Inside Shakespeare's mind

Measure for Measure

He starts off with an irreverent title that has no bearing on the play. He steps out of point to place a potential novice in a religious order who is confronted by a rake into a sexual relationship and later end up marrying a duke. Shakespeare fails to commute his characters in an orderly manner to meet the situation. He evolves haphazardly a story after failing to identify each on his own and forgetting where to draw the line.

Isabella - ‘I yield my body up to shame’ Act 11, Sce. Iv (Measure for Measure)

Why he had to place Isabella in such an embarrassing situation whereas she could have been any one else other than a potential religious novice. He goes further, Isabella accepts a challenge therein to deputies for a sexual act meant for another. However Shakespeare wriggles out of this bizarre situation, unscathed.

The play

Measure for Measure written in 1604 and sited in Vienna revolves on the enforcement of a city's ignored laws against immorality whence the Duke of Vienna, Vincentio resolves to correct the wrongdoings. He departs to Poland assigning his deputy, Angelo to look after his State (but remains in disguise). Angelo's first act is to imprison Claudio for getting his betrothed, Juliet pregnant, an offence that carries death penalty in Vienna.

The distraught Isabella, Claudio's sister who is a potential novice in a religious order, visits Angelo to plead on behalf of her brother's death sentence. He invites her to return the next day. (Enter Lucio and Isabella).

Lucio – Give't not o'er so; to him again to entreat him. Kneel down before him, hang upon his gown. You are too cold; if you should need a pin you could not with no tame a toung desire it. To him I say,

Isabella – Must he need die?

Angelo – Maiden, no remedy.

I. - Yes, I do think that you might pardon him and neither Heaven nor man grieve at the mercy.

A. - I will not do't

I. - But can you if you would ?

A. - Look I will not, that I cannot do

I. - But might you d'nt and do the world no wrong. If so your heart were touched with that remorse. As mine is to him.

A. - He is sentenc'd. Its too late....

- Act. 11, Sce 11

Isabella returns the next day to meet Angelo as requested. He tells her directly that if she were to become his mistress, he would pardon her brother. Petrified, she runs to her brother and tells him what Angelo had suggested. Claudio entreats her to agree because a trap has been set to replace her with Mariana who had been in love with Angelo but spurned. The two women switch places. It is the Duke who suggests this idea. Even so, after Angelo's lust on Isabella (Mariana) ravished, Angelo faithlessly orders Claudio's death. However this is prevented by the Duke/Friar and the Provost.

Later, the Duke returns as himself. In a complex scene, Angelo is pardoned but will marry Mariana, Claudio will marry Juliet. The Duke confesses his love for Isabella who gives up her religious order and weds the Duke.

What on earth made Shakespeare call this play Measure for Measure, still leaves me puzzled.

The story in the play had a marvellous response from the audiences ever since it was boarded though it was not his own original concept. He derived his material from an unacted drama called Promos and Cassandra by George Whetstone, that consisted two parts.

In performance

Whetstone's version was more of an intricate tragic-comedy that death with justice and mercy whereas Shakespeare's Measure for Measure can be termed as a comedy in moral value. However, this has become a sort of chameleon-play during our time because the enigmatic Duke of Vienna who in disguise can be interpreted in so many ways. On different stages at different times, he has been as a divine power of sorts in the guise of a sinister hypocrite, a complacent statesman or a master intriguer. He also appears as an allegory on dictatorship.

Written with absorbing strength and eloquence, it can hold the stage. Whichever the choice and in spite of its shameless use of ‘bed-trick’ whereby Isabella takes Mariana's place, Measure for Measure contains a solid story within its dialogue.

There was an absurd revival at Stratford in 1974 that turned the Duke into a vulgar sham. Isabella seeking honour above her brother's life, is not an easy character on stage.

There is a notorious line she breathes ‘More than our brother is our chastity. She is speaking in terms of her religious order: (At Angelo's house. Enter Isabella).

Isabella – ‘As much for my poor brother as myself; That is were I under the terms of death. The impression of keen whips I'd wear as rubies. And strip myself to death, as to bed. That longing has been sick for ere’ I yield, my body up to shame.

Angelo – Then must your brother die?

I – And't were the cheaper way. Better it were a brother died at once, than a siter by redeeming him should die for ever.

- Act II Sce. IV

Shakespeare's text was revised after a customary version at Drury Lane in 1738. The immortal Isabella was the thespian of the era, the very talented Sarah Siddons between the years of 1783 to 1811 using all her passionate emotional integrity. The Duke was often acted by John Phillips along with her. The play was not meant for the Victorians because of its morality that did not suit well with them.

So, down the years many versions were mounted interpreted diversely until a smashing production in 1933 by Turonee Gutheri that had Charles Laughton as Angelo at the Vic/Wells. Gutheri also directed another version in 1937 with Fl ora Robson as Isabella also at the Old Vic. Outside England, Stratford-Ontarion

(1954) New York Shakespeare Festival (1978). Theatre Bouffels-Nord, Paris (1978) and California Shakespeare Company (1993). In an otherwise spoke version by the BBC in 1979 had a moving Isabella who seemed to have been admitted to the sisterhood.

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