Context Flashcards
(43 cards)
the First Folio
First collected edition of Shakespeare’s plays
Published in 1623 (eight years after his death)
Included ’Measure for Measure’ among the comedies
comedic structure of the play
the play is very dark and complex, featuring themes of sex, judicial punishment and prostitution
many prefer to see comedies as lightweight, with love and romance, but despite its controversial themes MFM still fits the comedic criteria….
- begins in trouble, ends in peace
- ends with multiple marriages
- features characters intended for comedic relief
Thomas Heywood
Thomas Heywood, a Jacobean playwright, said that “comedies begin in trouble and end in peace: tragedies begin in calms and end in tempest”
King James I
James recently became King of England following the death of Elizabeth I in 1603
First documented performance of Measure for Measure was in 1604 and it is possible that Shakespeare had been influenced by the attributes of King James when creating the character of the Duke
Period of great social change - Elizabeth I was dying without an heir, so her cousin James took the throne (a time of fear and anxiety)
James was also the King of Scotland and was known as a foreign king who did not seem to understand key English values (e.g. Scotland had no theatres at all, so English culture was strange to him)
Was unpredictable, fond of grand gestures and a complex and admired intellectual (parallels to the Duke)
James i parallels to the Duke and Angelo (qualities of James are reflected in both the Duke and Angelo)
Hated crowds and public acclaim….
AO1: Duke- “I love the people but do not like to stage me to their eyes”
Angelo and James both enforced the laws and were quite unpredictable….
AO3/AO5: James executed a man on the spot without trial,
-This was not customary in England
…Thus made a huge impression
AO1: links to Angelo’s execution of Claudio to set an example of his power)
Basilikon Doron (1599)
James I wrote the Basilikon Doron, in which he described what qualities he believed would make a good ruler and king, specifically a balance of justice and mercy
Admitted that he had been too lax at the beginning of his reign,
AO1: “T’was my fault to give the people scope…”
source of the play: Cinthio
how does Claudio’s character differ from his equivalent in the play’s source?
the man in Claudio’s position has raped the woman in Juliet’s position
however, in MFM, Claudio and Juliet are in love and plan to get married, their relations have been purely consensual
this makes the audience react differently to the male character, leading us to feel more sympathy for Claudio and therefore view Angelo as all the more harsh and overly severe
Italian Source:
Written by Giovanni Battista Giraldi (also known as Cinthio).
Part of his collection Hecatommithi (or 100 Tales).
The specific tale is the legend of Measure for Measure.
The Prince by Machiavelli
influenced the character of the Duke
Richard Wilson argues that the Duke is a scheming and manipulative Machiavellian figure
the term Machiavellian comes from ‘The Prince’ by Niccolo Machiavelli in which a duke rules over a state where laws are disregarded
he gives absolute power to his deputy to reinstate the laws, the deputy does this cruelly and becomes very unpopular with the people (similar to the Duke and Angelo in MFM)
the duke then returns and tells the people this cruelty had not come from him, essentially the laws have been reinstated and he gets to retain the love of the people
therefore, a Machiavellian character is manipulative and scheming, getting what they desire by using someone else, they have hidden motives
the story essentially describes a manipulative figure with mysterious motives and influenced Shakespeare’s creation of the character of the Duke
deus ex machina
the Duke returns at the end of the play to restore peace and harmony and wishes to be credited with doing so, despite the fact that he is partly responsible for the lack of peace to begin with
typical features of Shakespeare’s plays
they tend to end with the restoration of order and stability
frequently, authority figures are undercut and undermined by a comic or parodic figure such as the Duke with Lucio and Prospero with Caliban in ‘The Tempest’
such rebellious and mocking voices often reject and defy the established order
potentially good characters with a fatal flaw are seen in numerous Shakespeare plays (Macbeth, Othello, etc) - arguably, Angelo is a potentially good man, albeit vulnerable, that has a fatal flaw that leads to his downfall
Angelo can therefore be seen as a ruthless hypocrite or a sympathetic tragic hero with a fatal flaw
censorship of stage plays
stage plays were subject to censorship and any criticism had to be muted or oblique
direct criticism of the monarch or contemporary English court would not be tolerated
this could explain why Shakespeare’s plays are always set in the past or abroad (e.g. MFM is set in Vienna, but many believe it is about London society)
sources of the play
sources provide the plot of MFM…
- Hecatommithi by Cinthio (1565)
- Sermon on the Mount
- Promos and Cassandra by Whetstone
Shakespeare altered Cinthio’s Hecatommithi and Whetstone’s Promos and Cassandra, which creates a much more complex plot (e.g. we feel sympathetic towards Claudio)
Cinthio (1565)
a story by Cinthio, published in 1565, is a source for the play
however, in Cithio’s tale, the woman is the sister of the condemned man and he is in prison for rape
how did Shakespeare depart from his source?
Shakespeare departed from the source in several ways
he ‘softened’ Claudio’s crime (he is not in prison for rape, his relationship with Juliet was consensual and his crime in merely extra-marital sex)
he elaborated Isabella’s chaste instincts by giving her a religious vocation
he allows Isabella to retain her chastity through the ‘bed trick’
Sermon on the Mount
another source is the biblical Sermon on the Mount
the play’s title echoes Jesus’ passage: “with what measure ye mete, it shall be measured to you again”
a warning against judging others harshly without looking at one’s own faults, Christ taught that if we judge others we can expect a similar judgement for ourselves (Angelo? a message to the audience themselves?)
Shakespeare uses Christ’s teachings to explore justice and mercy and introduce the overall theme of balance and equivalence
Matthew 7:2
For with whatever judgment you judge, you will be judged; and with whatever measure you measure, it will be measured to you.
coins
when the Duke tells Angelo that he is to be appointed as deputy, Angelo likens himself to a metal coin that should be tested for its value and worth – “Let some more test be made of my metal / Before so noble and so great a figure / Be stamp’d upon it”
in the 16th century, the value stamped on the coin was equal to the value of the metal used to make it, so Angelo feels that he should be tested to be sure he can fulfil the task
the angel-noble coin
the angel-noble was a gold coin bearing the image of the Archangel Michael defeating Satan in the form of a dragon
Angelo seems to feel that, like the Archangel, he should actively destroy the evil which infects the state and so decides to sentence Claudio to death for fornication
however, this may also be a pun on his name, as Angelo is far from an ‘angel’ and may even be the ‘evil’ that needs destroying rather than the angel doing the destroying
lessons featured in the Basilikon Doron
Basilikon Doron was essentially a guideline on how to be an effective monarch and contained James’ views on the attributes needed to be a good ruler
the first part describes a king’s duty towards God and the Duke believes that “He who the sword of heaven will bear / Should be as holy as severe”
the second part focuses on the roles and responsibilities in office, James encouraged his son to be a good king rather than a tyrant by establishing and executing laws as well as governing with justice and equality, emphasising the need to balance “mortality and mercy”, which is the central theme of the play
he also advocated the need to be well acquainted with one’s subjects, understand the laws of one’s own kingdom and actively participate in the Council
the third part concerns proper behaviour in daily life: “Pattern in himself to know / Grace to stand, and virtue go”
James also revealed that he was very sensitive to slander (“the malice of the children of envy”) just like the Duke, who has two soliloquies complaining about “back-wounding calumny” and is so wounded by Lucio’s accusations that he sentences him extremely harshly, stating that “Slandering a prince deserves it”
J W Lever
similarity between the Duke and James
“The need to hold on firmly to a middle way in the church, the state and in private life was repeatedly stressed by the king himself”
the position of women: example of the Duke and Mariana
Shakespeare clearly portrays the position of women in 17th century England
the Duke tells Mariana in the final scene, if she is neither maid nor widow nor wife then she is nothing, which reinforces the idea that a woman’s worth lies in serving men, either by being their maids or their wives, and if a woman fulfils none of these prescribed roles then she is worthless
Act 5 Scene 1:
Why, you are nothing then: neither maid, widow, nor wife?
In this passage from Shakespeare’s “Measure for Measure,” the Duke challenges Mariana’s ambiguous social status through a series of questions. Having neither the purity of a maid, the bond of a wife, nor the finality of a widow, Mariana seems to exist in a societal void that defies traditional categories. This moment underscores Shakespeare’s exploration of the complexities and constraints of societal labels, particularly those placed on women. Mariana’s responses highlight how women’s identities were often strictly tied to their relationships with men. The dialogue reflects on the limitations of such roles, questioning their relevance and the identity of those who don’t fit neatly within them. Through this exchange, Shakespeare critiques the rigid structures of societal norms, suggesting that a person’s value or identity should not be solely determined by their marital status or sexual purity.
the position of women: restrictions placed upon women
Here’s a bullet-point breakdown of all the information provided:
Status and Rights of Women
- Unless a woman was a widow, she had no status and could not own property, regardless of her social class.
- Even high-class women were not allowed:
- To participate in government.
- To attend school or university.
- To work.
Education & Skills
- Women were typically tutored at home in skills that would make them attractive to future husbands, such as:
- Dancing
- Music
- Drawing
- Sewing
- Running a household
Inheritance & Marriage Control
- Women could not inherit money or a title.
- Their closest male relative had significant control over their lives:
- Could dictate whom they married.
- Could withhold their dowries if they chose to.
- A dowry was crucial because:
- The future husband was expected to provide everything for his wife.
- If the dowry was not provided, it was legal to dissolve the engagement.
Marriage & Legal Ownership
- Once married:
- Everything a woman owned (including personal belongings) belonged to her husband.
- Even her children legally belonged to the husband.
the position of women: the Church
the Church supported the state’s position, arguing that Eve had played the principal role in the fall of man
Saint Paul, in the New Testament, said about the duty of women in marriage: “Let the woman learn in silence with all subjection” and “I suffer not a woman to teach, nor to usurp authority over the man, but to be in silence”
he urged obedience, commanding “Wives, submit yourselves unto your own husbands” and young wives who followed these writings were “discreet, chaste, keepers at home, good, obedient to their own husbands”
the position of women: King James
King James enshrined the husband’s authority in Basilikon Doron
he said that “Ye are the head, she is your body: it is your office to command, and hers to obey; but yet with such a sweet harmony, as she should be as ready to obey, as ye to command”
he also said that a man should choose his wife as he would choose a servant, a dog or a horse (obedient, subservient, etc)
the position of women: Isabella
Isabella says what men want women to say when she admits to Angelo “Nay, call us ten times frail / For we are soft as our complexions are / And credulous to false prints”
however, she is making the point that women are easily influenced by a man’s false persuasion and Angelo interprets this to mean that she is ready to give in to him so he tries more direct seduction, to which she strongly resists