Measure - Scenes Flashcards
1.4 - Lucio meets isabella in the nunnery
1)Lucio’s name synonymous with Latin for light he becomes an metaphorical interrogator
-states ‘nerves’ , it is metaphorically unwell/suffering
Anthormpropshim – how Vienna and society is merely the outgrow of human actions
-’strangely’ - exposes lack of motivation
2)Angelo lacks a stage presence yet it tells us of his outward character
Snow broth =lacks compassion/humanity, shows duplicity
Hissing/serpentine tone, his cunning facade
Sense as metaphor of desires, later ‘sense breeds with it’
Onotmaptoia – sound of blunting an edge, force needed to break his facade
3)sympathy with Claudio/isabella
‘as by lions’ - extended animalism, how Claudio recognizes we are human and animal
-’doubt’s are traitors’ = doubt as agent that undermines our good intent
Lucio uses religion to appeal to isabella?
‘give like gods’ - euphemism , criticism of men’s god like power
2.1 - Introduction to Angelos approach to law
1)Scarecrow of the law =metaphor of how it is a caricature/false ideal that is no longer threatening to the people
=scarecrow an appropation of a human, the law is an appropation of true justice
Extended motif of animalism, citizens are dehumanized
. Terror synonymous with order and justice to Angelo. Angelos idealized justice radically detached from human nature
2)Escalus as metaphorical scales through his measured approach
Lexical field of husbandry and gardening, how Escalus believes we should nourish the state
Foil to another, show to possible approaches to the law
3)almost allusion to biblical ‘fall’ as a reminder of our finitude
Fall repeated numerous times
. Binary opposition between high and low=power imbalance
Metaphor of birds of prey is extended, justice becomes a bird. How it is a human, man made construct. magpies – human greed
Escalus’ tone of helplessness and hope for forgiveness – in private invites audiences to sympathies
2.1 - middle, discussion Pompey, elbow, Escalus
1)Angelo leaves
‘last a night in Russia’ =how far reaching and vastly empty of importance this trial is, its unending and futile nature
‘night’ - Angelo metaphorically in the dark to its importance
‘good cause to whip- juxtaposition god and whip reveals his oppressive nature
Significant to show Angelos idea that order is punishment
‘lordship - god like facade. Disorder to come
2)comedy discussion Pompey and elbow
‘done’ as a euphuism for sex. Pompey repeats and echos elbow to form a comic atmosphere
Thematic contrast to Angelos formal prose
Tone radically shifts to comedic, the duality of Vienna
Elbow a metaphorical ‘funny bone’. Realization of dukes understanding law has ‘come more mocked then feared’
Scene structurally dissolves pressure
3)Escalus becomes a mouthpiece of measure
Metaphor of how justice and inequity spar ineffectually. Two characters a paradigm of Vienna, as law and desire are in constant conflict
Elbow shows laws powerless ‘poor dukes officer’
Shows authority’s finitude as Pompey is free, how inequity flourishes
Comic tone but dramatic affects provide social commentary
2.1 - ending of the scene. Pompey, Escalus, and justice
1)Pompey’s resistance, will act as ‘flesh and fortune better determine’
-how individual desire is sovereign
-how law cannot defeat human nature ‘whip me?=no’
Jade/trade = use of end rhyme is infrequent in measure for measure, hyperbolizes the importance of this message in contrast to standard prose
Pompey becomes Shakespeare’s mouthpiece =how desire Transends social close/status
2)Pompey’s stark exit = sense of laws incompetence as goes free
Elbow as the metaphorical funny bone. A humanization of the enforcers of law
Open vowels mirror insubstainal lack of form justice has become
Comic interlude contrast tension in 2.2
3)allegorical character of justice is designed by Shakespeare to embody truth, guides audiences to accept the cruelty as ‘lord Angelo is severe’
Metaphorical incarnation of justice transcends the humanity of the other characters
=becomes Shakespeare’s own voice for the need for a measured approach
Escalus also symbol of scales/moderation
‘mercy not of’t looks so’
-appearance vs reality, how humanity contorts its truest form
== tone changes from comedy to tragedy
2.3 -Duke and juilet
-no need in plot to actually visit her
He seems to be coming to seek the “nature” of everybody’s crimes out of voyeuristic curiosity
- e Duke believes he functions as an unambiguous divine analogue”,
d “offence”, are a criticism of the Duke’s newly enforced draconian laws
Theologically sophisticated language
Appropriates the sacrament of penance
Pressure she faces a violation of the free and voluntary nature of the sacrament
In front of provost – violates right of secrecy
Juliet Responds amphibology – ambiguous grammatically
Her ambiguity exploits an ambiguity in the Duke’s question, a ‘subversive equivocation’ (Schuman)
3.1 - duke visits Claudio in friars disguise
1)appropriation of the sacrament of the last rites
-dramatic irony as audiences are aware of the dukes duplicity
-human apportion of the divine as ‘pardon’
-extended motif of false divinity = religion tool for control
2)Claudio’s humanity
-no medicine but hope – hope as a remedy metaphorically. Duke consoles Claudio based on almost voyeuristic curiosity of his suffering
-life personified as a character, providing shape and structure to the speech
-symbolic conversation between Claudio’s liveliness and death
-trivialness life as a material object ‘only falls would keep’
Reduces life to a ‘breath’ = states disregard of ones unique identity
Dramatic irony as a friars last right should bring comfort yet he faces death
3)provost, a character of authority is present in this private ceremony
-undermines sanctity of privacy,
-strictly impactful to show injustice
Duke sees death a ‘poor worm’ - harmless serpent. Where serpents in Eden bring death to man, duke acts a serpent delivering death to Claudio
‘dust’ = how mankind has no single identity, life mere fragments
Duke is alien from Christian morality
4.2 - Provost and duke (as friar) Claudio’s pardon
1)Provost provides an alternative view of justice
-end stop/repetion of death, show his lack of power
-Claudio exists =intimate atmosphere as provost reveals to audiences his views in private
-lexical field of forgiveness, a foil to Angelos more legalistic approach
-becomes Shakespeare’s mouthpiece, humanitarian principle of need for mercy
‘gentle’ as extended metaphor of moderation and morality
2)Shakespeare contests characters as antithesis to one another
-wider sense shows duplicity of human morality
-Claudio as foil to Bernadine. Allusion to escalates is ironic
-highlights clear injustice as Claudio faces death, yet Baradine evades it
3)False authority
-both Angelo and duke have religious facades
-duke strangely defends Angelo in spite of aiming to expose him= morally ambiguous, question his motives
-how neither are morally superior
=cyclical structure as tone returns to tragic and provost, voice of reason reflects on injustice.
How it is manipulated to be violent ‘siege’
4.2 - ending
The dukes plot to replace Claudio with ragozine
Just provost and duke on stage = an intimate atmosphere
-Barnadine a symbol of resistance ‘insensible of morality and disparity mortal’
-unmoving as a metaphor of a refusal to choose to conform
-Barnadine lack of care as a foil to Claudio’s humanity
-dukes trivialization of death and commanding tone. Appropriation of religious authority and the sacrament of penance
-binary opposition of appearance and reality. ‘I know them both’ = duplicity
=dukes speeches dominate -passivity. How false authority ‘overweighs truth’
4.3 -Barnadine
1)Barnadine is ostensibly a comic relief
-’go away’, resistance comedic
-yet, alternatively a mockery of the state
-Biblical allusion to escalates ‘sleep of him that trivalent’/ sleep sounder next day
-thus ironic, as labor becomes conformity
-binary opposition of autonomy and restraint
2)how death is trivialized
‘sleep’ - metaphor reduces it to what we find familiar
-mere journey, mirror act 3.1- structural comparison shows the dukes disregard
-duke views value of human life as neglible
-appropriation of penance
3)duke antithesis to other characters on stage
-abhorson play on words. Juxtaposition as duke is a ‘ghostly father’
-moral disparity across Vienna
-Bernadine dehumanized ‘a creature unprepared’. How duke like god claims control over creation
4.4 -Angelo and Escalus’ discussion
Focus on metaphor of the scales and how it is manipulated across the extract
=look at duke, how its uneven, lacks form
=irony as Escalus idealization of modernization, irrational vs reason, the most suited don’t have power
How Angelo manipulates the motif of scales to assert own power
‘credence bulker) false over true
How Angelo adopts a 3rd person ‘eminent body’ = his detachment from own actions
extract tone shifts from individual to human nature as a whole ‘would and would not’ = epanalepsis shows finitude of human indecision
5.1 - Mariana exposes truth hooded
1)dukes ostensible god like power
Repetion of my lord forms connotations of god like authority
Lucio an antithesis. Almost synonymous with lucifer, the devil whom foils the dukes plans
Or equally light as metaphorical interrogator
‘carnally sir’ – exposes our sexual reality/desires, truth
Silenced – how truth is suppressed by false authority
2)Angelos sins
‘let me see’ her face – male control over the female body
‘face/hands/body - the anaphora of ‘this’=physicality
Tone of sensuality. ‘looking on’ a reference of lust and desire
Paradigm to ‘see’ how men act/indulge without consequences
Angelos plosive alliteration and bitter tone. ‘proportion’=allusion to weight and lack of justice as fault sits on Mariana
3)Mariana
Kneels – visibly communicate subservience and lesser nature
Epanalepsis of ‘truth’=sematic field of honor
Or else be ‘conifed to marble monument’ - almost metaphor of virgin Mary, this sacrifice
Or immoritalsation of the public shame she faces
‘I smiled and wondered;’ = cyclical structure to 2.4
‘smile ‘ becomes symbol of his sexuality that dominates, at women’s expense
5.1 - Duke’s hood is removed, disguise revealed
Lucio as a metaphorical interrogator
-Latin light whom exposes truth
-dramatic irony as Lucio’s ‘falsehoods’ are likely true
Lucio -’pluck the by the nose’ == link to how ‘liberty plucks justice by the nose’ == extended metaphor of mockery of the law, cyclical structure to 1.3
Duke uses 3rd person to refer to self, = authority not innate but an outward costume
-hierarchy and authority as man made structures
-Escalus as voice of moderation, the scales- how most rational often lack power
-contrast to Angelo = hopes for biblical judgment. How man cannot appropriate the divine
‘all the grace I beg’ = irony as grace is freely given.
‘Your Grace, like power divine, / Hath Look’d upon my passes’ (5.1.369–70)”. - god like appropriation of power
5.1-plays ending
Final judgment, marriage as means of control
1)dukes god like power -’saved/Claudio as himself’
Metaphorically resurrected him
Open setting- orchestrated performance of the dukes power
‘evil quits you ‘Angelos evil agent, duke absolves it
Lexical field of divine forgiveness
Parable of absent ruler – allegory of final judgement
2)Lucio as light
Metaphorical interrogator. ‘fool/coward/madmen’- tricolon
Extent of punishment ‘one I cannot pardon ‘ = some truth in slander
Dukes repetion of whipt and hang, death tool. Binary opposition mercy and punishment
Lucio exists – truth is silenced/repressed
3)injustice
-epanalepsis of mine
-Isabella as a material object to own and possess
-her silence as act of solidarity
