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,
Measure for Measure-Themes Presented in Act 1
Themes presented in Act 1-Measure for Measure. A theme becoming noticeably present throughout Act 1 is that of religion, possibly part of the larger them of morality. The Duke, Scene 1 line 70, speaks of being greeted by 'aves vehement'. The word 'Ave' in Latin means 'Hail' and is often associated with prayer, particularly to the Virgin Mary (a figure prominent in Catholicism). This suggests that the public in Vienna see the Duke as a saviour and a figure to be worshipped. At the time of its original performance this would have conveyed to the audience the prominence and power of the Duke in Vienna. However, the Duke says this greeting is good he does not 'relish' it, showing the audience possibly that the Duke is not arrogant and does not wish to be a replacement for someone's faith; it perhaps allows the audience to hold a respect for the Duke from the beginning of the play. In scene 2, the references to religion continue with Lucio speaking of 'the sanctimonious pirate that went out to sea with the ten commandments, but scraped one off the table'. This suggests a corruption of religion and its associated beliefs, which may foreshadow other themes coming later in the play-those of right and wrong, particularly when interpreting laws on prostitution and the confusion about marriage (should it be based on good faith or a legal ceremony). The pirate reference, particularly to
In Measure for Measure, Shakespeare forces questions to be asked about a wide range of issues, all of which are brought together throughout the play by one character: Lucio.
The dramatic impact of Lucio cannot be underestimated. Not only does he entertain, stimulate and provoke, but he also informs us of contextual issues relevant to both Jacobean and contemporary audiences. Provide a detailed analysis of how this is achieved in Act 1. In Measure for Measure, Shakespeare forces questions to be asked about a wide range of issues, all of which are brought together throughout the play by one character: Lucio. As the most vibrant and intriguing character in the play, Lucio moves between scenes and situations, and is apparently agreeable to all, regardless of status or social class. Despite the character only appearing in six scenes, and rarely speaking more than a few lines, Shakespeare utilises this tool to full advantage, employing Lucio as a device with which to illuminate the stage, whilst carrying the weight of Measure for Measure's contextual load, introducing it throughout Act 1 and maintaining and highlighting it throughout the play. We first meet Lucio in the second scene, whilst at his most typically jovial. After the whimsical musings of the Duke in the previous scene, dramatic impact is achieved instantly as the sharp, choppy retorts of Lucio and 'the two gentlemen' are exchanged on Bankside, a contextually relevant area of London infamous for its abundance of brothels and prostitution rings. Thus, everything about the scene is a stark
"Explore Shakespeare's portrayal of The Duke and Angelo and the consequent nature of their relationship in the play Measure for Measure."
Hannah Suthren 2 BJW Mr Lewton "Explore Shakespeare's portrayal of The Duke and Angelo and the consequent nature of their relationship in the play Measure for Measure." Shakespeare's play "Measure for Measure" explores the complicated relationship of justice and the law (not necessarily the same thing) in early Seventeenth Century Vienna. The characters Angelo and the Duke Vincentio are the mainstays of the plot. Their relationship has three main stages in the play. At the beginning, they have similar aspirations for the state, and both have the power to change it. However, as the play moves on Angelo becomes corrupted and the Duke now works against him rather than with him. He endeavours to defeat Angelo in order to save Claudio and change Angelo himself. At this stage, they have different views, ideas and aspirations for the future. It's only at the end of Act Five they are together in forgiveness and mutual understanding. Angelo has one of the most complicated and intricate personalities in the play, thinking abstractly and ruling exactly "by the book". The conflict of his puritanical views with his lust, opportunism and amorality give him the appearance of having a divided self. Much of his corrupt behaviour invites hostility from the audience, none more so than when he propositions Isabella. She must choose between loosing her brother's life ("Most just law")
Is Lucio seen as just a comedian in 'Measure for Measure'?
Danielle Hall Is Lucio seen as just a comedian in 'Measure for Measure'? Lucio's character is a mixture of many different traits. He is a go-between, a good friend, a heartless lecher, a comic, a liar, and a rebel to the end. He is a bridge between the world of the bawds and the world of the main characters like the duke, Angelo and Claudio. He is a true and loyal friend to Claudio and a loose friend to the bawds. He has a strong sexual interest in women. He is a comedian, and many of his jokes have sexual undertones. He lies and slanders the duke to his hidden disguise as a Friar; and then slandered the 'Friar' to the duke. Claudio, sentenced to death for fornication, is late to meet Lucio. Lucio jokes with two gentlemen about soldiers, prostitutes and venereal diseases: "Behold, behold, where Madam Mitigation comes. I have purchased as many diseases under her roof as come to/judge." Once he hears Claudio had been arrested and condemned to death, Lucio stops joking and rushes off to "learn the truth of it". He isn't as devoted to his friend Pompey, who asks him for bail. Lucio refuses: "Well then, imprison him: if imprisonment be the due of a bawd". Lucio shows his loyalty to Claudio by getting Isabella to plead for mercy to Angelo: "Go to Lord Angelo and let him learn to know, when maidens sue men give like Gods". Lucio respectfully sees Isabella as a higher being: "I
measure for measure
Question: "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 the play? What is your opinion of the way Shakespeare presents Isabella? Isabella is certainly presented as a double-edged character by Shakespeare, as she does seem to embody virtue and chastity and with these qualities should come mercy. However due to her rather extreme nature, she can appear "excessively pious and too proud", and through this excessive focus on her own chastity, the audience feel this sometimes compromises her "mercy". Thus these two views of Isabella seem inextricably linked. Shakespeare first introduces Isabella as a symbol for virtue and chastity through Lucio's description of her as " enskied and sainted", and as he softens his sexual talk with words such as "blossoming" to describe the nature of Claudio and Juliet's crime by getting pregnant. This certainly suggests Isabella to be a figure of chastity and virtue, as Lucio attempts to preserve this untainted innocence, a stark contrast to his previous sexual banter: "I have purchased as many diseases under her roof". Thus it seems from our first meeting with Isabella, Shakespeare intends us to view her as chaste, perhaps in need of protection, in this virtuous setting of the nunnery. This
How effective is Act 1 Scene 1 as an opening scene for Measure for Measure?
How effective is Act 1 Scene 1 as an opening scene for Measure for Measure? The opening scene in a play is usually important in giving readers an initial impression of the entire play. I believe that act 1, scene 1 of Measure for Measure is effective as an opening scene to a large extent as it introduces some of the themes of the play and sets the stage for darker happenings. It also gives us the first impressions of the characters Duke Vincentio, Escalus and Angelo and acts as a precursor to other similar occurrences in later scenes. To be effective as an opening scene, the scene should have the key features, that is, the portrayal of the main characters, relationships and the main elements and themes of the plot. This is done through several different ways in the scene. Measure for Measure opens in a legalistic, austere tone as we see the Duke of Vienna and Escalus conversing. The Duke of Vienna is lamenting at the lavish, overindulgent and spoilt state of his city but mentions that he has to go away. He thus suggests for Angelo to take over his place during his absence and consults Escalus on his opinions about Angelo. He also mentions that by giving Angelo his position temporarily, Angelo would have to be "lent" their "terror and dressed" with "[their] love", a paradoxical sentence. This thus introduces us to the theme of mortality versus mercy, the knowledge to
To what extent is Measure For Measure a conventional comedy?
Measure For Measure, to all intents and purposes, is not a comedy akin to Much Ado About Nothing or As You Like It. However, I believe it is still a comedy for the simple reason it does not have enough defining features of a tragedy - but most certainly heralds the end of Shakespeare’s comedic run. Traditional Shakespearean comedy includes aspects such as marriage, dramatic irony and largely inconsequential acts by the ‘villain(s)’ of the play. In Measure For Measure we see all three. Marriage is both a resolution and a punishment in this play. Claudio and Juliet are to be wed by the end of the play, finally able to continue their relationship - this is a classic happily ever after sort of ending that the audience were hoping for if not expecting. However, this is the only marriage we as the audience are certain is due to love. The other two, possibly three, are the results of the Duke’s doing - Angelo is to marry his jilted lover and Lucio is to marry a whore. The Duke himself asks for Isabel’s hand in marriage but it is an unresolved aspect of the play. Nevertheless, these are still marriages so do meet my expectations. There is heavy use of wit in this play, the Duke and Lucio often are the source though there are other gibes, for instance Escalus remarking that Pompey in a ‘beastly’ way is Pompey the Great. This pokes fun at the Roman Republic political
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
Act One Scene One of Measure for Measure is a scene surrounded in ambiguity and complex character motives
Act One Scene One – The Dukes Departure Act One Scene One of ‘Measure for Measure’ is a scene surrounded in ambiguity and complex character motives. In this scene the Duke of Vienna meets with his aged advisor Esacalus to discuss his immediate and unexplained departure from Vienna and his plans to appoint Angelo to rule in his stead. The play simply starts with the Duke saying “Esacalus”[1]. Using the noun in an almost imperative form is an indication of how much power the Duke really has and how much power the Duke will be handing over to someone as inexperienced as Angelo. This instantly begs the question why is he not leaving Escalus in charge? One opinion, which I support, is that the Duke is a Machiavellian Character who is hoping that Angelo fails so that when he returns the people will love him. Due to this manipulative attitude he cannot select Escalus as he may believe that Escalus may actually do a better job than him, something he cannot risk. This concept of deceit and manipulation is backed up by the fact that throughout the initial speech by the Duke he seems to actively aim to make Escalus feel of less value than he is worth. An example of this is “But that, to your sufficiency, as your worth is able”[2]. The use of words such as “sufficiency” appear to be designed to make Escalus feel like he is only just good enough and nothing more than