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MfM ao5 > ao5 > Flashcards

ao5 Flashcards

1
Q

“the play moves between the two different worlds of court and city”

A

Hampton-Reeves

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2
Q

“we see the characters fretting about the nature of authority and suffering when authority is misapplied”

A

Hampton-Reeves

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3
Q

“those in the audience at the court were invited to see in the play’s presentation of justice a mirror for themselves”

A

Hampton-Reeves

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4
Q

“the two principal theatrical spaces for which Shakespeare wrote Measure for Measure were strikingly different”

A

Hampton-Reeves

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5
Q

“Measure for Measure is, on one level, a play about succession management”

A

Hampton-Reeves

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6
Q

“It is a strong affirmation of the importance of good governance for a court audience, and a cynical satire about the inconvenience of over-zealous authoritarianism for a city audience”

A

Hampton-Reeves

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7
Q

“underlying such proceedings was the assumption, as in Measure for Measure, that morality could and should be legalised”

A

Maus

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8
Q

“the repeated characterisation of Angelo as “precise” associates him with the rigorists”

A

Maus

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9
Q

“the question of what constitutes adequate severity is certainly at issue”

A

Maus

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10
Q

“Shakespeare carefully distinguishes the world of his play from seventeenth-century England”

A

Maus

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11
Q

“attentive to general issues about the often-vexed relationship between civic life and human passion, and between religious commitment and the conduct of secular affairs”

A

Maus

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12
Q

“debates over the extent to which the state ought to monitor the sexual behaviour of citizens”

A

Maus

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13
Q

“the lucidity with which Angelo analyses his own motives leads not to penitence but to an increasing moral recklessness”

A

Maus

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14
Q

“some modern critics have found her defiance heroic, others chilling or selfish”

A

Maus

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15
Q

“virginity is a principled choice, not an accident of youth”

A

Maus

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16
Q

“the effect of Shakespeare’s innovations on Whetstone, then, is both to heighten the ambivalence of the story and to focus the moral spotlight on Isabella’s convictions and the choices that follow from them”

A

Maus

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17
Q

“there is something decidedly un-Christian, even blasphemous, about assuming the prerogatives or a friar when one has not gone to the trouble of entering holy orders”

A

Pollock

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18
Q

“the malice with which he inflicts mental torture on all those he secretly intends to save can hardly be considered a Christian virtue (although it has been construed as a form of divine retribution)”

A

Pollock

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19
Q

“his real intention being to test Angelo’s nature”

A

Pollock

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20
Q

“a Morality Play about the dialectic of Justice and Mercy, ending in an atonement won through love”

A

Empson

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21
Q

“the Duke is implicitly compared to God”

A

Empson

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22
Q

“when in [Act Three Scene One] the Duke comes forward in his disguise as a friar, the action changes its mode, its conventions, its perspective”

A

Brockbank

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23
Q

“using Romantic tricks to recover order from human disarray”

A

Brockbank

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24
Q

“the divine and human comedy of Measure for Measure”

A

Brockbank

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25
Q

“the Duke’s lies are white lies, meant to save the situation for the time being”

A

Brockbank

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26
Q

“the Duke [enters] into an imperfectly convincing conspiracy of creative deception […] finding a theatrical solution to an otherwise insoluble human problem”

A

Brockbank

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27
Q

“the human values and verities exhibited in the play - justice, mercy, chastity and love”

A

Brockbank

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28
Q

“Shakespeare is taking advantage of the range of conventions which the Jacobean theatre used in masque to allegorize the elusive ways of the gods”

A

Brockbank

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29
Q

“the fantastical Duke is a trickster too, and Shakespeare a trickster, but the tricks are played to a saving purpose”

A

Brockbank

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30
Q

“Isabella’s version of the human spectacle becomes Shakespeare’s”

A

Brockbank

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31
Q

“‘the resolution of the plot’ is ballet-like in its patterned formality and masterly in stagecraft”

A

Leavis

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32
Q

“modern audiences and readers have not found particularly comic”

A

Mullan

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33
Q

“marriages conventionally represent the achievement of happiness and the promise of regeneration”

A

Mullan

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34
Q

“some concluding marriages - […] the Duke and Isabella in Measure for Measure - seem designed to look convenient rather than affectionate”

A

Mullan

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35
Q

“end with the prospect of a marriage that will redeem the errors of the past, none of them has much room for laughter”

A

Mullan

36
Q

“even as he relished comedy he pushed against its limitations”

A

Mullan

37
Q

“our feelings of justice are grossly wounded in Angelo’s escape”

A

Coleridge

38
Q

“Isabella herself contrives to be unamiable, and Claudio is detestable”

A

Coleridge

39
Q

“conflict […] between individual rights to sexual freedom and the responsibilities of rulers to regulate their subjects’ sexual behaviour”

A

McLuskie

40
Q

“Measure for Measure stages the interweaving of sexuality, morality and power”

A

Chedzgoy

41
Q

“the traumatic consequences of extending the legal surveillance of social behaviour into the bedroom”

A

Chedzgoy

42
Q

“how hard it can be to expose and condemn the misuse of public power for sexual purposes”

A

Chedzgoy

43
Q

“Isabella here attempts to […] achieve a kind of moral justice that lies outside the scope of legal process by appealing directly to the ruler”

A

Chedzgoy

44
Q

“the cry of her solitary female voice is dramatically juxtaposed with the staging of patriarchal civic spectacle”

A

Chedzgoy

45
Q

“questions of legal judgement and the ethical relations between justice and mercy are central to the action of this play whose title comes from the Gospel of Matthew”

A

Chedzgoy

46
Q

“the dramatic action of Measure for Measure explores two competing interpretations of this ethical rule [Matthew]”

A

Chedzgoy

47
Q

“rhyming couplet here gives his words the status of proverbial common sense”

A

Chedzgoy

48
Q

“[Shakespeare] considers competing ideas of just retribution and mercy”

A

Chedzgoy

49
Q

“tragicomedy requires a joyous acceptance of the last-minute swerve into the territory of the happy ending that is rarely experienced by audiences watching this play”

A

Chedzgoy

50
Q

“Isabella’s journey from the safely enclosed feminised space of the convent through the messy, risky streets of Vienna ends here, at the heart of the patriarchal power structures that sustain the city’s order and underwrite it’s claim to administer justice”

A

Chedzgoy

51
Q

“a play about justice, mercy, honesty, forgiveness, virtue, virginity, sex and death; kaleidoscopically one section of the play mirrors the other”

A

Brook

52
Q

“[the ending] has to be negotiated every performance”

A

Stevenson

53
Q

“Measure for Measure is resistant to definitive interpretations and evaluations”

A

Linciano

54
Q

“the doubtful improvement of its characters, it’s equivocal genre alternately classified as a tragicomedy or a problem play, as well as it’s perplexing happy ending”

A

Linciano

55
Q

“the sense of ambiguity that permeates the whole drama”

A

Linciano

56
Q

“a contest between competing sets of ideas and by the use of language as a subversive tool for producing a range of plural and unstable meanings”

A

Linciano

57
Q

“Shakespeare deliberately provided no “solution” to the drama’s inconsistencies and mysteries”

A

Linciano

58
Q

“the realm of politics interwoven with religion”

A

Linciano

59
Q

“an inquiry into the problems posed by the exercise of justice and judgement, and as an investigation of the dangers, limitations and necessity for authority”

A

Linciano

60
Q

“Shakespeare’s underlying belief that not all situations in life can be approached or solved with a set of absolute and ready-made standards”

A

Linciano

61
Q

“human justice will always suffer from the irresolvable tension between the respect for general principles and practice of sensitivity towards the individual’s unique narrative”

A

Linciano

62
Q

“unexpected and disappointing verdict is far from being a gratuitous act off forgiveness, and is far from providing any comprehensive solution to the contradictory and dialectical nature of social and political life”

A

Linciano

63
Q

“Angelo shows more interest for what the law is than for what the law ought to be”

A

Linciano

64
Q

“Escalus and Isabella manifest the pressing need for mercy and empathy in the administration of justice”

A

Linciano

65
Q

“the law that Angelo is enacting is unreasonable and unfair because it isolates three basic principles: individuation, particularization and proportionality”

A

Linciano

66
Q

“[Angelo’s] total rejection of empathy as a valuable aid in the analysis of a given legal situation is clearly attributed to his fear of the emotional realm as irrational”

A

Linciano

67
Q

“[Angelo] gradually starts to grasp the existence of a separate private self alongside his public one”

A

Linciano

68
Q

“Angelo and Isabella try to remain faithful to their codes of conduct to the point that they are unable to see how flawed they are”

A

Linciano

69
Q

“Isabella […] contradicts the religious principles which should inspire her deeds when she wishes death rather than pity on her desperate brother”

A

Linciano

70
Q

“Vincentio does not dispute the harshness of the penalty inflicted by Angelo but the fact that, as a just lawgiver, he should be aware of the complexity of human nature and of the destabilising effect of human passion”

A

Linciano

71
Q

“In Vincentio’s view it is personal worthiness that qualifies a man to govern other men”

A

Linciano

72
Q

“what the Duke-as-Friar attempts to do at the end of the drama, is to blend justice and mercy”

A

Linciano

73
Q

“what had determined the change in Isabella is the understanding of the disjunction between […] reality and appearance”

A

Linciano

74
Q

“Isabella remains enigmatically speechless”

A

Linciano

75
Q

“the marriage solution conveys the Duke’s change of approach to government, his decision to rule in public view”

A

Linciano

76
Q

“the ritual of “marriage” is not simply a means for legalising and educating unbridled passion, but it may provide the opportunity for a genuine reciprocal exchange and represent the continuation of a quest for both self-knowledge and self-improvement”

A

Linciano

77
Q

“the conception of justice which comes out from Vincentio’s verdict does not foreshadow a future of harmony”

A

Linciano

78
Q

“Vincentio’s justice is, indeed, ambivalent […] it can be interpreted as an evident exercise of patriarchal authority and as a form of abuse of power and discretion, […] [or] an attempt to restore the social cohesion in Vienna by adopting a more equitable approach”

A

Linciano

79
Q

“finding the balance between codification and discretion […] Vincentio realises how difficult it is to suit the requirements of each specific human context”

A

Linciano

80
Q

“Shakespeare’s ultimate aim is […] to remind us that, as humans are not wholly good nor are they wholly bad, so neither are judgements and verdicts”

A

Linciano

81
Q

“unable to deal with the state of anarchy and moral decay afflicting the city of Vienna”

A

Linciano

82
Q

“redirect law toward life”

A

Harman

83
Q

“orgy of clemency”

A

Nuttal

84
Q

“we estimate complexities and difficulties more than we judge consequences”

A

Clark

85
Q

“Measure for Measure as a problem play both for formal, syntactic reasons and for a thematic reason, our understanding the vexatious links between justice and mercy”

A

Clark

MfM ao5 (2 decks)

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