Explore the ways Shakespeare presents the Duke in Act one of measure for measure. What possibilities and restraints does this role offer for the contemporary director?
Explore the ways Shakespeare presents the Duke in Act one of measure for measure. What possibilities and restraints does this role offer for the contemporary director? In a play we get to know about a character by what he says what he does and what other people think about him. When the duke abandons the city it cause society to collapse and the whole city to fall into chaos. Any eratical behaviour made by the duke, at the top of the hierarchical pyramid would be amplified as you go down. People at the bottom will want to know what is going on and the people near the top will try and grab a piece of power. In the 17th Century the audience then would of reacted very differently to an audience of today. Back then a audience would think that it was a terrible thing that the duke had done as he is the only one who can do the job as he has the divine right. For them the duke leaving would be a very dramatic story line. However an audience of today would not be as shocked because they are used to a society of so many leaders that if the Priminister went off, yes it would be shocking but there are plenty of people that can take his place. Today's audience would probably have more sympathy as they understand stress more and would just think he needs a bit of a break. The laws in Vienna have not been used for a long time and now are useless at protecting the people and the city,
Refresh your memory of Act I Scene I & II: How effective are these two scenes as the beginning of the play? Consider in your answer plot, character, themes, language, imagery and contrast.
Refresh your memory of Act I Scene I & II: How effective are these two scenes as the beginning of the play? Consider in your answer plot, character, themes, language, imagery and contrast. J. Atkinson, 25-9-2001 At the beginning on Act I Scene I, the Duke of Vienna laments that his city is spoiled, and its people too indulgent. However, he must leave the city, and names Angelo to be his replacement while he is away. Escalus, one of the Duke's advisors, believes Angelo worthy of the task; the Duke also says he is confident of Angelo's abilities. Angelo is somewhat humbled to receive this commission from the Duke, but accepts it all the same; the Duke declares that he must be off immediately on his errand, and wishes Angelo luck in bringing lawfulness and discipline back to the citizens of the city. The Duke speaks with formal, somewhat legalistic language, exactly what we might expect of a ruling, noble figure. Note his use of the royal "we"; he calls the citizens of Vienna "our people," the city is "our city"; he seems quite confident in his use of these pronouns, meaning he is secure in his position. His diction is quite elegant in some places; he makes use of alliteration, stating that with his "special soul" he has chosen Angelo. The Duke also uses paradoxical terms that convey the duties of a ruler; he says he will lend Angelo both his "terror" and his "love" to rule
What might modern audiences find dramatically interesting about the presentation of the Duke in Measure for Measure?
What might modern audiences find dramatically interesting about the presentation of the Duke in Measure for Measure? The Duke in Measure for Measure is one of the main characters. He is also has high status. He rules the city, yet he is one of the most underhand, deceitful characters. Even in our first meeting with the Duke, he is complex and confusing. He praises Escalus, even going so far as to say Escalus knows more about ruling than he (the Duke) does, but then he appoints Angelo as his substitute, and carries on throughout the entire play to contradict himself, to lie and to act hypocritically. Act 1 Scene 1 sees the Duke with Angelo and Escalus. He appoints Angelo as his substitute after praising Escalus extremely highly. "Your own science Exceeds, in that, the lists of all advice My strength can give you" This would interest a modern audience because it would perplex them. They would be sure to ask why the Duke would leave Angelo, whom he seems to regard as second choice, in charge? This seems a very strange thing to do, unless there is an ulterior motive, which the majority of a modern audience would already begin to expect. There is the possibility however, that he may be letting Escalus down gently, this however, is not a common theory as it is too obvious and that is not Shakespeare's style. In Act 1 Scene 3, we see the Duke defend himself from a friar's
Shakespeare Uses Imagery to create both Characters and Their Environment. Show how he does this in Measure for Measure and with what Effects.
Shakespeare Uses Imagery to create both Characters and Their Environment. Show how he does this in Measure for Measure and with what Effects. Shakespeare's plays are full of images of the stage as a reflection of the world and of the world as a stage, thus producing the motto of the Globe Theatre where much of his work was performed, 'All the world's a stage'. It was named 'The Globe' because there were still large areas of the world that had not yet been discovered. Exploration of 'new 'worlds was all the rage in Europe; so going to see a play was giving the audience a chance to explore a far off, exotic place. Even the concept of the world being a sphere or 'globe' was fairly new still, which added another trendy feature to Shakespeare's theater's name. However theatres and acting were still very controversial since people saw the playing of a role as not 'for real' and therefore entailed lying. Theatres were contentious also because it was argued that it was morally and philosophically wrong, to have people claiming to be who they were not and where they were not. For these reasons, theatres were allowed only outside the city walls, if at all with The Globe located almost adjacent to a row of brothels. Before Shakespeare could perform his plays, he had to gain the legal protection of an important person. In Shakespeare's case it was the King James- thus the name 'The
'A complex character deserving of sympathy'. To what extent do you agree with this view of Angelo in Measure for Measure?
'A complex character deserving sympathy.' How far and in what ways do you agree with this view of Angelo in Measure for Measure? In Shakespeare's Measure for Measure, Angelo emerges as a double-sided character; an appropriate focal point for such a 'problem play', as many of Shakespeare's later works are considered to be. Shakespeare appears to have taken his inspiration for the story from sources such as Promos and Cassandra (George Whetstone) and Giraldi Cinthio's Hecatommithi, both plays in which a self-righteous deputy, be it Promos in Whetstone's version, or Angelo in Shakespeare's, seduces a woman (Cassandra or Isabella) by promise of pardon for her condemned brother. Scholars have argued for centuries whether Angelo, or indeed Promos, is a moral or an evil character. Those scholars who support the notion of Angelo as moral often cite the following factors in the play: 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. On the other hand, others have argued that Shakespeare depicts Angelo as a purely evil man. These critics emphasise Angelo's treatment of Marian, the Duke's possible suspicion of Angelo, his desire for Isabella, and his broken promise to Isabella. By examining Angelo in both of these circumstances, it will become apparent that
Paying close attention to the language, tone and action of the passage, show how it contributes to your understanding of Isabella and Claudio's relationship
Mikhail Rodricks 3 Stevens A2 English "Paying close attention to the language, tone and action of the passage, show how it contributes to your understanding of Isabella and Claudio's relationship." In William Shakespeare's "Measure for Measure", the characters, and the manner in which they interact, play a critical part of the overall tone and atmosphere of the plot. One of the character's most important functions is to provide action in the scene, and insight into the various relationships that appear throughout the play, this is evident in the exchange we witness between Isabella and Claudio in Act Three, Scene one. Both characters are of considerable significance within the play, so it is interesting to note how their actions will shape the remainder of the plot. Shortly before the beginning of Act three's drama, we see Isabella confronted by Angelo, where he proposes the question, "which had you rather, that the most just law now took your brothers life, or to redeem him give up your body to such sweet uncleanness as she that he hath stained?" Isabella had been literally placed in a life - death situation here, for if she were to give in to Angelo she would lose her integrity, and essentially her soul, but were she to defy him, her brother would be beheaded the next day. Isabella, as we have witnessed in past scenes, holds strong morals, and she indeed refuses to
Measure for Measure: The fault of Isabella is that she is excessively pious and too proud. Isabella is a symbol for virtue and chastity and a champion of mercy. How do you respond to these different views of Isabella?
"The fault of Isabella is that she is excessively pious and too proud" "Isabella is a symbol for virtue and chastity and a champion of mercy" How do you respond to these different views of Isabella? What is your opinion of the way Shakespeare present Isabella in the play? Isabella's character blossoms in debate, on a number of occasions throughout the play she can be perceived as being excessively pious and too proud. This perception of Isabella is evidenced in the play when she puts her virginity and spiritual life ahead of her brother's life which hangs in the balance, this view is emphasised when she refuses Angelo's proposal to save Claudio's life. However it can also be argued that Isabella's actions and decisions can also support the view that Isabella is a symbol for chastity and virtue. Thus Isabella's character is a perfect example of body versus soul as her actions and decisions can be debated and argued thoroughly. Isabella can also be seen as a champion of mercy by the way she begs for Angelo's life in the final scene of the play. The view that Isabella is excessively pious is supported the instance we meet her character as she 'rather wishes a more strict restraint on the sisterhood'. This gives the audience the idea that Isabella believes the sisterhood is too lenient and she believes there should be more rules and restrictions. The use of 'wishes' is
"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
Compare at least four poems from the ones you have studied where a strong dislike for another person is shown. Write about 'My Last Duchess' a poem from Duffy, one form Armitage and another from the pre 1914 poetry bank.
Compare at least four poems from the ones you have studied where a strong dislike for another person is shown. Write about 'My Last Duchess' a poem from Duffy, one form Armitage and another from the pre 1914 poetry bank. My Last Duchess was written by Robert Browning and published in 1842. It is based on a real person. Alfonso, Duke of Ferrara (1537-1597), married fourteen year-old Lucrezia de Medici in 1158 when he was twenty one. Three years later she was killed, possibly poisoned. The Duke then arranged to marry the daughter of the count of Tyrol. As was customary at the time, the marriage arrangements were arranged between the Duke and a go between. 'My Last Duchess' is a poem in which the appearance of the poem is different from the reality. When read 'My Last Duchess' appears to be a civilised conversation between the Duke and a Nobleman in which the topic of conversation is brought about by the Dukes decision to show the his very privileged guest a great masterpiece and to recount something of his previous wife. Beneath the surface, however, is a ruthless story of ruthless power and the Dukes disapproval of the natural and innocent behaviour of his naïve wife, who apparently does not know the value of his great name. The poem has a very abrupt beginning and appears to be one half of a conversation. Browning opens with the Duke explaining why he has named the
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