A keen lender of plots
Where the plots of his dramas
were concerned pertained, Shakespeare was a heavy lender. Still he altered the
lent plots to fit his own thought and intentions. It was in the way he carried
on the origins of his plots that he demonstrated his science and originality in
this finical domain of the striking artistry. The basics of Shakespeare’s plot
for ‘Measure for Measure’ was lent from George Whetstone’s story ‘Promos and
Cassandra’, but he had added and changed many consequences to make the story
highly reach, because of that needed advances the play accomplished his
dramatic ends.
The directional effect of the plot in this drama, the Duke
However, scorn all his
workmanship, Shakespeare has, in the case of ‘Measure for Measure’ diminished
far short of his common standard of accomplishment in the twist of plots. The
plot of this drama is doubtlessly impaired by an exuberant trust on dramatic
gadget and handling. The gadget and the handling are the work of the Duke, who
may be considered as the most important spring of the carry out and who deeply
determines the maturations of the plot. As a matter of fact, more than any fancied
role in Shakespeare excludes Iago the Duke is the directional effect in the
machination of the plot. From the very root of the play, The Duke immerses into
a convolution of scheming and machination; and, as Hazlitt tells, he is more
captive in his own schemes than nervous for the benefit of his nation.
A ploy, engaged by the Duke at the very beginning
The Duke is a great operator, and his
handlings bring in a dazzling unnaturalness into the primary of the drama. The
first scene itself carries a strategy which the Duke has invented and which fix
the principal plot underway. The Duke’s strategy or gambit here is to channel
his ability and authority impermanent way to a lord named Angelo, on the
supplication that he desires to go on an extraneous trip. Shortly later on,
however, we came to know that Duke has misled to Angelo and Escalus, and that
he has no intent to go out of Vienna. He says to Friar Thomas that his motto in
temporarily resigning his power was to make it true for the interest of Angelo
to disembarrass the land of complete evils which have turn rearing for the
reason of the Duke’s own remissness in imposing the constabularies throughout
the past several years. This contrived twist, recurred to by the Duke, for sure
collides upon our mind of decorousness. If the Duke was queasy to bestow about
rectifies in the country, he should himself have dealt with the trouble
presenting him. But he says to Friar Thomas that, if he were himself to go
abruptly rigorous and were to implement the constabulary strictly, the
citizenry would get unfriendly to him. But this is barely a logical conclude
for the Duke to renounce his authority, particularly when he has come to the decision
not to leave the land with the objective of observing the progresses.
(In act ii) An utterly naturalistic evolution of the plot
Thenceforth, the plot progresses
of course adequate, but just for a time. Act II keeps us transfixed with its
scenes of encounter amongst Angelo and Isabella. Surely, act II is absolutely
naturalistic. No unreal contraptions are shown. Isabella comes in to try an
amnesty for her brother. At the beginning she talks to Angelo in a balking,
stumbling and restrained style. However, when Lucio exhorts her in private to
place more sense of touch into her solicitation, she limbers up to her chore
and prepares a serialized set of outstanding deliveries, the abstain of which
is the call for cl
emency to temper jurist. It is exactly normal for a sister to
solicit mercy for her brother who has been sentenced to death. The only
contentions that she can apply in asking a forgiveness for her brother is the
call for forgiveness in this mundane world of human being, particularly when
paradise itself is kind to those who are blue-blooded and faint like the
myrtle. But it is likewise accurately in maintaining with his image that Angelo
disapproves Isabella’s call for kindness. Angelo is the avatar of jurisprudence
and of effectual justice, as Escalus remarks to a workfellow of his. Every time
does Angelo appeal the superior of the justice to absolve the determination
which he has taken regarding Claudio. There are no fake expressions either in
Isabella’s calls for mercy or in Angelo’s rejection of those invokes.
The stilted camouflage
In this act, the Duke comes along
only concisely in his camouflage of a friar when he barracks Juliet to regret,
and regret authentically, of the sin which she has consecrated. The Duke’s camouflage
is in itself a variety of appliance. His camouflage is in itself a conjuration
which he applies across the dramatic play. His camouflage is a stilted gadget
by substance of which he holds his true individuality a closed book. Naturally,
there was lot of cases in point in drama for the kind of camouflage which
Shakespeare causes the Duke assume for his function; but the fact persists that
the camouflage is a stilted gadget.
The Duke’s contrivance in stripping Claudio of promise
The Duke afterwards comes out over
again at the starting of act iii, and now we see him engaging some other
contrivance which is to affirm Claudio’s awe that he will be put to death. The
Duke’s aim after this contrivance is to remove whatever little hope of endurance,
Claudio has been nursing. The Duke deep down knows that he can, and will, spare
Claudio’s life, but he drills a dissimulation on Claudio because, for spectacular
intention, it is crucial the Claudio should think that he is going to meet
death. Only when Claudio has cast off all trust of an amnesty, will he pop the
question to his sister that she should concord to Angelo’s requirement with the
objective of saving her brother’s life.
The Duke, a double-faced man (The Duke’s lies)
The Duke’s following conjuration
is to let Claudio know that his sister has constituted an awry notion about
Angelo’s quality. The Duke misguides that Angelo never had a desire to spoil
Claudio’s sister and so on Angelo had, while arriving at a demand that Isabella
should give up her virginity to him, been just examining her chastity. The Duke
here lies as he cognizes well enough that Angelo in reality designates to score
Isabella if it goes possible for him to do so. The Duke again lies when he
tells Claudio that, being a friar, he has heeded to Angelo’s admission of
misdeeds and that he consequently knows that Angelo was just trying Isabella’s
virtue. After these two lies, the Duke tells Claudio not to be optimist at all
for any forgiveness but to be prepared for death. After some time, the duke, having
talk to Isabella, says that Angelo’s wishes to Induce to have sex with her only
pretends that he has gone down a dupes to the kind of enticement to which many
men have in the past also gone down dupes. This way we come to see that the
Duke here comes along as a double-faced man
who speaks with one manner to Claudio and with another manner to Isabella.
A raw contrivance, prepared by the Duke
Then, the Duke’s tremendous proffer
to Isabella. After having distinguished her chronicle of Mariana, he suggests
that Isabella should go and accept Angelo’s desire and tell, she is willing to
satisfy his desire if he anticipates forgiving her brother. The duke insures
Isabella that she herself not to go to Angelo in order to fill his desire, but
the Mariana would be directed instead of her to prevent the affectionate. The
Duke says that, if Isabella takes his hypnotism, her brother’s life would be saved,
and her own pureness would persist inviolate, miserable Mariana would be reinstated,
and the debauch Angelo will be sanctioned.
The bed-trick, (a farfetched twist)
The contraption, which the Duke evokes
to Isabella at this time, is the about farfetched of all the twists and strategies
which the Duke conceptualizes. This twist is recognized as the device of the
bed-trick. It is a twist which also had cases in point in drama and which
Shakespeare had himself antecedently employed in his play, ‘All’s Well That
Ends Well’. But this appliance of the bed-trick is merely astonishing; it breaches
all averages of the appearance of truth. How can we conceive that Isabella responsively
corresponds to this plan? With what face will she appear in front of Angelo and
enjoin him that she is uncoerced to go to bed with him? Then, how can she accord
that some other girl should be going and actually get indulge in foreplay with
Angelo, establishing Angelo a picture that she is Isabella? A girl, who is
herself extremely conscientious astir her celibacy, can never grant to place
another woman’s celibacy at peril. Then, how can we believe that Mariana would
agree to this absurd design? Why should Mariana adventure the loss of her
virginity on the tenuous footing that, after Angelo’s dishonest behave goes known
to the hoi polloi, Angelo would find obligated to get hitched with her? But still
acquiring that both Isabella and Mariana correspond to the Dukes contrive
because he is a mendicant and because the words of a mendicant convey much value,
who can we believe that Angelo would genuinely grant Mariana for Isabella and
would not disclose the artifice at all?
The twist of the bed-trick, hence, it appears to us to be exclusively impractical,
flimsy, and versus all laws of exceedance.
The bed-trick was a conventional method in drama of the present and of
the past likewise; but the application of this fox smashes the rear motivated by
the pragmatism of our play, peculiarly when this fox establishes the fundamental
consequence which is to ascertain the destiny of Angelo. At the final stage of
act iii, we notice the Duke predicting with some malicious satisfaction the
success of the bed-trick which he has designed. In a monologue here, he says
that he is going to engage “craft against vice”, indicating that he is about to
nail down Angelo by crafty caper in order to penalize that man of his morally
objectionable behavior. He says further, in this monologue, that he will “pay
false exacting with falsehood”; signaling that he is going to penalize Angelo’s
past disloyalty of Mariana with conjuration.
Several unnecessary lies, told by the Duke
Apart from initiating all short
of schemes, the Duke tells all sorts of lies too, as already indicated. It is,
indeed, strange to find lies issuing from the Duke’s mouth with such
facility. These lies certainly militate
against our forming a high option about the Duke. A country’s rule is a sacred
personality who is expected to observe the high principles of conduct. But we
find the Duke lying unscrupulously and unhesitatingly. The Duke’s lies can
certainly be regarded as white lies, because he was doing this for the sake of
the benefits of people, but even a white lie is a lie, after all. When the
Provost complains that Angelo is a cruel and relentless man because Angelo is
not prepared to pardon Claudio’s life, the Duke, who knows that Angelo has
already seduced Mariana, replies that Angelo is persisting in his judgment
against Claudio because Angelo’s own character is above reproach. The Duke here
says further that Angelo is leading a life of holy abstinence and that Angelo
is rigorously enforcing the laws according to which Claudio had to be sentenced
to death. In this reply of the provost, the Duke is deliberately and falsely
depicting Angelo’s character as almost saintly. Later, the Duke will tell
Isabella that her brother has been executed and that the severed head of her brother
has already been sent to Angelo for Angelo’s satisfaction. Now the Duke is
perfectly aware of the fact that Claudio is alive and safe. Actually, it is the
Duke himself who saved has Claudio’s life. But he tells a lie to Isabella
simply in order to spring a pleasant surprise on her afterwards by revealing
the true fact to her. Not only are the Duke’s lies annoying to us, but most of
his lies are unnecessary too.
Some more contrivances by the Duke
The Duke makes use of an
artificial contrivance in order to save Claudio’s life. He is able to provoke
the provost because, in his character of a supposed friar, his advice must have
weight and must be heeded. The Duke first prevails upon the provost to agree to
execute Barnardine and postpone the execution of Claudio. When barnardine
refuses to be executed on the ground that he is drunk, and when the Duke, still
disguised as a friar, agrees that Barnardine should not be executed without the
Christian rituals of a confession by a ding man, the Duke accepts the
suggestion by the provost to the effect that the severed head of ragozine, who
has died of a fever, be shown to Angelo as Claudio’s head. Subsequently, the
Duke employs the stratagem handing over a latter to Isabella, asking her to
deliver it to Friar Peter. Indeed, the introduction of Friar Peter who is
actually Friar Thomas is an absolutely unnecessary device. There was no need to
introduce Friar Peter at all. And then it is not only Isabella who is to
deliver a letter to Friar Peter. Friar Peter himself is given a few letters by
the Duke to be delivered to some of the Duke’s friend in the city.
Subsequently, in the course of Angelo’s trial, Friar Peter again appears; and
it is Friar Peter who brings the veiled Mariana as a witness in the case
against Angelo. Friar Peter is then made to defend Friar Lodowick against the
allegation made by Lucio. Friar Lodowick, as we know, was the Duke himself in
the disguise of a friar. The role assigned to Friar Peter is essentially as
superfluous one. But the Dukes contrivances do not end here. The Duke tutors
both Isabella and Mariana to bring charges against Angelo at the appropriate
time, also telling them in advance that his reaction to their charges would be
an adverse one. When the two girls do bring charges against Angelo, the Duke
pretends not to believe them. And he continues this pretence for some time,
giving Angelo the false impression that he regards Angelo as perfectly
innocent. Then, in the course of this trial, the Duke leaves his seat of a
little while, returning in the disguise of Friar Lodowick. Here is another
artificial and unnecessary device. The Duke could have continued with the trial
without this farce of resuming his disguise briefly in order to puzzle and
confound everybody.
Events in the play, manipulated by the Duke
Thus, at every step, the Duke
initiates one or more other line of the action of the play. He appointed a
deputy to function on his behalf; he has been going about the city and its
environs in the disguise of a friar; he devised the bed-trick without which the
plot could not have moved further; he prevailed upon the Provost to frustrate
Angelo’s design to have Claudio executed; he manipulates the provost so that
the provost produces Barnardine and Claudio before the Duke appropriate time;
he has instigated Isabella and Mariana to bring charges against Angelo; he has
manipulated Friar Peter to escort the two women to the Duke, to carry letters
to some of his friends, and then appear before him during the trial of Angelo.
In short, we find that the events of the play do not occur in a natural
sequence but are made to occur in accordance with the Duke’s schemes. The Duke
plays the roll which would normally be played by Fate or by providence. By the
end of the play, and even much before that, we have ceased to think of the Duke
as an unpractical ruler, incapable of handling the duties of his office. Rather
the Duke holds, within the dramatic universe of the play, the dignity and power
of a Prospero, to whom he bears a strong resemblance. In the case of both
Prospero and the Duke, their plot and plan is the plot and plot of the play;
they both make and forge the play. Like Prospero, the Duke tends to assume
proportions eventually divine. Angelo even describes the Duke as a “power
divine”. But we cannot help feeling that some of the schemes and contrivances
initiated by the Duke are ungodly because of the deceptions and the lies which
they necessitate. In any case, the plot of ‘Measure for Measure’ is marred by
the various schemes and devises which constitute the substance and the staple
of the play.
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