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Measure for Measure is currently studied in VCE English nether Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.

INTRODUCTION‍

Ahh William Shakespeare. That guy. You lot're probably thinking, "Smashing. More fancy language. Hasn't he been dead for centuries? Why does he keep popping up in our English language curriculum?"

At least, that's how I reacted.

Shakespeare is actually a huge effigy in the history of the English linguistic communication, and really no loftier school English curriculum is complete without a mandatory dose of him. In fact, the current VCAA study pattern demands that one of his texts must be on the text list. What a legend.

Shakespeare doesn't but influence our world in the classroom. The Bard coined many words and phrases that we use today. We can thank this playwright for "be -all, end-all", "good riddance", and my personal favourite, "swagger".

The Bard's play "Measure for Measure out" was offset performed in 1604; over 400 years ago. So why practise we still study his works today? In fact, the ideas and themes that are evoked in his plays are universal and timeless; pertinent to his contemporary counterparts, equally well as today's audience. Shakespeare's plays are like soup (bear with me, this is going somewhere). One could say the playwright is a master chef; he mixes tales of the human status and experience and asks us to question people and ideas. Everyone, regardless of their time, will gobble up the story.

And then, what is this soup- I mean 'Measure for Measure' most? The play is known as a "trouble play" and/or "tragicomedy". That's correct, information technology's both a tragedy and a one-act. Dire trials and tribulations are intertwined with humorous gags and jokesters. I guess Shakespeare couldn't choose only one.

'Measure for Measure' is likewise a problem play. Critic W.W Lawrence defined a problem play as one in which "a perplexing and sad complexity in human life is presented in a spirit of high seriousness ... the theme is handled so every bit to arouse not merely interest or excitement, or compassion or amusement, merely to probe the complicated interrelations of character and activity, in a situation admitting of unlike ethical interpretations".

Ok, crazy, but he also said that "the 'trouble' is not like one in mathematics, to which there is a unmarried true solution, merely is one of conduct, as to which there are no fixed and immutable laws. Often it cannot be reduced to any formula, any one question, since human life is as well complex to be so neatly simplified."

In short, a trouble play presents lots of complications and bug that are open up to different ethical interpretations. As in "Measure for Mensurate", the "problem(s)" is/are not ever solved.

So, what actually happens in this play that is problematic? What are our ingredients in this trouble soup?

‍P(L)OT SUMMARY

Get it? Cause soup is cooked in a pot. Sorry.

The Duke of Vienna appoints his deputy, Angelo, every bit the temporary leader. This Duke and so pretends to leave town merely instead dresses up as a friar to detect what happens in his absence. Angelo, strict and unwavering in his dedication to following the rules, decides to rid Vienna of all the unlawful sexual activity; including shutting down the brothels. Prostitutes like Mistress Overdone (pun alert) and her pimp Pompey are poised to lose their livelihoods. Laws against this action exist, but they've gotten lax over the years. Angelo, a stickler for the rules, has Claudio arrested considering young Claudio has gotten his engaged wife-to-be (Juliet) pregnant earlier they were officially married. Claudio is to be executed.

The virtuous Isabella, Claudio's sis, is poised to enter a nunnery. Upon hearing of her brother's abort and sentence, she goes to Angelo to beg him for mercy. He hypocritically, in an absolutely dog move, propositions her, maxim he'll pardon her brother if she sleeps with him (with Angelo, non Claudio). She immediately refuses, existence the religious and chaste woman that she is. At commencement Claudio is upset because he wants to live, but then he calms down and accepts death.

Luckily, the Duke (secretly dressed as a friar) helps in their viscid state of affairs. He brews upward a plan; Angelo's onetime flame Mariana was engaged to him, simply he broke off their appointment after she lost her dowry in a shipwreck. The Friar (Duke) plans to have Isabella agree to slumber with Angelo, but so transport Mariana in her place. In theory, Angelo would pardon Claudio and be forced to ally Mariana past law.

The old switcheroo goes off without a hitch. Merely come up morning, Angelo refuses to pardon Claudio, fearing he will seek revenge. The Knuckles, in collaboration with the Provost, send Angelo the head of a expressionless pirate (Ragozine) who died of natural causes. They claim that it's Claudio's caput, and Angelo is satisfied, thinking him to be dead. Isabella is also told that her blood brother is expressionless and is encouraged past the Friar (Duke) to complain about Angelo to the Duke, who is returning dwelling.

The Duke makes a grand return to Vienna, saying he will hear any complaints immediately. Isabella tells her story, and the Duke feigns disbelief, despite having orchestrated the programme himself. In an act filled with more twists and turns than a Marvel movie, everything comes out; the Knuckles reveals he was a friar all along, Angelo is forced to confess, and Claudio is pardoned amongst other things. To superlative it all off, the Duke proposes to Isabella. Crazy!

HISTORICAL CONTEXT

Information technology'south of import to acknowledge what was going on in the world during the writing of a text. This may help give insight into why the author has included (or non included) some aspect of their work.

The Divine Right of Kings

This holy mandate states that a monarch derives his right to dominion from the volition of God and is not subject to earthly authority. The "king" or monarch is hence practically divine, and questioning his orders is besides questioning god; blasphemy.

The Great Chain of Beingness/Form divides

This chain is a hierarchy of all life forms and affair in the post-obit guild:

• God
• Angels
• Kings & Royalty
• Nobles
• Commoners (Gentry, Merchants, Yeoman, Laborers)
• Slaves
• Animals
• Plants
• Non-living things

Hence, alongside The Divine Correct of Kings, this platonic gave monarchs huge power over their subjects.

In early 1600s England, there was a divers social bureaucracy and course organization. Everyone had a place in the hierarchy, and there was lilliputian movement between the classes. Within each class, men were considered superior to women.

Shakespeare encourages u.s. to inquire a few questions of our supposedly holy leader and his actions. According to the Divine Right of Kings, the Knuckles is god'south right-mitt human being, and thus all his decisions are holy and backed by heaven. Nonetheless, the Duke is pretty shady when he plots his bed-play tricks plan with Isabella and Mariana. Is this deceptive behavior still holy? Furthermore, is it non sacrilege to pretend to exist a holy friar when ane is not truly a holy man?

Moreover, when the Duke assigns Angelo every bit his deputy, would this transform Angelo into a divine ruler too? Could he be divine, considering his vicious rule and despicable request to Isabella?

Women

Women were considered subservient, lower grade citizens and then men. Alliances were forged between powerful families through arranged marriages of daughters. These girls may have received an education through tutors attending their homes (there were no schools for girls), only their endgame would exist marriage, children and maintaining the home. Women and girls of a lower class did not receive any formal education merely would take learned how to govern a household and become skilled in all housewifely duties. Impoverished and desperate women (Mistress Overdone) would turn to prostitution to stay alive.

Shakespeare perhaps highlights the struggle of women in his female characters; Isabella, Mistress Overdone, Juliet, and Kate Keepdown. Their futures announced bleak; Isabella is poised to enter a nunnery, Juliet'due south hubby (her only source of income and protection) is to be executed, while the brothels that facilitate Mistress Overdone and Kate Keepdown's livelihoods are being closed downwards by Angelo.

Jacobean Audience

It was a tumultuous time when Shakespeare penned 'Measure for Measure' in 1604. A year earlier came the end of the 45 yr long Elizabethan era and began the Jacobean era under the rule of King James. Since the late Queen Elizabeth had no direct heirs, Male monarch James of Scotland (a relative) took to the throne. Little was known by the English language people of this strange king.

Perchance, as Shakespeare portrays the ruler in 'Measure for Measure' as clever and good-hearted, the Bard sought to appease the king by calming the people and encouraging them to trust in their new monarch.

The playwright characterizes the Duke as loving his people, but non enjoying being before their eyes and in the spotlight; much like Male monarch James, a tranquillity ruler who relished studying privately in his keen library.

‍Playhouses and Brothels

The general public (commoners) paid a penny (could buy you a loaf of bread back in the twenty-four hour period) to meet Shakespeare's plays, standing in the "yard"; on the ground, at eye-level of the stage. The rich (gentry) paid 2 pennies for seating in the galleries, oft using cushions. The really rich (nobles) could watch the play from a chair assault the side of the stage itself. Shakespeare'south plays were performed at the Globe Theatre. Playhouses in Shakespeare'due south time were often close to brothels, both in terms of their physical locations in the suburbs and the fashion they were viewed by some of polite order. Thus, Shakespeare'southward relatively sympathetic portrayal of sexual deviance in 'Measure for Measure' may also institute a defense of other suburban entertainment—his plays—and a fashion to humanize lower classes who patronized them.

WRITING ABOUT 'Mensurate FOR Measure out'

If you're lucky plenty to written report this interesting slice, the study design requires you lot to prepare "sustained analytical interpretations…discussing how features of the text create significant and using textual evidence to support (your) reasons". Basically, you'll be given a topic; this topic could surroundings themes, characters, etc., and you lot must write analytically.

While y'all may choose to structure paragraphs around themes, ideas or characters, make sure to embed some historical context in there; that'll show the examiner that you've done your enquiry and take a thorough and deeper understanding of why Shakespeare put this or that in. Talking nigh authorial intent in your analytical essay leads to a more than in-depth analysis.

"Shakespeare portrays characters that are flawed as a result of pre-destined circumstances. These characters, such as bawd Pompey and prostitute Mistress Overdone, lived in a time when there existed strong class divides, and motion within the social hierarchy was rare. As per the "Great Chain of Being", a contemporary religious dogma, there was a hierarchy of all living things and matter, from lofty God and his angels down through the ranks of men and finally to animals and non-living things. In some cases, attempting to move up the social ranks was even considered a blasphemous rejection of the fate called past God."

- embedding historical context (The Great Chain of Being) into a paragraph that discusses characters being flawed because of their circumstances

"Shakespeare offers characters such as Isabella and The Duke who strive for self-improvement through agreement and temperance. Perhaps the playwright suggests that perfection is very difficult if non impossible to accomplish, fifty-fifty for a ruler similar the Duke and a pure soul similar Isabella. Withal, he posits that information technology tin be strived for and that perhaps this attempt to get better is what truly matters."

- talking about authorial intent - what is Shakespeare trying to tell us?

Think of it as an opportunity to brand your very own soup! Add some themes, stir in character analysis, sprinkle in some quotes and serve with historical context and authorial intent. Only like with a soup, there's got be a practiced balance of all your ingredients; test out dissimilar structures during the yr to discover what works for you. (Merely endeavor not to overcook it, like I have done with this soup metaphor). If you need more than help, How To Write a Standout Measure for Measure by William Shakespeare Essay is for you!

So, y'all meet, there's more to Shakespeare and 'Mensurate for Measure' than but fancy old language and iambic pentameter (What's that? Well...). Continue on reading this blog postal service, where we'll delve into themes, characters and symbols/motifs. In the concurrently, let'southward accept a interruption. Grab a snack, a drink, and enjoy this tasty Shakespeare meme.

...Aaaaand we're back!

Are you ready for function 2 of the Shakespeare train? Hop on board as nosotros explore themes, characters and symbols/motifs.‍‍

THEMES‍

These are the major themes in 'Measure for Measure out'.

As you can meet, the themes are interconnected. (Do you like the diagram? Made information technology myself :)) Why does this matter? Well, if you become an essay topic virtually Justice, for example, you can likewise link it to Sexual and Gender Politics likewise equally Social Disuse/Cohesion.

And so, why is any one theme an important theme?

Which moments and characters are these themes related to?

Is there a link to historical context?

What are some primal quotes?

What could be Shakespeare'southward potential message? (Keep in mind that depending which pieces of evidence you look at, the Bard could be saying something dissimilar. In this piece, we'll only hash out ane or two authorial messages. The dazzler of Shakespeare is that much is open to interpretation. Yous can translate characters and ideas in so many different ways!)

Those are some groovy questions. Let'south explore some of the biggest themes...

Power and Authorisation

Power not only dictates the Viennese society, simply we run across it is a footing for moral corruption (I'm looking at y'all, Angelo!). The Knuckles is the leader of Vienna, ordained by God. He hands this power to his deputy Angelo, who misuses it in his asking of Isabella. At present consider Isabella - she has power likewise, but a unlike kind… Also consider characters who take piffling to no power - Mistress Overdone, Pompey etc.

This theme could be linked to the Divine Correct of Kings, the Great Chain of Being and Women.

• "O, it is excellent to have a giant's strength, but information technology is tyrannous to use it similar a behemothic" - Isabella when she pleads to Angelo to not kill her brother (Act 2, Scene 2, Line 130-132)
• "He who the sword of sky will bear should exist equally holy as astringent" - The Friar (Duke) to himself, not happy with Angelo'due south dog movement (Act 3, Scene one, 538-539)
• "When maidens sue, men give like gods" - Lucio to Isabella, encouraging her to convince Angelo not to kill Claudio (Act ii, Scene 1, Line 87-88)
• "Hence we shall encounter, if ability change purpose, what our seemers be." - The Knuckles lowkey suggesting that once Angelo gets ability, he'll modify into something evil (Act one, Scene four, Line 57)
• "Some ascension by sin, and some past virtue autumn." - Escalus is sneakily hating on Angelo. This quote shows that power and authority ofttimes involve corruption (Act 2, Scene 1, Line 41)

Perhaps Shakespeare is suggesting that power is a dangerous weapon and that in the wrong hands, information technology could exist deadly.

Morality and Sin

This is an interesting theme. What defines sin? For instance, if Isabella sleeps with Angelo she'southward sinning before God. Only if she doesn't, and so she'due south letting her brother die, which is not skillful either. Bit of a pickle that one. Some characters to consider include Isabella, Angelo, The Duke, Claudio, Lucio, the Provost…. jeez merely about everyone! And then many of the characters take role in questionable deeds. Was it immoral for the Duke to pretend to be a holy friar? Is Claudio's sin of impregnating Juliet really punishable by decease if both parties were willing, and no one else has been punished for the aforementioned "crime"? Are Pompey and Mistress Overdone being immoral in being in the prostitution business, if it'due south the only way to survive?

Deep stuff man. This can be linked back to class divides, women and the contemporary playhouses/brothels.

• "What sin you practice to salve a brother's life, nature dispenses with the human action so far that information technology becomes a virtue" - Claudio begs his sister to slumber with Angelo (immoral, especially since she's poised to enter a nunnery), saying that it's for a good crusade, and volition really exist a virtue/good human activity (Act 3, Scene 1, Line 146-148)
• "Might there not exist a clemency in sin to save this brother'southward life?" - Angelo asking Isabella to slumber with him and trying to paint the human activity as a charitable act (Act two, Scene 4, Line 65-66)
• "I am a kind of burr, I shall stick" - Lucio, who represents sin and immorality in Vienna (we'll talk more virtually this later in symbols/motifs) (Human activity 4, Scene three, Line 182)
• "To bring y'all thus together 'tis no sin, sith that the justice of your championship to him doth flourish the deceit." - The Friar (Knuckles), encouraging Isabella and Mariana to do the dodgy bed-trick and trick Angelo (Human activity iv, Scene 1, Line 79-81)

Perhaps Shakespeare tries to tell the states that in that location is a fine line betwixt something moral and something sinful. Maybe he's asking, "who are nosotros to judge?", since we all do questionable things sometimes. Everyone from the almighty Duke to a lowly prostitute has committed potentially immoral acts. Maybe audiences are encouraged to exist more understanding of others, and their reasons for these deeds.

Justice

Mmm, this theme ties in nicely with but about all of the others. How does ane define justice? The play explores this idea; does justice mean punishment? Or mercy? How practise we rest the 2 to evangelize the right penalization/lack thereof? Characters that dispense justice include The Duke, Angelo (although they accept differing ideas of justice) and Isabella. Since Vienna is a religious place, consider the divine justice organisation (ie. a perfect, flawless system meted out past God) and the earthly i (ie. the flawed, human justice arrangement). Laws exist in an attempt to ensure justice. Only does it always work? Consider besides the Old and New Testament ways of thinking - the former strict and castigating, while the latter is more measured and merciful (meet symbols/motifs beneath for more info).

This theme can be linked to the Divine Correct of Kings, Great Chain of Beingness, Women, and Jacobean Audition.

• "Justice, justice, justice, justice!" - (Wait, are you sure this quote is about justice?) Isabella pleads for (y'all guessed it) justice to the Duke (no longer dressed every bit a friar), thinking Angelo has, in fact, killed her brother (Deed five, Scene ane, Line 26)
• "The very mercy of the constabulary cried out… 'An Angelo for Claudio, death for death!' Haste still pays haste, and leisure answers leisure, like doth quit like, and measure even so for mensurate" - The Knuckles, explaining that it's only off-white that Angelo die for "killing" Claudio. (Human activity 5, Scene one, Line 437-441)
• "liberty plucks justice by the nose" - The Duke tells Friar Thomas that the laws have slipped over the years, and the citizens of Vienna are not being punished for immoral deeds (prostitution, sex before matrimony etc)

Maybe Shakespeare says that since we humans are inevitably flawed, that any justice organization created past u.s. will too be imperfect. Who are we to decide the fates of our fellow man? Furthermore, the Bard may be encouraging us to be kind when dispensing justice, leaning more to mercy than punishment.

Sexual and Gender Politics

Who run the globe? Gir- no it's a bunch of men. This theme contributes to why 'Measure out for Measure' is a problem play. The exploration of the female characters in this play are very interesting, and kind of sad. Of 20 named characters, only v are women. Together, their lines make up merely xviii% of the play. Yikes! There is a lot to unpack here. Our female person characters are Isabella, Mariana, Mistress Overdone, Juliet, Francisca (a nun who speaks twice) and Kate Keepdown (who we never see). Their situations: a maiden poised to enter a nunnery, a prostitute, a pregnant daughter about to lose her hubby, a nun, and another prostitute. Quite gloomy, isn't information technology? Meanwhile, the men are leaders (The Duke, deputy Angelo, and ancient lord Escalus) and gentlemen (Lucio, Claudio, and Froth). Over the class of the play, our female characters are put into worse situations by men. Their experiences are dictated by men. Consider taking a "feminist perspective" and exploring 'Measure for Measure' from a female point of view.

This theme links to the Great Chain of Being, Women and Playhouses/Brothels.

• "run across how he goes about to corruption me!" - These are the last words nosotros hear from Mistress Overdone, as she calls out Lucio for betraying her even though she kept secrets for him. All this happens while she'due south being carted off to prison house in merely Act iii! What do you recall Shakespeare is saying to usa? (Act 3, Scene i, Line 481)
• "Then was your sin of heavier kind than his" - The Friar (Duke) says to Juliet that she sinned more than Claudio, even though their sin was "mutually committed". Fifty-fifty though they were both consenting, the adult female is blamed more. Consider what would become of Juliet if Claudio was executed. She'd probably end up similar Mistress Overdone... (Act 2, Scene 3, Line 31)
• "Who will believe thee, Isabel?" - Angelo says this subsequently Isabella threatens to reveal his disgusting request. Ouch. It really goes to bear witness how untrustworthy women are deemed.  (Act 2, Scene 4, Line 163)
• "Why, yous are nothing and so: neither maid, widow, nor wife?" - The Duke says this to Mariana. Basically, he says a woman can only be those iii things. Jeez. (Deed 5, Scene 1, Line 196-197)
• "When maidens sue, men give similar gods" - Lucio to Isabella, encouraging her to convince Angelo not to kill Claudio. So, perhaps women exercise take some power. Merely, it's due to their sexuality; something evaluated by men. Peachy. (Deed 2, Scene 1, Line 87-88)

Perhaps Shakespeare suggests that women are treated unfairly in guild. Maybe he posits that women are afforded so few opportunities in a human's world. The Bard potentially says that such sexual and gender politics do not create a cohesive and merely society.

Mercy

This theme, again, connects to many others. It tin link to all groups of people (The wealthy, the poor, women, criminals etc). Most of the mercy is dispensed at the finish of the play when the Duke does his 1000 reveal. Characters who cull to mete out mercy over penalty include The Duke and Isabella. Also consider Angelo, who instead of choosing to spare Claudio, decides to impale him to uphold a law that hasn't seen anyone punished for the aforementioned human action. We might remember this is harsh, merely it a legal and lawful decision.

Connect this idea with historical context, specifically Jacobean audience and playhouses/brothels.

• "I find an apt remission in myself" - Apt remission = set up forgiveness. The Duke says this after pardoning Angelo (Deed 5, Scene one, Line 539)
• "pray thee have this mercy to provide for improve times to come" - The Duke pardons murderer Barnadine, asking him to use it to exercise amend. How lovely!  (Act 5, Scene ane, Line 525-526)
• "allow us exist keen (shrewd/abrupt), and rather cut a little than autumn and trample to death" - Escalus says this to Angelo, who wants to enact all strict laws immediately. The ever-reliable Escalus advises Angelo to exist lenient and merciful. (Deed 2, Scene 1, Line 6-seven)
• "Mercy is non itself that oftentimes looks then, pardon is still the nurse of second woe" - Escalus says this, defending Angelo'due south decision to punish Claudio. He suggests that sometimes existence merciful tin can encourage farther wrongdoing. (Act ii, Scene 1, Line 282-283")
• "I bear witness information technology (compassion) most of all when I testify justice" - Angelo says to Isabella that he is showing Claudio pity/mercy by punishing him. A firm laic in the law, Angelo thinks he's doing the right thing and teaching Claudio a lesson past punishing him.  (Human action 2, Scene 2, Line 123)

Possibly Shakespeare encourages us to look at mercy and punishment from unlike perspectives. Angelo believes he is punishing Claudio for his ain good, and cleaning upwards Vienna of lechery as well. Perchance nosotros ought to be merciful in our opinion of the deputy. All the same, the Bard shows that in the instance of young Claudio, mercy and forgiveness is the correct path to cull. Finally, consider why Shakespeare may have portrayed a merciful leader to his Jacobean audience. Maybe if he were to portray a leader equally fair and merciful, the Jacobean audition would trust that their new king (a homo like in character to the Duke) could be kind and merciful as well. Earning the favour of the king and writing a killer play? He'due south killed two birds with ane stone.

Human Frailty & Fallibility

I've encountered many essay topics about how humans are flawed and imperfect. It's a pretty big theme in many texts, not merely in our friend William Shakespeare's. Man fallibility is to blame for a lot of the going-ons in 'Measure out for Measure'. Angelo takes the law too seriously, he gets center eyes for Isabella and kills Claudio even though he thinks he's slept with Isabella. Why? He wants to save his own ass, fearing Claudio will seek vengeance. The Duke is flawed too. He'south a leader, just he just avoids his bug, leaving Angelo in charge to bargain with them. Then he plans to swoop in and await like a hero. Kinda dodgy. Consider Claudio and Juliet too. They, similar Angelo, succumbed to lust and slept together before they were officially married. (Sigh, humans simply can't get it right.) It's also worth thinking about the "low-lives" and poorer characters. Are the poor frail in a different style? For instance, Mistress Overdone keeps Lucio'south secrets for him. In that fashion she is virtuous. However, she sells her body to survive. Perhaps she is non prone to desire like Angelo, but serves another want - a desire to survive?

In terms of historical context, consider the Divine Right of Kings, the Great Chain of Being and Playhouses/Brothels.

• "They say best men are moulded out of faults, and for the nearly become much more the better for being a little bad" - Mariana pleads to Isabella to support her in begging the Duke to pardon (her new husband) Angelo. She is optimistic for human, believing our bad deeds can lead to self-improvement. (Human activity 5, Scene v, Line 473-475)
• "Why, all the souls that were were forfeit once" - Isabella pleads to Angelo to pardon Claudio. She states that all souls were flawed before Christ offered redemption. (Act ii, Scene 2, Line 93)
• "I speak non as desiring more, but rather wishing a more strict restraint" - Isabella is speaking to a nun equally she is poised to enter the ranks of the nunnery. We usually call up of a nun as living a very strict life, merely Isabella wants it even stricter! Here we see her flaw is that her thinking is likewise singular and blinkered. (Act 1, Scene 5, Line three-4)
• "Lord Angelo is precise, stands at guard with envy, deficient confesses that his blood flows, or that his appetite is more to bread than stone." - The Knuckles talks about how unhuman Angelo is. The deputy follows rules very closely, most to the bespeak where he's similar a machine. His nature is too strict.  (Act one, Scene 5, Line 53-56)
• "I love the people, only do not similar to phase me to their eyes" - The Knuckles says this to Angelo and Escalus as he hands over ability to his deputy. Even the Duke is not perfect, in that he does not like beingness earlier crowds of his people (Act 1, Scene 2, Line 72-73)

Perhaps Shakespeare suggests that no i is truly perfect, not even a leader supposedly ordained by God, a police-abiding deputy, or a maiden who is poised to enter a nunnery. Yet while Angelo is overcome by his lust and emotion, the Duke and Isabella attempt to better themselves by showing mercy and temperance. Mayhap Shakespeare suggests trying to improve one's flawed self is most important.

God, Organized religion and Spirituality

Phew, we're at our last theme. So, gild in Vienna is very much religious. Their behavior dictate deportment and laws inside the metropolis. Some very religious characters include Isabella and Angelo. However, our novice nun, who is obsessed with virtue and chastity, agrees to and takes part in the bed-play a joke on, a charade that is not peculiarly Christian. Our brawny deputy also succumbs, hellishly propositioning a maiden to sleep with him in exchange for her brother'due south life. Even The Duke, supposedly semi-divine, makes some dubious choices. He spends well-nigh of the play posed as a holy homo, even though he is non. He plans the bed-play a joke on to deceive Angelo and lets poor Isabella call back her poor brother is expressionless, instead of saving her so much pain. Furthermore, the title of the tale, 'Measure for Measure', comes from the Gospel of Matthew. (See symbols/motifs for more deets). The question of how much nosotros should allow faith dictate the states is another reason this piece is a problem play.

The theme of God and Organized religion can link to historical context such every bit the Divine Right of Kings.

• "more than our brother is our guiltlessness" - (Human activity 3, Scene 1, Line 194) and "Better it were a brother died at one time, than that a sister by redeeming him should die forever" - (Act two, Scene 4, Line 111-113) show that Isabella values her guiltlessness and virtue over her brother!! Damn girl!
• "Ay, only to dice, and go we know non where, to lie in common cold obstruction and to rot" - Claudio tells Isabella that he fears the dubiousness of death. Perhaps his belief in a heaven has left him in the wake of his impending death? (Act 3, Scene one, Line 129-130)
• "Let'south write good affections on the devil's horns - 'tis not the devil's crest" - Angelo is talking to himself near his lust for Isabella. It'south an appearance vs reality (ooh another theme!) kind of idea, where you tin endeavor to pretend something is something else (ie. Angelo doesn't lust afterwards Isabella), merely information technology doesn't change the thing (ie. he'due south still keen). The deputy is comparison his emotions to these religious extremes. (Act two, Scene four, Line 16-17)

Possibly Shakespeare criticises religious extremism in his portrayal of characters similar Isabella and Angelo. Or maybe he just wants usa to remain open up-minded about ideas and our spirituality.

Yikes, in that location are so many themes in this play! Let's move information technology along, and talk a little bit about characters.

CHARACTERS

Each character tin be viewed in different lights, fifty-fifty more than so than themes tin be. Nosotros're going to discuss characters very briefly because it's upwardly to you how yous want to read them.

Here are the characters, in order of how much they speak in the play. To continue things curt, let's pretend these are all tinder bios. Who would you swipe right on? (Hint: not Lucio)

The Duke

• super chill (the benevolent ruler of Vienna who'south permit the laws slip a lilliputian)
  
• loves dressing up (actually spends most of the play disguised as a friar)
  
• clever/cunning (secretly counteracts the injustices decreed by Angelo)
  

Isabella

• potent morals (would rather her brother die than she lives in shame)
  
• can get wild (conspires with the Knuckles to complete the bed-pull a fast one on)
  
• holy gal (poised to enter a nunnery)
  

Lucio

• a gentleman (well, his title is. He's rude nearly the Duke and abandoned a prostitute that he got meaning, so maybe he'due south not that kind of gentleman)
  
• loves attention (legit! He's a minor character but he has the tertiary virtually lines of them all! Lucio loves to stir the pot!)
  
• loves some symbolism (Lucio represents all the bad stuff in Vienna…..run into symbols/motifs)
  

Angelo

• plays by the rules (a lilliputian besides much)
  
• hypocrite (Sentences Claudio to expiry for sex earlier spousal relationship, while asking the same affair of Isabella…. wow we've constitute our antagonist)
  
• Deep (Angelo is a bit of a circuitous grapheme. He seems aware of his misdeeds and struggles to deal with these desires. Information technology'due south hard not to pity him at times)
  

Escalus

• reliable (consistently counsels Angelo against interim likewise harshly)
  
• virtuous (he'southward merciful, lets Pompey go with a warning in Act 2 Scene i)
  
• loyal (trusts in the Duke)
  

Provost

• hard worker (he'south a prison ward)
  
• virtuous (does what'southward right past him, disobeying Angelo's orders to behead Claudio)
  
• magician (not actually, simply he makes Angelo believe that pirate Ragozine'due south head is Claudio'south)
  

Pompey

• clever (philosophically debates whether prostitution is worse than murder)
  
• funny (his grapheme is the clown, and he'southward got some sassy comebacks)
  
• poor (Pompey is a bawd employed by Mistress Overdone. Non the best dating bio)
  

Claudio

• down for a good time ;) (impregnates Juliet before they are officially married)
  
• cool family (he'south Isabella's brother)
  
• good hearted (initially is horrified at Angelo'south request of Isabella, saying she shouldn't do it. Unfortunately, his fearfulness of decease get'southward to him. After he's calmed down, he's accepting of death)
  

Elbow

• a human in compatible (a policeman)
  
• a little impaired (he speaks a lot of malapropisms - hilariously using similar but incorrect words)
  
• not similar Pompey (Pompey is a clever poor man, while Elbow is a policeman who'south a footling fleck all over the place)
  

Mariana

• dedicated (still in love with Angelo fifty-fifty though he called off their engagement considering her dowry was lost)
  
• a willing accomplice (participates in the bed-trick)
  

Mistress Overdone

• poor (she's a prostitute, who fears for her livelihood when Angelo announces he'south destroying all the brothels)
  
• good hearted (kept Lucio's secret. What secret? Read on…)
  

Abhorson

• works for the Duke (as an executioner…. there'due south no way to make that sound nice)
  
• doesn't have a great name (c'monday it's true)
  

Juliet

• too likes to accept a good fourth dimension ;) (meaning before official marriage)
  
• dependent (if Claudio dies she will probably end upwards equally a prostitute to survive)
  

Boy

• can sing (Mariana asks him to sing a sad song nearly how she lost her beloved Angelo)
  

Francisca

• holy gal (she is a nun)
  

Kate Keepdown (we never actually see this character)

• a colleague of Mistress Overdone (a prostitute)
  
• single mum (Lucio got her meaning then ran away. He thinks marrying a prostitute is akin to whipping and hanging)
  

Ragozine (we never actually meet this character)

• dies (legit that's all he does)

SYMBOLS & MOTIFS

These are people, objects, words etc that represent a theme or idea. For case, the fact that I've used a bad soup metaphor AND a tinder reference means I demand to go outside more. Only let's move on…

Championship

The title, "Mensurate for Measure out" draws from the gospel of Matthew. The thought of heavenly justice vs earthly justice is prominent throughout the text. Moreover, it's worth exploring the Old Testament ways of "an eye for an eye" and "mensurate for measure" in comparison to the New Testament teachings which lean towards forgiveness and mercy. Now, where exercise the Knuckles'southward actions fit in? Is he harsh and equalising? Is he only and sympathetic?

New Testament vs. Former Testament

When the Knuckles sentences Angelo to expiry, he makes a fancy voice communication which includes the play's title.

"'An Angelo for Claudio, death for death!

Haste still pays haste, and leisure answers leisure.

Like doth quit like, and measure still for measure out."

Human activity v, Scene 1, Line 439-441

This mimics the Sometime Testament views, which famously states "center for centre, tooth for tooth" (Exodus 21:24). These ideals teach that the person who committed a misdeed shall have the same misdeed done unto them. (For example, if you lot don't similar my new Facebook contour flick, I'm non liking yours…..simply way more than astringent.)

In comparison, the New Testament states that nosotros "Exist merciful, merely as your Begetter is merciful. Do non judge, and you lot will not be judged. Practise not condemn, and yous will not exist condemned. Forgive, and yous will be forgiven." (Luke six:36-37)

So, when sentencing Angelo the Knuckles employs the words of the One-time Testament. However, he doesn't go through with Angelo's execution, instead showing the mercy encouraged by the New Testament. He's not really following either manner. Perhaps he's instead choosing a heart road; ane of temperance and justice.

Lucio

Wait, who? We haven't mentioned the "gentleman" Lucio much in the plot and in this blog mail. That's because he doesn't actually do that much other than fizz effectually and annoy everyone. Maybe that's why his name rhymes with musquito….

Regardless, we practice see plenty of Lucio'due south character to learn that he'south not a very nice person. He treats Mistress Overdone and Pompey poorly, makes visits to the brothel, doesn't take responsibility for his actions (getting Kate Keepdown pregnant) and bad-mouths the Duke. So yeah, we don't like Lucio, what'southward the big deal? Well, in Act 4, Scene iv Line 182, Lucio says something very intriguing.

"I am a kind of burr, I shall stick."

Burr - those little brown prickly things that go stuck to you.

We can recollect of Lucio as representing all the sins and misdeeds in Vienna - lechery, immorality, lack of justice, selfishness etc. Hence, Lucio is saying that these shortcomings and flaws volition e'er be present to people and in Vienna, sticking to the city like a nasty burr. Damn, that's deep.

Prose/Verse

The metre of the verse (ie. the classic Shakespeare writing) in ''Measure for Measure"  is iambic pentameter. This means that each line is divided into v feet. Within each foot, there is one unstressed syllable followed past a stressed ane.

Consider:

I'll TELL him Nonetheless of ANgelO'Southward reQUEST, And FIT his Heed to DEATH, for HIS soul's Residue. (Human action 2, Scene iv, Line 195-196)

Poesy does not have to rhyme, as the above lines do. Shakespeare oftentimes employs a rhyming couplet to close a scene and add some drama.

Verse is usually reserved for the higher class citizens, with those who are less fortunate speaking in prose.

Prose is language in its ordinary form, with no metre.

Certain characters, such as Lucio, switch between poesy and prose depending on who they are speaking to. This could allude to Lucio'south duplicity, or possibly a deep understanding of grade divides in Vienna.

Names: Escalus and Angelo

Escalus is the ever reasonable and loyal lord and close confidant of the Knuckles. His name gives connotations of scales and rest - characteristic of the rational human being.

Angelo's proper noun has connotations of "angel". If we judge him simply by his name, he should be a pure and heavenly being. Bah! That'south so imitation! We can run into that appearance is very different from reality. Isabella notices this too, stating that "this outward-sainted deputy...is still a devil" (Act iii, Scene 1, Line 95-98).

Angelo's Words/Actions

There is and so much to unpack about this douchebag. Let us briefly consider two ideas. When he propositions Isabella to sleep with him, he requests that she "lay downward the treasures of (her) body" (Act 2, Scene 4, Line 100).

Firstly, that's weird. Perhaps Angelo can be seen as someone who is obsessed with the physical - Isabella's body and treasure. Maybe this obsession leads to his immorality and poor leadership.

Secondly, Angelo struggles to directly say, "hey, let's sleep together". He weaves his way around the request, propositioning Isabella so indirectly that at starting time, she does not fifty-fifty seem to empathise his request! Notwithstanding, once she threatens to tell everyone about his vile demand, he speaks bluntly; "Who will believe thee, Isabel?" (Human action 2, Scene 4, Line 163). Perhaps this shows Angelo is self-aware that he's being an ass. Or perhaps this scene is yet more evidence of a patriarchal gild, with the men knowing very well the ability they hold.

Ragozine

We never actually meet this swain. Ragozine is a pirate who dies in jail while "Measure for Measure out" unfolds. His head is used in identify of Claudio's to convince Angelo of the sometime's execution. Fascinatingly, Ragozine is the only person who dies in the unabridged play. Likewise, he dies of natural causes. Interesting. Information technology feels like the play is full of death, grief and many heads on the chopping block. Only curiously, in that location is only one death, of a small character, of natural causes. Peradventure this says something about fate and justice or offers some commentary on life and promise.

Elbow vs. Pompey

Elbow is a empty-headed policeman who speaks in malapropisms (using a similar merely incorrect discussion for humorous effect). Pompey is a clever pimp who seems to have a deep understanding of justice and the Viennese people. The comparison of these characters, fortunate and impaired to unfortunate and clever, perhaps serves to show that the police is not always apt and that sometimes those who suspension the law are more than clever than it.

Mistress Overdone (or lack thereof)

Mistress Overdone is a pitiable prostitute. She worries for her survival when Angelo begins pulling down the brothels, and she keeps Lucio'south bastard child a secret, but for him to throw her under the coach to save his own skin. The last we see of Mistress Overdone is her getting carted off to prison, crying "See how he goes near to abuse me!" (Act iii, Scene i, Line 481) Yep, the concluding we witness of one of five speaking female characters is of her imminent incarceration. Furthermore, this happens in Human activity 3 of 5, around halfway through the play! The audience never hears from Mistress Overdone again, and her hereafter is left uncertain. Even Barnadine, a convicted murderer, is given liberty and a happy catastrophe.

Consider writing a few sentences of your essay from a feminist'southward perspective. Think almost the events of the play from the female characters' points of view. What is Shakespeare proverb by portraying Mistress Overdone (and other women) in such a way? Perhaps he is pointing out the injustices of the patriarchal system, or how uncertain a woman'due south life was in his contemporary fourth dimension.

"Mensurate for Mensurate" truly is an incredible text. This weblog post is by no ways an exhaustive listing of all its quirks and complexities. This play's relevance has survived centuries, and I believe it will keep to be pertinent to audiences well into the futurity. Y'all are very lucky to be studying a text with such universal themes and ideas that you can deport with y'all even after high school.

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Source: https://www.vcestudyguides.com/blog/to-kill-a-mockingbird

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