'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
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
Discuss Duke Senior's view of the forest in this extract
Act 2 scene 1: Passage Question on Duke Senior's opening speech Discuss Duke Senior's view of the forest in this extract. In your answer you should: * Comment on Shakespeare's use of language, imagery, tone and dramatic structure * Show awareness of how different readers and audiences might respond to the extract * Show awareness of the Elizabethan context Shakespeare opens Act two with a speech from Duke Senior attesting the values of life in the Forest of Arden. His 18 line judication provides the audience with an objective and tempered account of life in the rural surrounds which although holds elements of the romantic pastoral vision of the rural life as Eden, is at the same time in touch with reality. The pastoral theme was a popular genre in Elizabethan drama, with its suggestion that life in the rural environment was the remedy to all the woes and stresses which accompanied life in the urban zone. However dramatists such as Shakespeare began to rebuke this idea. The thought that rural life offered an alternative to the corruption of court was simply not an economic reality. The material realities of the Elizabethan era made it impossible to depict a court in such straightforward terms or to hold up the countryside as an Eden and cure to all problems. Shakespeare employs and yet simultaneously overturns pastoral ideas and themes in "As you like it", which is
Measure for Measure - 'It is comedy and trickery in the play that engages the audience', 'What intereststhe audience about the play is a serious chance to judge its characters'
"It is comedy and trickery in the play that engages the audience" "What interests the audience about the play is a serious chance to judge its characters" What evidence is there in the play to support both views? What interests and engages you in the play? There are many aspects of the play that engage and interest the audience, two main aspects being comedy and trickery. There are many characters in the play which contribute to the comedy and trickery which is abundant in the play; in particular Lucio is a character who is often seen as comical due to his lack of restraint in his speech and his ignorance of other characters. He is often associated with bawdy humour but is also associated with noblemen; which brings his character into debate. The main source of trickery which engages the audience is the 'bed trick' which is cunningly devised by the Duke, which again brings his and also Isabella's character into debate. Lucio is one of the main sources of comedy in 'Measure for Measure', his humour and almost careless speech engages the audience which will result in the audience liking his character. His speech on occasions appears to possess no restraint which is evident from his conversation with the two gentlemen when he proudly proclaims 'I have purchased as many diseases under her roof as come to'. Lucio's tone suggests the he is proud of this achievement which in
presentation of Isabella in Measure for Measure
Throughout the Measure For Measure Shakespeare presents Isabella as an innocent victim of male desires and exploitation. However, some may argue that she is a worldly woman who is capable of taking care of herself and not been dependant on others. This essay will discuss these assertions and how far they can be justified by the text of the play and it will show the judgement, which I have made towards Shakespeare's choice of character. In his attempt to exploit Isabella, Angelo uses blackmail to get her to sleep with him in return for the rescue of brother from his proposed execution. She does motivate his lust towards her, but does not physically do anything to provoke it, he Angelo admits himself in his soliloquy at the end of act two scene two; "Nor she nor doth she tempt; but it is I That, lying by the violet sun, Do as the carrion does, not as the flower, Corrupt with virtuous season..." (pg36) In contrast to this, it is suggested that Isabella uses language, which in some cases can sometimes unconsciously be erotically charged and this could be one of the things that Angelo is attracted too. "...To strip myself to death as to a bed That longing have been sick for..." (pg 46) In act two scene four, Isabella tries to assert herself against Angelo by saying; "...my brother Or with an outstretched throat I'll tell the world Aloud what man thou art" (pg45)
Using only act 1 of measure for measure, describe the state of Vienna at the beginning of the play. What do you think of the situation of a) the duke, b) Angelo in this act?
5th November '02 Lyndsey Paterson Measure For Measure Using only act 1 of measure for measure, describe the state of Vienna at the beginning of the play. What do you think of the situation of a) the duke, b) Angelo in this act? Although act 1 is a relatively short one, the audience is made aware of the current state of Vienna. In scene two Lucio, Gent 1 and Gent 2 discuss prostitution within Vienna. Shakespeare uses the three characters to transfer this information to the audience. We are told that several brothels situated on the outskirts of the city and have simply moved to a new location and acquired the title of 'bath house' in order to avoid closure. The jokes at the beginning of scene 2 and the re-0ccuring references to se suggest that sexual activity is an indicator as to the popularity of sex and the sex trade with the confinements of the city. When mistress Overdone arrives in the scene the point is supported further. The state of the justice system is emphasised when Angelo undertakes authority. As illustrated by Claudio's situation, we are given the information that, as with many of the laws and statutes in Vienna, the laws that have condemned Claudio to death fail to take into account the mitigating circumstances. There appears to be no logical sense to many of the
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
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
Discuss Shakespeare's dramatic presentations of the Duke in Act I of 'Measure for Measure'. What do you find to be interesting and / or problematic about his character?
Discuss Shakespeare's dramatic presentations of the Duke in Act I of 'Measure for Measure'. What do you find to be interesting and / or problematic about his character? Shakespeare presents the Duke in "Measure for Measure" as an authorative figure, as he is highly respected and referred to as "my Lord". In the first instance, we get the impression that the Duke is portrayed to be a public body. He seems very connected to his people and comes across as a very superior leader to them. He is generally aware of the situation of his city the fact that he mentions " Of government the properties to unfold Would seem in me t'affect speech and discourse" Act I Scene I These are one of the Dukes very first words in the play; his speech gives us an impression of the plays central theme, which has to do with "government, properties, and speeches". Shakespeare gives the Duke authority in this play but in the very first instance we get the impression that he does not use this authority very wisely, his language and manner towards the people in the opening scene confirms this. The Duke is at the top of the hierarchical stage, but his use of language such as "pregnant" which is a metaphor for showing gives the audience a strange impression on the Dukes character and instantly we become some what aware of the sexual content of this play. Strangely enough the Duke decides to let "bid
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,