Category: Measure for Measure

Throughout the extensive criticism written on Shakespeare plays, the definition of these problematic plays has been a constant topic for debate. Kiernan Ryan suggests critics focus either on these plays all having in inherently political implications, or a form of deconstructive, or psychoanalytical analysis. Yet the potential for another opinion could still be valid as…

Isabella is the strongest female character in Measure for Measure. She debates with Angelo on an equal level and is not undermined by his authority. Her strength as a character derives from several sources; her chastity being one of the most significant. Isabellas chastity provides her with a tool which most of the other females…

Different audiences respond to Isabella in different ways. Show how Shakespeares presentation of Isabella could lead to a wide range of responses. The mere mention of Isabellas name appears to strike indignant fear into the heart of the literary critic. Her character divides them into factions of warring interpretations, just as her moral dilemma divides…

In order to answer this question, it is necessary to study the character of the Duke and how he is developed in Act 3. The Duke acts principally as an observer, watching Isabella and Claudio argue before sweeping in to resolve the situation. He is also, however, involved with the characters despite his assumption of…

Measure for Measure features female characters from various backgrounds, representing the whole of Viennese society. Women from the upper-classes, such as Isabella, are featured alongside their lower class compatriots, such as brothel keeper Mistress Overdone. However, all of them have one thing in common; in maledominated Vienna, women are portrayed, first and foremost, in terms…

Disguise has played a major role in society and England during the sixteenth and seventeenth century. The role of disguise was an extremely important concept in Shakespearean theatre, as it is used in to conceal the identity of one or more characters from other person in the play (Kreider 168). Often disguise within Shakespearean plays…