Shakespeare's Measure by Measure: A Play Misunderstood - Book Report/Review Example

Measure by Measure: A Play Misunderstood Introduction “Measure for Measure” is a comedy, but some critics consider it as a form of bitterness and cynicism (Clark 17). The play explores vital moral issues evolving around Puritanism and Christianity. Manipulations and secret identities are the framework of the play that eventually led it to its happy ending. First, the Duke decides to hide under a friar’s identity and resolves several issues after disclosing his true identity. Second, the Duke plans two situations that entail mistaken identity --- Mariana pretending to be Isabella, and a pirate’s head instead of Claudio’s. The Duke creates intrigue unraveled towards the end of the play. The Duke, under disguise, plays the role of a master manipulator despite the fact that he appoints Lord Angelo to take his place during his absence. Compared to other Shakespeare lead characters, the Duke proves himself to be smart enough not to be outwitted by the other characters. He mainly uses Lord Angelo to fill in for his failure to maintain order in his jurisdiction. Due to this, despite Lord Angelo’s defects, the Duke pardons him in the end (Levin 21-3). Aside from the genre, there are other aspects of the play that can easily earn questions particularly from modern readers. For one, discussions on each character’s beliefs on morality, sexual relationships, justice, or freedom are not thorough (Watson 242). One particularly fascinating fact is the lack of exploration on the fact whether Isabella should commit a moral crime to save her brother’s life. Isabella thinks it is not right to do so. Her brother thinks it is fine and asks her to save his life. The Duke disregards the two choices and proceeds on giving Isabella a new plan. This gives the story a chance to prove that the Duke is again wise and correct in being suspicious of Angelo’s proposal to Isabella. Due to this, Isabella comes out without sin, and although people may think of her as cold-hearted because she does not save her brother, they would eventually realize that if Isabella exerted efforts, they would still be futile and she would have sinned for nothing (Levin 25-6). Another aspect is the bed trick, which appears to be a foolish ploy planned by a supposedly wise Duke (Desens 11). People today clamor for realistic plots --- the more true-to-life, the better. This mindset alone can put this scene under scrutiny that could add to the many questions thrown at the play due to misunderstanding. This paper aims to some issues that will help even the ordinary reader understand one of Shakespeare’s masterpieces, and how each of these issues is necessary to make the other issues emerge, thus lead the play towards its happy ending. Comedy or Tragedy As stated above, despite being generally classified as comedy, several critics consider “Measure for Measure” as allegory, satire, tragicomedy, and even tragedy (Clark 21). It seems that not only the characters’ hidden identities are confusing in the play, but its form as well. Some scholars point out that the play is comedy merely due to its forced happy ending, however, the actions, characters, and even the themes are tragic (Levin 37). This is proven by the fact that if not for the Duke’s manipulations, there would be no happy ending in the play. Even the play’s poetic lines that discusses the humans’ fleeting stay on earth and the fear of death’s mystery indicates style commonly used in tragedy (Hadfield 71). To better understand this, one has to look at how the play relates to Shakespeare’s life. At the time the play is written, Shakespeare is said to be going through a tragic streak. It is said that this very streak causes him to author several other tragedies like Macbeth, King Lear, Othello, and Hamlet. Additionally, it is said that he is going through revulsion to sex at this time. Critics claim that the poet’s devotion to the play is not full, hinted by evidences of collaboration in “Measure for Measure.” (Levin 13) However, biographical proofs that Shakespeare has no stomach for comedy during this time are limited (Clark 22), since the theories are mainly based on the contents of his other texts. Therefore, is cannot be said that the confusion whether the play is tragic or comedic is a result of the author’s tragic streak, revulsion to sex, or even depression. In analyzing what genre the play belongs in, it is vital to know that happy endings are what primarily characterize comedy during the poet’s era. On a more specific level, romantic comedy is characterized by the theme of love, a romanticized protagonist, and a happy ending. Tragicomedy, on the other hand, is characterized by a tragic theme and a happy ending due to problems resolved by the “deus ex machina.” Conventions usually include contrasting vices and virtues, disguises, love, and characters of noble lineage (Clark 26-7). With these being the standards, it is clear that “Measure for Measure” falls into either romantic comedy or tragicomedy genre, or even both. Still, despite the presence of all the usual conventions, modern scholars object to the forced happy ending in the play. However, readers should still keep in mind that audiences during the poet’s era are used to these endings, therefore proving that this supposedly abrupt ending is not due to the poet’s detachment from the play. Subplots as Undercurrents Tragedy pervades the main plot of the play, which is why several critics would like to view the text as tragedy. The comic relief is provided mainly by the subplots. However, the parallelism of the subplots to the main plots is obvious throughout the play. For example, Claudio suffers from the abrupt implementation of morality laws in Vienna, just like Pompey and Mistress Overdone. Lord Angelo implements the morality laws, just like the naïve constable Elbow enforces them in the subplot. However, these subplots are just given enough life to provide additional twists, but not enough to stand alone. This is the style done by the poet to allow the subplots to serve as undercurrents to create the hilarious contrasts between the main plot and the subplot. This proves further that the play is intended to be comedy (Hadfield 71 and Levin 33). Furthermore, the minor characters are intentionally made humorous, energetic, and simple. Some scholars see them as obscene and vulgar representations of a morally corrupted society. Still, if one would notice how they invoke sympathy and humor, it will be easy to see how attached the poet is to the creation of the comedy in this play. Even the harmless characteristic of their wit serves as hint that they are meant to be humorous (Levin 34). The Bed Trick and Questions on the Morality of the Major Characters Another criticism the play receives is the fact that Mariana willingly accepts to substitute Isabella in the play’s bed trick. Isabella again suffers from criticism, this time not for being cold-hearted in not saving her brother, but for allowing Mariana to sacrifice for her. The goodness of her nature is questioned because of her role in the Duke’s plan --- to make Mariana commit the moral crime that she herself repulses. Even the Duke’s character is questioned in this ploy to trick Lord Angelo. Suddenly, the Duke and Isabella appear to be as corrupt as the play’s milieu. However, before passing any judgment on the play or the poet, it is again significant to have a deeper understanding of the norms pervading the poet’s audience during that era. First, regarding Mariana and Angelo’s relationship, one has to understand that it is an accepted custom to have a betrothal ceremony prior to the wedding celebration. The betrothal provides conjugal rights to the persons involved, thus saying that any sexual relationship between Angelo and Mariana is not considered an act of immorality. This is in contrast to Claudio and Juliet’s relationship, where their secret betrothal does not provide them conjugal rights because there are no formal witnesses or celebration accompanying it. It can therefore be said that while Juliet and Claudio are guilty of an immoral crime, Mariana and Angelo’s relationship carries no such dishonor. This then helps audiences understand the play better. It clears the Mariana, Isabella, and the Duke of accusations of immorality. However, it does not help in decreasing the weight of Claudio’s crime (Levin 41-3). Another part that might earn the play criticisms is the fact that bed tricks are admittedly dramatic foolishness (Desens 25). This makes the audience accept the fact that, even under the guise of another, a woman can go to bed with a man unrecognized, despite the fact that the man knows so well the woman he is supposed to be with. Furthermore, it asks the audience to accept that women are willing to take part in such trickery despite being left heartbroken by that same man. Moreover, this taints Marianna’s character when she could have just remained pure in the eyes of the audience. In looking again at the norms pervading the poet’s era, audience are used to seeing men failing to recognize their lovers. This is usual in a Renaissance drama. For example, tales of deserted wives coming back in disguise to their husbands are customary. The audiences during that period are used to considering such plots in plays as acceptable even though they would have mocked them in real life. Therefore, modern-day readers and critics should consider that the bed trick is not unusual and foolish to Shakespeare’s audience as it appears to be now (Desens 27-8). It is also necessary to maintain Isabella’s purity until the end of the play. The poet then devises a means for her to refuse Lord Angelo’s offer while fooling him to believe that they are met. Giving in to Lord Angelo’s demand would have damaged Isabella’ virtue and the overall dramatic ploy set against moral corruption in the play’s entirety. Refusal to give in to the demand would put Claudio’s life at risk, which would have hindered the play’s happy ending. If this happens, there will be no room for atonement, pardon, mercy, and justice --- which are the overall themes of the play. Therefore, the bed trick is a necessary element to pave the way for the realization of these themes toward the play’s happy ending. Short Discourse on the Themes Generally, the play discusses merciful justice, and only Lord Angelo demands strict compliance with the law. The juxtaposition of mercy and justice with strict law implementation makes Lord Angelo both the victim of his own regulations, and a beneficiary of the advocates of mercy’s pardon (Watson and Bawcutt 242-3). Because of the merciful treatment, criminals responded with seeking forgiveness, giving way to the play’s happy ending. The contrast of genuine virtue and hypocrisy appears to be a satire of sanctimonious Puritanism, a religious movement during the poet’s era (Watson and Bawcutt 244-5). Conclusion Generally, the play is a comedy and the comic relief is presented through the subplots. Since the play is a comedy, it is vital that is has a happy ending. A happy ending is achieved only when the major positive themes of the play are realized, and the negative themes are exposed. This is why the disguises and the bed trick are necessary. Additionally, the bed trick also relieves the major characters from the burden of being victims of the very thing the play attacks. Therefore, each of these elements is necessary in letting the other elements emerge. For example, without the bed trick, Isabella’s virtue would have been tainted that would eventually cause a domino effect that might hinder the play’s happy ending, and without a happy ending, the play cannot be considered comedy. Works Cited Clark, Ira. Rhetorical Readings, Dark Comedies, and Shakespeare's Problem Plays. Gainesville: University press of Florida, 2007. Print. Desens, Marliss C. The Bed-Trick in English Renaissance Drama: Explorations in Gender, Sexuality, and Power. Newark: University of Delaware Press, 1994. Print. Hadfield, A. "Shakespeare's Measure for Measure." The Explicator. 61 (2003): 71-72. Print. Levin, Richard A. Shakespeare's Secret Schemers: The Study of an Early Modern Dramatic Device. Newark: University of Delaware press, 2001. Print. Watson, Robert N, and N W. Bawcutt. "Review of the Oxford Shakespeare Measure for Measure." Shakespeare Quarterly. 44.2 (1993): 242-245. Print. Read More