The Genre Of Shakespeare’s Measure For Measure

The exact genre of Shakespeare’s Measure for Measure is still a matter of debate among critics. However, it can be difficult to classify. You could not simply call it a “comedy,” as you would miss the disquieting feeling at Act V’s end, where the Duke proposes Isabella. This is why the term “problem-play” has been widely accepted to refer to the three Shakespeare plays of 1601-1604. Problem plays are not comedy. They pose many questions, but provide few answers. The play’s “happy ending”, according to commentators, has been called a “tragicomedy” by some. Giraldo Citthio, an Italian Renaissance writer said that while a tragicomedy may resolve, it will not ignore “the horrible and the compassionate”. Shakespeare does indeed explore the theme “human frailty” quite honestly.

Lord Angelo is the most famous example of individual weakness within Measure for Measure. His subsequent fall from grace would be to diminish Shakespeare’s dramatic impact. Act1 Sc1 tells us that Angelo has never had his “metal” as ruler tested. Therefore, it seems unlikely that he would succeed in this role. The Duke is however the one who discovers Angelo’s key weakness. Act1 Sc3 he confides in the Friar that Angelo’s Deputy “scarce confesses/That he blood flows”, meaning Angelo fears his own sensuality. Lucio confirms this by describing him in Act1 Sc3 as “a men whose blood/Is very snowbroth.” Lucio, on the other hand, is an embodiment of the lecherous behavior sweeping through Vienna. Shakespeare highlights the fact that lechery cannot fully be stopped through Lucio. Angelo may be able to “geld, splay all of Vienna’s youth”, but it will not work. Angelo’s first encounter (Act2 Sc2) with Isabella demonstrates that he must be more compassionate for Claudio and his Puritanical ways. Isabella tells Angelo “Go to [his] Bosom, Knock There” and asks him to examine his “natural guiltiness” as all men experience. Angelo discovers his vulnerability as a result of this gentle reasoning. As a sign of his humanity, he puts an ironic spin on Isabella’s “Save Your Honour” and shifts the emphasis to “From you.” The presence of Isabella has had such an effect on his mental state that it is difficult for him to feel sympathy with his “tragic” death. A Globe production recently saw an actor in the role assume an almost pantomime appearance as “the antagonist.” (II.4.153) His response to Isabella’s threat of “I’ll speak out/ Who art thou?” was met with disapproval from the audience. Angelo’s “terrible” side seems to be what Cinthio was referring to.

Similar to Isabella’s extreme character, it may be awkward for her to be comically portrayed. Angelo’s explicit sexual repression of Angelo is more subtle and subtle than Isabella’s. When she requests “a stricter restraint” in the nunnery, her self-repression is impliedly excessive. This is in contrast to the rigid conventions that are already in place. Act2 Sc4 shows Angelo’s bizarre outburst. Isabella describes graphically how her desire to “strip [herself] of all its desires and be a bed” would over “sleeping with him.” She also uses words like “longing” to describe her deep-seated sexual fantasies. Isabella’s inner and outer “goodness” is what Lucio, Angelo, and Angelo see. It acts as a shield for her own emotional insecurity. Lucio’s humor in Act2 Sc2 is what makes her inner vulnerability a source for laughter. Lucio constantly encourages her to continue in an attempt to convince Angelo to not execute Claudio, Isabella’s brother. Isabella’s reasoning is enhanced by her bawdy undertones, such as his cries of “O to him, too, wench!” or “Ay, touch he; there’s a vein!” Claudio asserted that Isabella had the ability to speak a “speechless language/ such as move men” in this episode (I.2.line174). The mystery surrounding her character becomes even more complex, making it difficult to tell if Shakespeare is serious or not. These two explanations can co-exist and the role Isabella has little comic value.

Lucio is perhaps only genuine example of comedy, a hint at how Measure for Measure might be viewed as making fun of people’s “human frailties”. Act3 Sc2 shows Pompey being taken to prison by Lucio. Lucio doesn’t do anything but mock his friend’s fate. Lucio refuses to give Pompey bail money when he is asked. Lucio is well-versed in the details of Pompey’s crime (“being drunk”), and ironically this is not the first time Lucio has heard about it. Lucio’s mischievous nature is evident even when he’s with more respectable friends like Claudio. Lucio uses an obscene innuendo to answer the Duke about Claudio’s death sentence (III.2.167). Lucio’s crude references towards Lord Angelo are his most powerful. The Duke is informed by Lucio that Angelo was “begot between two stocksfishes”, which means that he has no sexual desire or appeal. Lucio claims to have proof that Angelo’s “urine contains congealed iron” to further reinforce his ‘coldhearted,’ inhumane image. Lucio receives Act5’s most severe punishment because of his incessant slander. We may have had fun with Lucio before, but there is now a sense that Lucio is being punished. The Duke’s proposal for Isabella creates an unsettling atmosphere that is completely out of character for comedy. It is almost as if the Duke uses the other characters solely to achieve his goals. Lucio becomes Angelo’s “jewel” in Vienna and Claudio is Angelo’s “jewel.” Isabella, however, seems to be the Duke’s intended prize right from the beginning. Lucio offers a humorous reply at his expense, “Marrying the punk, my Lord, is pressing for death, whipping, hanging” (V.1.520). The Duke’s abrupt statement that “Slandering the prince is a crime” makes this somewhat less important.

Even though the Bard depicts a grim picture of human nature, his play’s theme “human frailty”, is funny. Harold Bloom asserts that Measure for Measure transcends all limits. He says it is past farce, far past satire, almost past irony in its worst form, and that the best performance will leave audiences so moved that they won’t applaud at the end. This is a bit extreme but it highlights Shakespeare’s ability to combine comedy and tragedy to spark debate, not laughter. The central theme of the play, “Cucullus Non facit Monachum” (V.I.261) is an important assertion about the play’s genre. Darker truths lie behind Measure for Measure’s humor.