New Jersey: Princeton University Press, 1970. McDonald, Russ. The Bedford Companion to Shakespeare: An Introduction with Documents. New York: Bedford Books of St. Martin's Press, 1996. Shakespeare, William. The Norton Shakespeare. Edited Stephen Greenblatt et al. New York: W. W. Norton &
drag him down. The rest of the story sees him faithfully carry out his duty. Works Cited Black, James. "The Unfolding of Measure for Measure." Shakespeare Survey 26 (1973): 119-28. Leech, Clifford. "The 'Meaning' of Measure for Measure." Shakespeare Survey 3 (1950): 69-71. Shakespeare, William. Measure for Measure. The Arden Shakespeare. Ed. J.W. Lever. London: Routledge, 1995.
to make a case for it as Shakespeare's most forward-looking play. It is its ending in particular, an unexpectedly grim conclusion in which nothing is actually concluded, that has appealed to modern sensibilities and made Love's Labour's Lost the Shakespeare play for the twentieth century. Trevor Nunn makes this point emphatically in a recent National Theatre production that presents Love's Labour's Lost as a tale of society's passage out of the nineteenth century in the devastation of World War I.
are weightier than they initially seem. Shakespeare used two other such titles--Twelfth Night, or What You Will and As You Like It--both of which send unexpected reverberations of meaning throughout their respective plays, the former with its reference to the Epiphany and the topsy-turvy world of a saturnalian celebration, and the latter with its implications about how the characters (and the audience itself) see the world in general and the Forest of Arden in particular. Much Ado About Nothing
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;
Measure for Measure Within ‘Measure for Measure’ Shakespeare presents the notion that mankind's corruption is not necessarily born by power, but rather already innate in humanity. Shakespeare argues that power is not a producer of corruption by presenting the Duke, who holds the most power, as a moral hero, and conversely revealing the corruption of the powerless class (through characters like, Pompey, Mistress Overdone, and Barnadine). Shakespeare uses Lord Angelo in Measure for Measure to show
James. "The Unfolding of Measure for Measure." Shakespeare Survey 26 (1973): 119-28. Leech, Clifford. "The 'Meaning' of Measure for Measure." Shakespeare Survey 3 (1950): 69-71. Shakespeare, William. Measure for Measure. The Arden Shakespeare. Ed. J.W. Lever. London: Routledge, 1995. Thomas, Vivian. Understandning Angelo in Measure for Measure. London: Croom Helm, 1987. Wilders, John. "The Problem Comedies." In Wells, Stanley, ed. Shakespeare: Select Bibliographical Guides. London: Oxford
for Measure In ‘Measure for Measure’, Shakespeare demonstrates that there is an innate immorality and corruption in the heart of man. Shakespeare illustrates that power does not cause corruption. This is achieved by presenting the Duke, who has the most power in Vienna, as a moral hero, and conversely revealing the corruption of the powerless class through characters including Pompey, Mistress Overdone, and Barnadine. Through all this, Shakespeare uses Lord Angelo in Measure for Measure to
... middle of paper ... ... The Stratford Season, 1992.” Shakespeare Quarterly 44 (1993): 477-83. Riefer, Marcia. “‘Instruments of Some More Mightier Member’: The Constriction of Female Power in Measure for Measure.” Shakespeare Quarterly 35 (1984): 157-69. Shakespeare, William. The Complete Works of Shakespeare. Ed. David Bevington. 4th ed. New York: Harper Collins, 1992. -----. Measure for Measure. The Arden Shakespeare. Ed. J.W. Lever. London: Routledge, 1965. Sinfield, Alan. Faultlines:
Themes of Shakespeare’s Measure for Measure Revealed in Angelo’s Soliloquies Angelo’s soliloquies (2.2.161-186; 2.4.1-30) express themes of the tragicomic form, grace and nature, development of self-knowledge, justice and mercy, and creation and death as aspects of Angelo’s character. By the theme of the tragicomic form I mean that which “qualified extremes and promoted a balanced condition of mind […] It employed a ‘mixed’ style, ‘mixed’ action, and ‘mixed’ characters—‘passing from side