‘strip myself to death as to a bed
That long I have been sick for’.
With the audience already informed of Angelo’s intentions, some for of relief or perhaps tension depending on whether the audience have chosen to sympathise with her character, is created.
It seems that Isabella’s religious nature is often lost in the play or certainly not highlighted as much as may be expected, considering at the start of 'Measure for Measure' she is about to become a nun. In modern productions this is often more prominent, yet it must be remembered that during Shakespeare’s time religion was on the whole a much more influential aspect of peoples’ everyday lives. The religious content of 'Measure for Measure' was therefore more appropriate then than it is to a modern audience. For example the concept of hell, which in Shakespearian England was a very real concern, as shown through Isabella’s refusal to compromise her chastity. Life was viewed as relatively insignificant in comparison to an eternal afterlife. It is hard for the modern readers to accept Isabella’s views ‘ more than our brother is our chastity’ yet for her there was simply no comparison, her decision does not seem troubled but clear and absolute as far as moral grounds are concerned. However Shakespeare’s use of ‘our’ rather than ‘my’ could be seen to reflect that her choice is more of a duty to her faith as oppose to a personal decision as through this choice of language Shakespeare portrays Isabella as being emotionally detached from her judgment. Isabella upholds her beliefs however, even when face to face with her brother. Claudio states ‘Death is a fearful thing.’ To which she replies ‘And shamed life a hateful.’ Shakespeare furthers this defensiveness which becomes apparent in Isabella’s character, in that she rebukes her brother when he attempts to change her mind over not sleeping with Angelo, ‘O you beast!’.
At other points in the play though, Shakespeare does expose to the audience a very emotional part of Isabella’s character again showing how complex and contrasting her character can be. Her emotions are most strongly expressed when she is caught off guard by Angelo’s ruling that despite her effort, Claudio is still to die, in Act 2 scene 2.
‘Tomorrow! O, that's sudden; spare him, spare him.
He's not prepared for death. Even for our kitchens
We kill the fowl of season. Shall we serve heaven
With less respect than we do minister
To our gross selves? Good, good my lord, bethink you:
Who is it that hath died for this offence?
There's many have committed it.’
Here we see an uncomposed Isabella. As her speech continues we see through her language that she is trying to gain control of her emotions once more, from repetition at the start before returning to questioning Angelo’s justifications towards the end. It becomes questionable through Shakespeare’s portrayal of her in this way, as to whether this outburst of emotion is in fact her true character showing through. Perhaps the Isabella seen previously and throughout the majority of the play is simply trying to hold herself together to the outside world, the nunnery being her escape, explaining the lack of religious beliefs of Isabella at times. It is her refuge from all the sin present in the world and allows her to shut out much of the evil and problems life poses. Isabella requests ‘more stricter restraints’, by living a life of order and discipline maybe she hopes to achieve removing herself from such an immoral society. However once involved, by her attempts to save her brothers life, it seems that even the most detached (from society) and arguably divine characters can become corrupted, which Shakespeare highlights through Isabella readily agreeing to the bed-trick, due to such immoral surroundings.
Isabella is as a character, a most powerful tool to Shakespeare. Her ambiguity throughout the play keeps his audience on edge, due to Shakespeare never allowing them to clearly discover her true nature. The ending of 'Measure for Measure' is most interesting as it leaves the audience to decide upon Isabella’s real character, in whether they feel she will or will not take up the Duke’s proposal of marriage. Her silence can be interpreted as either a sign of resistance or an unspoken compliance. If she was to accept the proposal she would be going against all the principles she had ever believed it, like chastity and all she ever stood for, therefore becomes completely insignificant. Isabella has for the most part of the play been portrayed as strong minded and independent, has she lost these characteristics during her ordeals in the course of events? Will she agree to marry, just as she went along with the bed-trick. Or will the confident and assured Isabella prevail and follow her own path having found her place in the world as a result of all her experiences.
Isabella’s character is most complex and it is hard to define her nature with any certainty simply from the text, as it can be interpreted in so many ways. It seems that Isabella herself is not at very much ease over her identity as an individual, and also that perhaps she does not intend to explore her character preferring to shut herself away from the ‘real’ world and the many problems or hardships which she may be faced with. Shakespeare uses the crisis of having her brother’s life at stake to explore the all the problems she has previously refused to face, giving his audience a privileged insight as Isabella attempts to discover the true her.
and would mean Shakespeare had managed through the careful and skilful use of such a ambiguous character betrayed he is audience all along. The unfairness of the audience never having Isabella’s nature revealed to them, signifies Shakespeare’s main point of injustice.
+most feminine influence in the play
devoutness
Emotional side- especially when Angelo says Claudio will die- then composes herself- is she all an act? Just trying to hold herself together to the outside world- nunnery was too be her escape from all the evil in the world- however once involved even she the most divine of characters becomes corrupted as a consequence of such immoral surrounding- Mariana sleeping with the duke in her place?
MRS. JAMESON (1794-1860)
THE romanticists beginning with Coleridge were the first to appreciate fully the delicate psychical qualities of Shakespeare's female characters. This is but natural, for the Shakespearean conception of love as something divine and unaccountable and yet permanent is akin to the enthusiasm of the romantic spirit. Mrs. Jameson Characteristics of Shakespeare's Women appeared in 1832, and. her views are therefore not novel. But the agreeable style in which it was written gave the book considerable influence with the reading public, and entitles it to rank high among the minor documents of criticism, though it is not marked by subtle discriminations or a very profound knowledge of human nature or thorough comprehension of dramatic art. The classification of the heroines into 'Characters of Intellect, Characters of Passion and Imagination, Characters of the Affections, and Historical Characters,' reminds one of the eighteenth century, and is not in the least scientific, since it leaves Cleopatra out of the list of the characters of passion and puts her with the Roman matrons, Octavia and Volumnia, among the historical characters, and separates Rosalind and Viola and joins Rosalind and Isabella as 'characters of intellect.' ' Portia, Isabella, Beatrice, and Rosalind,' she declares, 'may be classed together, because when compared with the others they are all distinguished by mental superiority.' She gives no citations in support of this view, and we are very sure that their superiority over Viola, Imogen, and Helena in intellectual acuteness or activity is not at once manifest. It may be that Portia, Beatrice, and Rosalind excel the others in wit, but Isabella certainly does not. In putting Portia and Isabella in the same class, because both are eloquent, though in very different ways, Mrs. Jameson confounds two entirely different types of women.
Jameson unreliable- as poor concept of human nature shown within her works and v.lil scientific knowledge expressed.
The prevailing attitude of Victorian critics is well summed up by Walter Raleigh, writing at the beginning of this century: 'In criticism of Measure for Measure', he remarks,
'we are commonly presented with a picture of Vienna as a black pit of seething wickedness; and against this background there rises the dazzling, white, and saintly figure of Isabella.'
All that remained in order to arrive at a picture of unrelieved gloom was to blacken Isabella without whitening her surroundings.
CRITICAL APPRECIATION OF MEASURE FOR
MEASURE
Critics have diverse views regarding the value of the play. Some
consider it very good, filled with wisdom; others consider it one of
Shakespeare's weakest plays, filled with unexciting characters. It is
important to remember that Measure for Measure is an old story
told over again. Shakespeare refashions the original tale, largely
known by Elizabethan audiences, with a higher motive. The moral
theme, which has traces of the old Morality plays, gives it a
peculiar ethical interest. It carefully develops the theme of the need
to temper justice with mercy. The entire play is meticulously
constructed, and most characters illustrate certain human qualities,
which have been chosen with careful references to the main theme.
Thus, Isabella stands for saintly purity; Angelo stands for self-
righteousness; the Duke represents a psychologically sound and
enlightened ethic; Lucio represents indecent wit; and Pompey and
Mistress Overdone symbolize professional immorality. Each
character, therefore, illumines some facet of man's morality or
immorality; and the play strives to define what is moral and just.
The entire atmosphere of the play is one of religious and critical
morality. In the beginning of the play, Isabella is a novice at St.
Clare. The Duke disguises himself as a Friar, exercising the divine
privileges of this office towards Juliet, Barnardine, Claudio, and
Pompey. In fact, the Central idea of Measure for Measure can
easily be stated in Christian terms: "And forgive us our debts as we
forgive our debtors." Since Angelo is not a conscious hypocrite, it
is easier to forgive even him. Self-deception and pride drive him.
When desire for Isabella overcomes him, Angelo even struggles
against it and prays to heaven. Since he is weak, the struggle is
short-lived; Angelo soon gives in to his desires and becomes an
utter scoundrel.
Though the Duke sees corruption boil and bubble in Vienna, he has
found, too, that man's sainted virtue is a delusion. He has seen
Angelo fall from grace at the first breath of power's temptation; he
has seen Isabella's purity defacing her humanity. In fact, he has
found more natural honesty in Pompey than Angelo, more
humanity in the charity of Mistress Overdone than in Isabella.
Shakespeare, thus, seems to be embracing the Christian principle
of the worth of every human soul.
Some critics observe that Shakespeare wrote Measure for Measure
when he was bidding farewell to mirth and entering the period of
writing his most well known tragedies. He chooses a good story,
well known by his public, and makes it rich with characterization
and Christian values. He balances the narrative structure with the
poetic texture of the play, while carefully developing his them of
mercy. The result is that Measure for Measure becomes a coherent
intellectual comedy, rich with ideas and Christian imagery.
invests the traditional tales from which it is derived, "The Corrupt Magistrate" and "The Disguised Ruler," with a degree of sexual perturbation greater than that of . Shakespeare departs from all previous versions of the first tale by making the magistrate's victim a would-be nun—a novice of the notoriously strict order of St. Clare—who refuses to gratify the magistrate's wish for sexual favors in exchange for her condemned brother's life. The bed-trick Shakespeare invents to resolve this dilemma—and to adhere to the outline of the original narrative—further problematizes the play's sexual dynamics, introducing a character resembling Helena in her masochistically "feminine" mode, a desirous woman hopelessly pining for a truculently resistant man. Shakespeare then envelopes this story within a revisionist treatment of the "Disguised Ruler," replacing the traditional figure of the beneficent monarch who dispenses justice incognito with an enigmatic Duke who, while pursuing uncertain ends for undisclosed reasons, indulges in sexual intrigue and deceives and humiliates two different women.
While goes further than in foregrounding the sexual dynamics embedded in its sources, it shares with a tendency to suppress or mystify the psychodrama it enacts, principally by fitting two of its key characters to ecclesiastical personae. The Duke's friar's disguise mystifies whatever sexual motives or feelings underlie his intrigues, while Isabella similarly cloaks a sexual vexation in a novitiate's robes, striking a ferociously chaste pose that simplifies and neutralizes her complex sexuality.
Measure for Measure
Strange heroine- martye and oppressor. Body to religion bt nt 4 claudio ➔ against human nature ➔ hard foor audience to relate and sympathise with her,
Ambiguity- if marrys duke at end goin against all ever believed in, all she stood up for becomes insignificant
A2s2 – language= source of drama her oratory skills are powerful, idea that education = knowledge , allows truth and hence justice
A3s1 novice – contrasting character shown
A1s4- conflicting character shown v. early on, from start either seen as admirable or repulsive
Balance with Lucio- a1s4- yet v. ambiguous character, used to balance- give religions views of the time on issues, and to highlight theme of justice.- religion major part of peoples live- taken very seriously.
Corruption? - even most pure in such immoral societies loose some of morals?
How character relates to genre as a ‘problem play’.
Comic aspects? Questionable- not directly from Isabella but maybe from her innocence- dramatic irony when talking to Angelo.
Dramatic tension – in whether will give up her chastity for her bros life.
Measure for Measure, cannot be easily classified as any one particular genre. It contains a variety of aspects typical of a range of different genres, mainly those of tragedies and comedies. Due to the critical view on this matter the play is classed as a problem play, extremely complex and diversified in its nature, covering the problem of morality. Within the opening act there are many features which highlight this, Shakespeare’s portrayal of the characters being a most significant one.
What do you find interesting in the presentation of Isabella?
In Shakespeare’s 'Measure for Measure', Isabella is a most complex character. Her nature showing, often conflicting sides during different parts of the play. This ambiguity of her true character means Shakespeare can constantly keep his audience on edge, never truly defining Isabella as either good or bad, tying in with the genre as a whole, as a problem play. Isabella’s character clearly reflects the complexity and diversity of 'Measure for Measure' whilst also being an important tool for Shakespeare, in allowing him to balance out parts of the play.
Shakespeare first introduces Isabella in act 1 scene 4. Here Shakespeare focuses on her religious side, on her absolute nature. Her devoutness is emphasised through her conversation with Francisca ‘rather wishing a more strict restraint upon sisterhood, the votarists of St Clare.’ Here Shakespeare is focusing the portrayal of Isabella on here strict religious principles, balancing the scene perhaps in that the audience have previously been told of all the immorality of Vienna. Even from this early stage in the play Isabella’s character can already be accepted, by the audience in more than one way. Firstly her absolute nature may appeal to the audience and be seen as an admirable characteristic. However it may also be taken to the other extent, seen as repulsive and cause the audience to turn against her character. This conflict in character can be seen throughout 'Measure for Measure' and has been open to much contrasting criticism over the past.
Many have argued that Shakespeare intends Isabella to be portrayed as a virtuous heroine. Mrs Jameson, author Characteristics of Shakespeare's Women in1832, comments ‘ Upon what ground can we read the play from beginning to end, and doubt the angel-purity of Isabella, or contemplate her possible lapse from virtue’. This view is supported perhaps on the grounds that even over her brother’s life Isabella is determined to remain virtuous. Others however feel Isabella’s true character is that of complete harshness, with lack of emotion and no real concern for religion. Ellis-Fermos states, ‘a nunnery contains no cure for Isabella’s malady and we have a shrewd suspicion that she will not end there.’
From both points of view it is interesting to see similarities appearing between Isabella and Angelo in their absolutist views, on religion and justice or in their detached almost inhumane natures of never compromising their morals. Also both characters can be seen to take falls. Whilst Angelo is willing to allow Claudio to go free in exchange of Isabella sleeping with him, the very crime Claudio is on trial for in the first place. In parallel to this Isabella compromises her values in readily agreeing to the Duke’s proposal that Mariana goes to Angelo in her place. Having refused to give up her chastity in order to save her brothers life,
‘Better it were a brother died at once
That a sister by redeeming him,
Should die forever.’
as it would prevent her an eternal life in heaven, too greater price for Claudio’s mortal life, she is willing to condemn Mariana to such a fate. Such similarities between the two characters question Isabella’s accountability to be classed as a heroine. She appears a martyr in that she is willing to give up her body to chastity and yet not to save Claudio. Yet her principles set on high personal morality, mean Shakespeare often portrays her as most hypocritical, as upholding her values is often at the expense of others. Therefore if Isabella is to be classed as a heroine, Shakespeare has created a most unconventional one, making it most hard for the audience to sympathise and relate to the character.
Shakespeare portrays Isabella as a strong orator in act 2 scene 2. This is interesting, as previously we have learnt that nuns of the time were prohibited from speaking to men. However in this scene we see Isabella’s language as the source of drama, in the conversation between her and Angelo. Shakespeare’s choice of language creates a most powerful case for fighting back against Angelo’s judgement.
‘So you must be the first that gives this sentence,
And he, that suffers. O, ’tis excellent
To have a giant’s strength, but it is tyrannous
To use it like a giant’
The whole scene is in verse and Shakespeare’s use of iambic pentameter, creates a flow, and expectation of the audience for a creative reply or counter argument from Isabella and Angelo. At this point it is in play Shakespeare has the audience routing for Isabella, her being Claudio’s only hope. It seems that through her oratory skills Isabella seems to be able to win over the audience for a time, convincing them to trust her by her evocative speech, Shakespeare manages to expel their doubts for a while, as her character is used to try and prevail over the evil of injustice.
At other points in the play however Shakespeare uses Isabella’s character to indirectly add comic aspects to scenes. Through her innocence Shakespeare manages to create dramatic irony. One example of this is during her conversations with Angelo. Shakespeare portrays Isabella as completely naïve as to his plans for her to give up her chastity to save her brothers life, yet he cleverly works Isabella’s replys and comments so as they may be seen as leading Angelo on. With the audience already informed of Angelo’s intentions, some for of relief or perhaps tension depending on whether the audience have chosen to sympathise with her character, is created.
It seems that Isabella’s religious side is often lost in the play of certainly not highlighted as much as may be expected, considering at the start of 'Measure for Measure' she is about to become a nun. In modern productions this is often more prominent, yet it must be remembered that during Shakespeare’s time religion was on the whole a much more influence aspect of peoples’ everyday lives. The religious content of 'Measure for Measure' was therefore more appropriate then than tit is to a modern audience, especially the concept of hell, which then was a very real concern, as shown through Isabella’s refusal to compromise her chastity.
Isabella is as a character, a most powerful tool to Shakespeare. Her ambiguity throughout the play keeps his audience on edge, due to Shakespeare never allowing them to clearly discover her true nature. The ending of 'Measure for Measure' is most interesting as it leaves the audience to decide upon Isabella’s real character, in whether they eel she will or will not take up the Duke’s proposal of marriage. Was she to accept it she goes against all the principles in which she ever believed in, meaning all she ever stood for becomes completely insignificant and would mean Shakespeare had managed through the careful and skilful use of such a ambiguous character betrayed he is audience all along. The unfairness of the audience never having Isabella’s nature revealed to them, signifies Shakespeare’s main point of injustice.
Balance??????
Ambiguity- if marrys duke at end goin against all ever believed in, all she stood up for becomes insignificant
Balance with Lucio- a1s4- yet v. ambiguous character, used to balance- give religions views of the time on issues, and to highlight theme of justice.- religion major part of peoples live- taken very seriously.
Corruption? - even most pure in such immoral societies loose some of morals?
How character relates to genre as a ‘problem play’.
Comic aspects? Questionable- not directly from Isabella but maybe from her innocence- dramatic irony when talking to Angelo.