Unity of Opposites in Measure for Measure
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.
This paper focuses on where and how in the play the disorder mentioned above is presented in Measure for Measure as well as the meaning attached to it. On the one hand, the order in the play is represented by the law and Christian rules at the time. On the other hand, there is disorder represented by many pairs of conflicts of which the irresolution, to a large degree, makes Measu...
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...f those festive comedies. And that is an effective way to bring to people’s awareness of topics appearing in the play with deeper meaning, such as justice, humanity, power and law, etc. Furthermore, though the problems raised and discussed by the play have a specific social context, the topics mentioned above, however, are long-living, which must be one of the reasons why Shakespeare’s plays are the top among all the classical and remain popular throughout centuries. And the problem plays of his, such as Measure for Measure, not only amuse us by the humor in them, but also they trigger us to think by their depth as well as wisdom. (2379 words)
References
1. Brian Gibbons, introduction to the New Cambridge Shakespeare Measure for Measure, updated edition [Cambridge: Cambridge University Press, 2006], p.23
2. William Shakespeare, Measure for Measure, 2. 2. 145-6.
In Act 2, scene 1 of the play Measure for Measure the character Elbow, a representation of the "Comedic Constable" often depicted in William Shakespeare's comedies and traji-comedies, gives the director an unusual creative license in portraying this figure to give the audience a rich theatrical experience. (Evans 427) These characters are most commonly depicted as "artless, inadequate, naïve, and prosaic men who bumble through their official duties, sublimely unaware of their blunders, intent upon fulfilling their offices even when they are not really sure just what those offices are." (Evans 427) They are honest men as well, duteous, as "none of Shakespeare's comic policemen reveals any conscious neglect of duty." (Evans 430)
Shakespeare's comedies A Midsummers Night's Dream and Much Ado About Nothing have many parallels while Measure for Measure is a problem play with a completely different tone. Comparing and contrasting these three plays provides insights into the views of Shakespeare concerning comedy.
Warren, Roger. Shakespeare Survey 30. N.p.: n.p., 1977. Pp. 177-78. Rpt. in Shakespeare in the Theatre: An Anthology of Criticism. Stanley Wells, ed. England: Oxford University Press, 2000.
Warren, Roger. Shakespeare Survey 30. N.p.: n.p., 1977. Pp. 177-78. Rpt. in Shakespeare in the Theatre: An Anthology of Criticism. Stanley Wells, ed. England: Oxford University Press, 2000.
Johnson, Samuel. The Plays of Shakespeare. N.p.: n.p.. 1765. Rpt in Shakespearean Tragedy. Bratchell, D. F. New York, NY: Routledge, 1990.
William Shakespeare’s dramatic and poetic techniques and his use of hyperbole are used to describe the characters emotions and weaknesses. The use of dramatic irony is used to create personal conflict. This is done throughout the play to describe the characters concerns and their situations.
Shakespeare, William, Stephen Greenblatt, Walter Cohen, Jean E. Howard, Katharine Eisaman Maus, and Andrew Gurr. The Norton Shakespeare. Second ed. New York: W.W. Norton, 1997. Print.
Clark, W.G., and W. Aldis Wirhgt, eds. The Complete Works of William Shakespeare. Vol 2. USA: Nd. 2 vols.
... as it unfolds. It is saddening to see these characters fail again and again to understand each other, and themselves. Within our own lives however, we are not so different from the characters of the play. Many things are beyond our comprehension, and it is easy for suffering to arise when people are without understanding. Alas, Shakespeare has given us fair warning of the tragedy that could spring from incomprehension. It would be unwise to take this warning for granted; perhaps a pursuit of greater understanding will correlate with less tragedy among our lives.
Mehl, Dieter. Shakespeare's Tragedies: An Introduction. Cambridge, New York, New Rochelle, Melbourne, Sydney: Cambridge U, 1986.
... only does Measure for Measure fit the definition of comedy, it also parallels Shakespeare's other comedies. Like The Merchant of Venice, As You Like It, and Twelfth Night, the plot of Measure for Measure overcomes an adversarial obstacle, possesses a disguised character who affects the denouement, touches the audience with the humor of a clown or ruffian, endures the influence of a powerful a female character, and ends with forgiveness and reconciliation. The similarities between Measure for Measure and The Merchant of Venice, As You Like It, and Twelfth Night help to place Measure for Measure in the same category with Shakespeare's other comedies. Furthermore, the "problems" many critics single out in Measure for Measure are also present in The Merchant of Venice, As You Like It, and Twelfth Night, and further help to classify Measure for Measure as a comedy.
As a Shakespearean tragedy represents a conflict which terminates in a catastrophe, any such tragedy may roughly be divided into three parts. The first of these sets forth or expounds the situation, or state of affairs, out of which the conflict arises; and it may, therefore, be called the Exposition. The second deals with the definite beginning, the growth and the vicissitudes of the conflict. It forms accordingly the bulk of the play, comprising the Second, Third and Fourth Acts, and usually a part of the First and a part of the Fifth. The final section of the tragedy shows the issue of the conflict in a catastrophe. (52)
It is clear why Measure for Measure is considered Shakespeare’s problem play. With corrupt officials, disguised identities and life or death decisions, it seems that there is no peace in the town of Vienna. The one overarching theme of Measure for Measure is death. It ties all aspects of the play together. Not only in the specified passage, but also throughout the entirety of Measure for Measure, Shakespeare demonstrates that a moral death is equivalent and sometimes more dangerous than a literal death.
Print. Goddard, Harold C. The Meaning of Shakespeare. Vol. 1.
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