'Bear the Sword of Heaven': Does the Duke strike you as a wholly good upholder of Justice in Measure for Measure {William Shakespeare}.
'Bear the Sword of Heaven': Does the Duke strike you as a wholly good upholder of Justice in Measure for Measure {William Shakespeare} The Duke can be interpreted in a number of different ways. By the end of the play, readers have had compelling reasons for both agreeing and disagreeing with the title. How the Duke's character is construed has a crucial effect on the interpretation of the whole play. The central focus of my essay will be the various acts of punishment, reparation and forgiveness that the Duke prompts at the very end of the play. Primarily, I feel that the Duke can and has been likened to a kind of God like character who moves unseen and all seeing among his people. G.Wilson Knight suggests that the Duke is, 'lit at moments with divine suggestion comparable with his almost divine power of foreknowledge, control and wisdom.' I feel that the Duke's disguise could be because he wants to be able to dominate his people better {which conversely is not at all God like} or, which I find more creditable, because he believes that he will be able to reach the source of the problem in Vienna when he rids himself of his authoritarian appearance. Additionally, whilst reading the play it is perhaps too easy to be blinded by the Duke's godliness and overlook how human he is. He uses a very human, personal approach when dealing with the different situations. This makes
"Measure for Measure is a play without any truly sympathetic characters". To what extent do you agree with this view?
"Measure for Measure is a play without any truly sympathetic characters". Do you agree? On first appearance, it could be perceived as though many of the characters introduced by Shakespeare in Measure for Measure are of an unsympathetic nature and make it difficult for an audience to become endeared to any of their situations. Unlike other Shakespearean plays, in particular those which share the problem play genre, some critics have argued that the personalities in Measure for Measure can appear to be one-dimensional, and apart from perhaps Angelo, have little complexity to their character. This perhaps is accounted for in the title of the play, a biblical reference from the book of Matthew (7: 1-2), by which it is suggested that the audience should not be concerned by the individual characters within Measure for Measure, but instead by their roles and what they are symbolic of in the overall portrayal of real and fictional social issues of law, morality and justice. It could also be argued however that whilst no character appears to be truly sympathetic throughout, the moral pressures that Shakespeare places the characters under enables even the most unsympathetic characters such as Angelo to reveal a moral conscience and sense of compassion reveals even the most unsympathetic such as Angelo to have a moral conscience and sense of compassion The Duke can be considered as
Critics have often seen Vincentio, the Duke in Shakespeare's play Measure for Measure, as performing a function similar to that of Prospero in The Tempest.
Critics have often seen Vincentio, the Duke in Shakespeare's play Measure for Measure, as performing a function similar to that of Prospero in The Tempest. The reasons for such an assumption is clear in the very first scene of the play, as both characters set the plot into motion by exercising their power, withdraw to 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 that he has built up for himself. His purpose is made clear when he says to Friar Thomas; Sith 'twas my fault to give the people scope, 'Twould be my tyranny to strike and gall them For what I bid them; for we bid this be done, When evil deeds have their permissive pass And not the punishment. Therefore, indeed, my father, I have on Angelo imposed the office, Who may, in th'ambush of my name, strike home, And yet my nature never in the fight To do in slander. [Act I Scene iii] Thus Lord Angelo, who subsequently misuses the power that has been bestowed
Consider Act II of "Measure for Measure", with regard to ideas of Justice and Mercy
Aman Thakar 7T Consider Act II of "Measure for Measure", with regard to ideas of Justice and Mercy Right at the start of the Act we are provided with a distinct definition of Angelo's view of justice in regard to what has happened with the law concerning illegitimate fornication. The law has in effect been made a joke an in Angelo's view justice is not being served. In this scene that battle of Justice and Mercy is fought between Angelo And Escalus with Escalus holding the flag of mercy arguing that Claudio's fault is one innate in human nature. "Whether you had not sometime in your life err'd in this point, which now you censure him", terror should be exercised with view to mercy. The mockery that is endured by Justice sometimes is also expressed by Angelo in his speech spanning from lines 17-31, "The jury passing on the prisoners life may in the sworn twelve have a thief or two, Guiltier then him they try", this is seen as perfectly reasonable by Angelo, oblivious to the contradiction within this. Over the majority of Scene I in this act the wide repercussions of Angelo's tyranny are revealed. From lines 133-6 we see what little patience Angelo actually has for this issue. He shows little regard for the Bawds telling Escalus simply to whip them away and walk away from the scene. With such restrictions in place it is something that Angelo would have had to deal with
Angelo, Escalus and the Duke present three kinds of ruler. How does Act I establish similarities and differences between them?
Angelo, Escalus and the Duke present three kinds of ruler. How does Act I establish similarities and differences between them? Act I sees the introduction of three important characters of the play, each taking up a different approach to authority. The Duke, Angelo and Escalus all use their power in a very different way, resulting in different consequences and effectiveness. The first position of authority we see in action is that of the Duke's. The opening scene alerts the audience to the fact that the Duke plans on leaving the city, for a reason which we are not made aware of, and that he plans on leaving Angelo in charge. As of yet, we do not know what sort of decision this is, because we do not have the substantial insight into the character of Angelo to be able to make a judgement. However, the Duke does comment on the fact that his first choice for ruler in his place was Escalus, "Old Escalus,/ Though first in question, is thy secondary." This does give the audience more an insight into the Duke's decision. It may suggest that he is weary of his choices because he didn't just go with his first instinct, he thought about it and chose a less obvious candidate. This suggests that he may have deeper meaningful reasons as to why he has not elected his most obvious replacement, causing the audience to see him perhaps as a wise character, maybe even cunning, both
The principalcharacters in 'Measure for Measure' are motivated by personal gain.' How far would you agree with this view of the play?
The principal characters in 'Measure for Measure' are motivated by personal gain.' How far would you agree with this view of the play? In your answer you should: * Set out clearly the ways in which Shakespeare presents the motivations of Isabella and the Duke; * Explain your own views on the importance of personal gain in the play; * Comment on the place of relevant issues such as personal liberty and the application of the Law. 'Measure for Measure' does not fit into a particular genre of other Shakespearean works and has thus accumulated the label of 'tragicomedy'. The Duke's philosophy, "Tis a physic that's bitter to sweet end" reveals the overall course of the play. The preponderance of the play is not a comedy; many of the characters, like Claudio, Isabella and Mariana have been put in distressing situations and subjected to great deals of unfairness. Yet through the Duke's manipulations and his plot with Isabella, the play will proceed to a neat, happy ending as was the convention of the Elizabethan comedies. The question is- are the Duke, and Isabella's motivations to achieve a just application of the law, or to protect their own integrity? The Duke is the protagonist and how we interpret his character has a crucial effect on the interpretation of the whole play. Is he, as Lucio offers, a "Duke of dark corners" or does he bear "the sword of heaven"? Is
More than our brother is our chastity How far do you find yourself able to condone Isabellas point of view
“More than our brother is our chastity” How far do you find yourself able to condone Isabella’s point of view John 15:13 says: “Greater love hath no man than this, that a man lay down his life for his friends”. In the traditional Christian Elizabethan society; this sentiment would have been revered; Shakespeare’s Puritanical and Catholic audiences would have loved the ideas of self-sacrifice and the immediate ascension into heaven. However, in Measure for Measure, Shakespeare manages to challenge this verse; he manipulates the situations and then causes the audience to digest the complexity of the verse, and causes the audience to question whether Isabella’s estimation that fornicating to save the life of another is not only morally wrong and a direct rebuttal of Jesus’ sentiment; but a damning sin. Isabella’s introduction into the play arouses intrigue in audiences and readers, as she is described as having a “speechless dialect/Such as move men”; so it is expected that audiences and readers would be waiting with bated breath fro Isabella to meet Angelo; and Shakespeare does not disappoint. The scene is written in blank verse, with unrhymed lines of iambic pentameter; Isabella first line is not quite metrically even; the word honour cannot be properly stressed, and that falter changes the rhythm of her speech. Her second speech leaves a gap in which
What evidence is these in the play to support these opinions? How do you think that Shakespeare has presented Angelo in the play?
. 'Angelo is an arrogant hypocrite'. 2. 'Angelo is a vulnerable and confused man, deserving of our sympathy'. What evidence is these in the play to support these opinions? How do you think that Shakespeare has presented Angelo in the play? If you ask any critic of the play 'Measure for Measure' by William Shakespeare, to give you a simple description of the character of Angelo, they will tell you that he is the villain of the play. He is a man who rules strictly, without mercy, summarised by the Duke, "strict and most biting laws". Yet his hypocrisy was his downfall in the end. Originally classified in the first Folio as a comedy, Measure for Measure is one of the three problem plays, as there are many question raised by the writer. Shakespeare deliberately gives the audience three different characters opinions of Angelo before we can make formulate one ourselves. This is deliberately done to primarily give us a clouded view of the character, and therefore prolong the mystery and uncertainty. This in itself is foreshadowing the actions of the play, as our opinion of Angelo does change throughout the play. The title of the play is a key theme throughout. Originally coming from the bible, "what measure you mete, it shall be measured to you again" (Matthew 7:2-3). Which translated means, what you do to others, they will do to you. Which is what Angelo finds out in act V,
Discuss how Shakespeare uses language and dramatic techniques for character development in Act 2 Scene 2 of Measure for Measure.
Toby MarriottMeasure for Measure08 October 2012 Discuss how Shakespeare uses language and dramatic techniques for character development in Act 2 Scene 2 of Measure for Measure. Shakespeare uses a variety of linguistic devices and dramatic techniques for character development from Act 2 Scene 2 to Scene 4. We see Angelo’s precise, business-like persona transform to temptation, and final cruelty whilst we see the true, confident side of Isabella as as she attempts to convince Angelo to reverse his judgement, but eventually loses her ignorant hope on the realisation of his true ‘purpose’. In Act 2 Scene 2 Shakespeare portrays Angelo as precise, intelligently dealing with the pleas of Isabella to save the life of her brother by reversing the death sentence that has been handed down to him. The scene begins with the Provost and Angelo discussing Claudio’s punishment. The Provost dares to ask Angelo if he really wants Claudio murdered, ‘All sects, all ages smack of this vice, and he to die for’t!’, and Angelo states that he does, ‘Did not I tell yea? Hast thou no order? Why dost thou ask again?’. Shakespeare instantly uses dramatic technique of foreshadowing the conflict that is to follow through the sharp words exchanged between the two. Provost then asks what’s to be done with the woman he got pregnant, Juliet. Angelo still refuses to relent, and says that
How far and in what ways do the opening three scenes constitute a suitably problematic opening to Measure for Measure?
How far and in what ways do the opening three scenes constitute a suitably problematic opening to Measure for Measure? Measure for Measure as a play is deeply renowned for being a' problem play"; that is to say, there are many unresolved items and unanswered questions throughout. Therefore in order to make the opening 'suitable ' for a play of this calibre, the opening must also be 'suitably problematic" in order to pique the audience's interest sufficiently to ensure that they will be just as intrigued by the rest of the play as they are by the beginning. The play's moral dilemma mainly concerns the Duke, who can be seen as manipulating others' lives without the slightest bit of regard for the consequences. It is unsure how we are meant to consider him, because even after these initial scenes enough doubt has already been raised about his motives to make the audience rather suspicious. In this play, the first three scenes contain just as many, if not more unanswered scenarios, which help to ensure that the play commences as it means to go on, and hints at the events to follow. At the start of Act 1 Scene 1, due to it being the very first scene, you would think that the play would have a clearly defined beginning, so that the audience are able to be fully aware of all the events taking place, and to a certain extent be totally omniscient of what is happening. Instead, here,