Critic Quotations - Measure for Measure Flashcards

1
Q

Brockbank - “The Duke’s lies are white lies, meant to save the situation for the time being.” (about the Duke)

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2
Q

Brockbank - “Shakespeare is taking advantage of the range of conventions […] to allegorise the elusive ways of the Gods.”

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3
Q

Brockbank - “To be finding a theatrical solution to an otherwise insoluble human problem” / “the fantastical Duke is a trickster too” (Duke)

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4
Q

Maus - “if chastity is a state of mind, then the fate of Isabella’s body is possibly independent of, and irrelevant to the fate of her soul”

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5
Q

Maus - “Isabella would perform an act of charity, generously sacrificing her own preferences”.

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

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6
Q

Maus - “Angelo must force himself to remain aware of the principles he attempts so fragrantly to violate”.

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7
Q

Hampton-Reeves - “fretting about the nature of authority and suffering when authority is misapplied”

“a cynical satire about the inconvenience of over-zealous authoritarianism”

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8
Q

Hampton-Reeves - “an actor could address their audience from three different sides, encouraging an intimacy between [them]”

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

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9
Q

Kerr - “comedy occurs when there is no way out” / “comedy depends upon tragedy”

“that a creature capable of transcending himself should at the same time be incapable of controlling himself is hilarious” (Angelo)

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10
Q

Maslen - “comedy was the dramatic form that dealt with commoners”

“[comedy] ends by demonstrating its resistance to any form of containment”

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11
Q

Maslen - “censorship should have hounded comedy from generation to generation”

“comedy, on the other hand, made tyrants uncomfortable and roused them to rage”

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12
Q

Laroque - “insist on dissonance and cacophony” / “Shakespeare’s subplots that take up the tricks of humour and the cruel games of deception and exposure”.

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13
Q

Laroque - “that accompany the rites of love and restore harmony like some final, almost impossible miracle”.

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14
Q

Hopkins - “the tragic hero lives and dies a fundamentally lonely figure, traumatically separated from his God, his society and his surroundings”.

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15
Q

Hopkins - “that marriage provides comic closure, this, in fact, is very rarely achieved”.

“the audience is repeatedly encouraged to expect that the proceedings will be appropriately closed with a wedding - but these expectations are then either disappointed, or gratified in such a way that the spectator will be forced to question the meaning of the events he or she has witnessed”.

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16
Q

Glyn Austen (the Duke fulfills the comic structure) - “The Duke never truly lets go of the reins of influence” / “he is a puppeteer whose strange purpose drives […] events”.

17
Q

Glyn Austen - “the Duke performs a vital role in ensuring that such a regeneration takes place”.

“he does indeed dispense judgement with an absolute authority that mirrors divine judgement”.

18
Q

Austen - “the prince [Duke] is exercising his rightful claim to be a kind of priest” / “delve into the spiritual well-being of his subjects and lead them to redemption”

19
Q

McGuire - marriage is based on “shared erotic attraction and mutual love”

20
Q

Martin - marriage is “a matter of control and punishment, imposed on couples in an arbitrary and despotic manner”.

21
Q

Boas - “at the close our feeling is neither of simple joy nor pain; we are excited, fascinated, perplexed, for the issues raised preclude a completely satisfactory outcome”.

22
Q

Tillyard (Isabella) - “decided and uncompromising person”

Angelo becomes “mere man and as deeply in need of God’s mercy as any sinner”.

23
Q

Laroque - “carnival spirit of liberty and irreverence”

24
Q

Roe - “what [‘Measure’] presents more than anything is the virtue of moderation, doing things in a kind, thoughtful, considered way.”

25
Q

Martin - “the sense that we are being taken into a world that is darker than is appropriate for comedy”.

“the play is deeply mired in situations of existential anguish and despair”.

26
Q

Shapiro - “perfectly capture[] the time of Jame’s England”.

27
Q

Middleditch - “forces [of restraint and liberty] that reside in all of us”

28
Q

Hampton-Reeves - the “play was not written to simply flatter one man”