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Power in Shakespeare plays
Kingship and tyranny in the plays of Shakespeare
Kingship and tyranny in the plays of Shakespeare
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Social Justice and Power between Isabella and Angelo in Measure for Measure
William Shakespeare’s Measure for Measure immediately begins with a radical shift in power and its effect on punishment. The Duke appoints Angelo to take his place while he is “away;” under the impression that Angelo is unwaveringly honorable and just. Yet, immediately Angelo’s first decision as temporary Duke is to publically and shamefully arrest Claudio, and sentence him to death for impregnating his lover out of wedlock. Isabella, Claudio’s sister, confronts Angelo about her brother’s sentence. Through Isabella and Angelo’s interaction, Shakespeare creates a myriad of questions and comments about power defined by law and by society.
Isabella is Claudio’s sister and a pious virgin on the cuff of becoming a nun. Above all else, Isabella holds her virtues and faith as the most important and vital of all aspects of life. At first, Angelo is thought to be, although politically more powerful, morally on par with Isabella’s standards. Continually Lord Angelo is described as being a man who does not lust, and is unwaveringly just.
… Lord Angelo is precise,
Stands at a guard with envy, scarce confess
That his blood flows, or that his appetite
Is more to bread than stone. Hence shall we see,
If power change purpose, what our seemers be.
(1.5.50-54)
It is made clear that Angelo perceived as and unsexual being; valuing justice and logic highly over any sort of pathos that greatly effect most people. He is seen by others, and to himself, as the faultless example of impartiality. Angelo equates that law with justice. Yet, even in this passage there is an underlying sense of foreshadowing to Angelo’s façade. The Duke, speaking both to the Friar and to the audienc...
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...y to equate herself with him. “Arrest” denotes to stop speaking, yet its connotation pars itself with the law (to arrest) and justice itself- it is not Isabella’s place to say these things. Therefore, Angelo is hastily puts her back into her place as deemed by society, by law, and by him.
By maintaining order of hierarchy as deemed just by law and society, Angelo unravels not only himself, but whole idea of law, to be hypocritical. Immediately following his “arrest” of Isabella’s words, he prompts her to act and be who she is- a woman, not only by the mode of speech, but by her sexuality.
If you be [a woman]-as you are well expressed
By all external warrants- show it now
By putting on the destined livery.
(2.4. 138-40)
The “destined livery” Angelo speaks of is “female clothing,” as in female sexuality- to swap the nun habit, her virtue, and levelling discourse.
...e can, however, signal her virginal status by dressing in a way that represents its equivalent: as a southern belle. In addition to her low-cut blue dress, with its feminine, puffed sleeves, Arvay wears a floppy-brimmed “leghorn-intention” (straw hat), decorated with a “big pink rose” (suggestive of reproduction). Most tellingly, we are told that she is wearing a corset that is “laced very tight” – so tight that she cannot eat her dinner. Corsets hold in the flesh and nip in the waistline to an attractively small diameter. By narrowing the waist, they emphasize the swellings of the hips and breasts, a contrast intended to stimulate sexual arousal. Thus Arvay’s wedding/reception attire emphasizes her fragility and innocence while highlighting her desirability. The clothing signs her as an object for consumption, rather than celebrates her as a beautiful companion.
“From Lieutenant Nun,” a memoir written by doña Catalina de Erauso, tells an intriguing story of a young Spanish female and her advantageous journey through Spain and the New World. Her family intends for her to become a nun but, that is not the life she seeks for herself. Therefore, she breaks away from the convent in hopes of finding somewhere to make her fortune by passing as a male. Catalina’s story is noteworthy because it gives readers another perspective of exploration focusing on self-discovery during the seventeenth century emphasizing how passing as a male is the only thing that secured her ability to explore. In the memoir, Catalina repeatedly reminisces about clothing and, whether she consciously or unconsciously does so, she allows the reader to see that this is an important aspect of her exploration. Throughout Catalina’s journey, clothing plays an increasingly important role not only in her travels but, also her personal life because it symbolized ones status, role, gender and privileges.
To keep her daughter’s “virtue” intact Macaria beats her. In this way the mother establishes complete control over Marcela’s sexuali...
This theme is evident in the doubling of stockings with the girl’s natural black legs. The red stockings, which represent sexual, material desires, are contrasted with the natural, elegant beauty of the legs of the black girl. The stockings highlight only the legs, separating them from the girl as a whole and allowing for easier objectification, specifically by young white males. However, the girl knows this, as she has put the stockings on and is being told so by the narrator, who represents the black community. The narrator also clearly recognizes the girl’s beauty, and her beauty is further highlighted in the fact that she is clothed in silk, which relates to royalty and comfortability.
A major concern in both the film and the original text is the ‘status of women’. This is represented through the differing roles of women and their denigration within the Elizabethan society. For instance, Hero is accused of committing infidelity; consequently her image in society is tarnished, In addition to this, Claudio insults Hero publicly without even considering confirming the accusation of her being unchaste. This is illustrated through Claudio slandering Hero through the use of usage of Greek Mythological allusions “You seem to as Dian in her orb, but you are more intemperate than Venus in y...
Introductory paragraph: The name Borgia has become synonymous with corruption, lust, and sinful deeds since the papal reign of Rodrigo Borgia, otherwise known as Alexander VI, and his bastard children Lucrezia, Cesare, and Juan. Some historians depict Lucrezia Borgia as being known for her beauty, and good nature during her life in Rome. Others depict her as a murderous, blood-thirsty monster who openly engaged in acts of incest, and political assassination. It is possible that this young woman exhibited some of the qualities of each account. Lucrezia portrays characteristics of a Machiavellian villain, and also the characteristics of a woman using her means to secure her place in a male dominated society.
Miranda becomes attracted to Adam, a masculine soldier who shows his devotion to the war and traditions. He is heroic figure according to the traditional principle. Yet Miranda was able to
I support Cusick's argument that Caccini was a proto-feminist who, through her works for the Medici court, supported the rights of women, specifically, through her first and most recognized opera, La liberazione di Ruggiero dall’isola d’Alcina. In this opera, which is recognized as the first opera composed by a woman, Caccini illustrates a feminist approach to her composition, and makes musical statements about gender that support and reflect the joint reign of Christine and her daughter-in-law, Archduchess Maria Magdalena of Austria. Not only are the characters in the opera portraying strong and capable women, but also the music composed for the characters demonstrates the differences between men and women through musical elements, such as the usage of sharps and flats. Because of works such as these, Caccini plays a major role for the female gender in the early seventeenth century.
Many short story writers have written about the gender and role of woman in society. Some of these stories express what Barbara Walter calls, “The Cult of True Womanhood” meaning the separation of both man and woman in social, political and economic spheres. In order to be considered a “true woman” woman were to abide by the set of standards that were given to her. Women were expected to live by the four main principal virtues - piety, purity, submissiveness, and domestication. In Kate Chopin’s short story, “The Storm,” Calixta the main female character breaks away from “The Cult of True Womanhood” when she has a sexual encounter with her past lover Alcée. The storm goes through many twists and turns that tie with their adulterous actions. Although she breaks away from the four main principal virtues, she in the end is considered to be pure innocent of heart because the action in which occurred happened instantly, and as white as she was, she was taken away from her innocence.
Angelo and the Duke are similar in the following respects: they both initially claim immunity to love and later come to be affected by it; to achieve ends they desire, both manipulate others into situations those others would not willingly choose to be in; both have sought to maintain a particular reputation; they both spend much of the play seeming other than what they appear; both think themselves to be other than what they are in the beginning; and both claim to value a life removed.
"O cunning enemy that, to catch a saint, with saints dost bait thy hook." A disturbing tale of suspense, dark comedy and corruption, Shakespeare's Measure for Measure explores sexuality, morality and the law, exposing the abuse of authority in high places amid the seething underworld of Vienna. This essay will explore Isabella’s moral dilemma.
Isabella changes a lot throughout the play, but it all becomes more evident in this short passage. She finally sticks up for herself, by telling people about what Angelo attempted to do to her. Her way of talking changes as she feels more and more helpless. The Duke not beleiving her is a huge blow to her arguement, as it is ultimatly the Dukes decision on what to beleive. She becomes more and more desperate as she feels more and more helpless. At the start of the passage she is confident, explaining to the Duke that Angelo is not as perfect as everyone thinks. In the second part of the passage Isabella seems to be begging with the Duke to beleive her, asking him to "harp not on that", talking about how the Duke believes she is insane.
Isabella, Claudio's sister and about to enter a nunnery, pleads for Angelo's mercy on him. Lucio counsels her to be warm to him, and she is just warm enough to inspire Angelo to seduce her: seduction in exchange for Claudio. The Duke, posing as a Friar, overhears her exchange with Claudio in which he counsels her to go through with the act. He enters and sets up a plan: Angelo ought to have married Mariana but didn't: Mariana therefore will go in Isabella's place.
. All these false identities and disguises come to in the end. Isabella has her brother saved and in turn will marry the Duke. Angelo must marry Mariana and in turn his life is saved. The positions each person takes whether they are their “true or false” identify allows them to see their action and pay for them whether good or bad, virtuous or evil. The Duke helps them function while at the same time manipulating what is happening around them. This is what makes the plot complexly woven, and in the end unravels the resolutions of what the Duke has done.
Titles are a crucial part to any story. Shakespeare especially had an understanding of the importance of titles for certain texts. Some of Shakespeare’s titles that do not simply name the protagonist are “Measure for Measure,” “The Tempest,” “A Midsummer Night’s Dream,” and the “Twelfth Night.” Something to examine when reading Shakespeare is the title. If the title is not simply something like “Hamlet,” or “Romeo and Juliet,” then there is a method to his madness. Titles bear much importance in the content of a story. First, the title sets the mood of the story. To focus primarily on “Measure for Measure,” the title sets the tone that there is something to be measured to determine