act 2 : scene 4 Flashcards
who speaks the most? why? what does this suggest about that character and their relationship with the other characters in the extract?
Angelo and Isabella have an even amount of words. This shows how even the power dynamic is. He has the power but she has the power over him
is the extract in blank verse or rhyming couplets or prose? is this consistent throughout? if not, where does it change and why?
blank verse throughout
are imperatives used?
yes
word placement
“pleasure” mistakenly seductive
repetition of a word/phrase - is the repetition from the same character or does one character repeat another character’s words?
Words like ‘sin’ and ‘charity’ as well as others
how does the extract connect to the themes of the play? - disguise, power, religion, appearance/reality etc?
religion, power, appearance/reality
sentence length
varied, but overall long
asides
none
contrasts/opposites
contrast in opinions
is there a soliloquy?
Angelo has one in the beginning. Shows conflicting thoughts about Isabella. Isabella has one at the end when realising no one will believe her
what is the tone of the extract? does the tone change? if so, what words indicate the change?
serious
imagery - simile, metaphor, personification
many throughout (lines 96 and 101-102)
sibilance, alliteration
come back to
what is happening in the scene:
- Angelo tells Isabella that he will spare Claudio if she agrees to have sex with him
- Isabella threatens to expose Angelo’s hypocrisy but he taunts that no one will believe her, and she admits the truth of this
- Isabella reflects that she cannot give up her virtue at any price
key point of this scene: 1
Begins with a long soliloquy in which Angelo registers an incredulous self-realisation ie. Isabella has awoken him to the fact that she is the woman who can fulfill his wants
key point of this scene: 2
Angelo’s blood was previously ‘snow broth’ and it now flows. Symbolises his previous persona was a form of false ‘seeming’ and that in order to become a whole man, he must come to terms with his aroused sexuality
key point of this scene: 3
He wants to know why he can no longer keep control of his own body. ‘Necessary fitness’ - he has got an erection because of Isabella
key point of this scene: 4
Line 16 - expresses his self-disgust at his realisation that his body (‘devil’s horn - penis) is letting him down. His metonyms for his penis (lines 6 and 16) betrays him and leads him to temptation
key point of this scene: 5
Angelo’s soliloquy provides an ironic context for Isabella’s first remark: ‘I am come to know your pleasure.” Meant to be as a courteous cliché but we know Angelo hears it as an ulterior meaning
key point of this scene: 6
Shakespeare deliberately makes Isabella use the provocative term “pleasure” innocently, which sets the tone for their exchanges - dramatic irony at Isabella’s expense
key point of this scene: 7
Angelo may sound like he is toying with her emotions, yet he is actually preparing the context in which Isabella may give her consent to sex with him as Isabella does not know his ulterior motive, thinks they are purely hypothetical questions and sounds as if he is talking in general terms
key point of this scene: 8
Line 54 - ‘you’ is used to personalise the argument. Angelo uses a hygienic way of speaking which underlines his squeamish reluctance to come straight out with the indecent proposal. Oxymoron ‘sweet uncleanness’ shows this, which betrays his puritanical attitude to sexual intercourse
key point of this scene: 9
Lines 55-56 illustrate the extent to which the two protagonists remain at cross-purposes and articulates the position of fornication in Renaissance theology: a mortal sin for which a fornicatress would be consigned to eternal damnation. ‘I’ is not a response to the question but a general reflection from Isabella
key point of this scene: 10
He uses another question which is an impossible dilemma by adopting an alternative attitude to the mortal ‘sin.’ If the ‘sin’ were an act of charity, to save a life, would it compensate. Isabella agrees that such a pardon would not be a sin. Angelo uses this against her
key point of this scene: 11
The dramatic irony continues through lines 96-98 in which Isabella replies with (lines 102-104 and lines 107-109) that there is a fate worse than death (eternal damnation for having committed the mortal sin of fornication). She still thinks this is all hypothetical
key point of this scene: 12
Now that Angelo is aware that he is in fact just like other men, he suggests that Isabella should stop pretending to be a nun and be a woman and tells her to dress like a woman ( lines 136-139). As Angelo has just been converted, he automatically assumes that she has been pretending to find sex so distasteful
key point of this scene: 13
Line 142 - she originally overlooks his directness, but in her response it goes to the heart of Angelo’s dilemma. Isabella finally sees his purpose is pernicious
key point of this scene: 14
Angelo begins to act like a tyrant and and wilfully confuses his social rank (Deputy Governor of Vienna) with his cosmic rank (below God and the Angels). because of his appointed place in the state, he ignores his appointed place in the universe. He is letting his appetitive element predominate
key point of this scene: 15
Shakespeare’s aim is to show how powerful and ruinous a force a man’s appetite can be if it is not controlled by compassion. Signifies the lengths to which a man will go in order to satisfy his sexual needs
key point of this scene: 16
In her soliloquy (her only one in the play), Isabella accepts that Angelo is in an impregnable position and has opened up such a wide gap of credibility between private and public knowledge that it is pointless to complain. Isabella goes to tell Claudio the good news that he will die
key point of this scene: 17
Shakespeare wants us to see this decision as self-indulgent. Isabella is playing God with her brother’s life and there is an imbalance in her soul too. Lines 185-186 (couplet) (scales weighing up the deal) show her triumphant tone suggesting that this is right. NOT measure for measure
points to include: 1
In his soliloquy, Angelo asks for forgiveness from God and reflects on how everything he has been doing until now seems unappealing. He wishes he could change who he is and be like everyone else (find it meaningless). When Isabella arrives he finds it overwhelming
points to include: 2
At first, Isabella accepts Angelo’s decision of her brother’s death as everyone must die eventually, but Angelo realises she’ll leave if he doesn’t continue
points to include: 3
Isabella would die for Claudio, but not have sex. Better if he dies but repents than if she had sex and died (goes to hell)
points to include: 4
Lines 101-103 - sexual kink. Not best line to use in front of Angelo. Sexual sado-masochism: how she rejects his proposition
points to include: 5
Line 141 ‘conceive’ - connotations of sex. Angelo does not love her, he is blackmailing her into having sex and likes the idea of her purity (that he will take away)
points to include: 6
The “hidden concept” the Duke knew Angelo had is this side to him
points to include: 7
Isabella “knows” that if she asked her brother if she should have sex he would say no
points to include: 8
Angelo’s last appearance ended with a soliloquy, showing that he has been struggling with his desires ever since
points to include: 9
Line 15 anticipates line 150 and both echo the Duke’s plan of ‘what seemers be’ in act 1 scene 3
points to include: 10
This scene is full of tense formulations of equivalence and exchange as both of them explore and assert their individual moral codes: soul vs the body, sin vs charity, swift death vs eternal damnation, Isabella’s ignorance vs her sexual teasing. All of these are versions of the central exchange of sex vs life
points to include: 11
In previous scenes, Angelo was always adamant and inflexible. Here it is Isabella
points to include: 12
Isabella relies on Claudio agreeing with her decision in her soliloquy. She resolves on absolutes (line 180 and 185). The final four lines fall into couplets, emphasising the finality of her moral decision
