For centuries, both audiences and critics have been divided over Measure for Measure. On one hand, it is viewed as second-rate due to its many inconsistencies, while on the other hand, it is considered one of Shakespeare’s finest works.
Thought to have been penned between 1603 and 1604, the first recorded performance of Measure for Measure was presented to the court of James I in Whitehall, in December 1604. The production was performed by ‘his Majesties players’, Shakespeare’s theatre company for the period between 1603 and his retirement.
Shakespeare’s Sources
It is believed that Shakespeare’s main source when writing Measure for Measure was the Italian author Giovanni Battista Giraldi, who was known artistically by the name Cinthio. The characters and plot of Measure for Measure are taken from a novella by Cinthio that was published in a collection of short stories entitled Hecatommithi, which was published in 1565.
In 1683, Cinthio adapted the work into a stage piece named Epitia. It is believed that Shakespeare used this too in creating his own version of the story. Many academics and critics have noted the similarities between Shakespeare’s Measure for Measure and Cinthio’s Epitia.
Additionally, it is believed that Shakespeare found inspiration in George Whetstone’s play The Right Excellent and Famous Historye of Promos and Cassandra (sic), which was first performed in 1578. However, Whetstone also borrowed heavily from Cinthio’s novella.
Modern Opinion
As mentioned above, opinion over the play is divided. Partly, this is because Measure for Measure is a ‘problem play’ in more than one sense of the term. It is officially known as a ‘problem play’ because it cannot comfortably be placed in any of the traditional genres. In addition, Measure for Measure poses many moral problems that, even after four hundred years, are not easy to reconcile.
There are numerous aspects of the play that are discussed and debated by academics, but some of the principal points of interest include the theme of justice and mercy, and the characterization of the main cast: the Duke, Angelo and Isabella.
Ambiguous Characters
The Duke is perhaps the most ambiguous character within the play, as his motives are unclear. An audience is left wondering whether he is simply a benign Christian authoritarian or if there is something more sinister to his character and his actions.
Similarly, while Angelo is obviously the villain of the play, the stark contrast in his moral beliefs and his subsequent actions are often deemed incomprehensible. Isabella too can be viewed in two ways, on one hand she can be portrayed as a compassionate woman of high moral standards verging on sainthood, but, on the other hand, her unbending morality can be viewed as high and mighty or “holier than thou”.
A point raised by many scholars and critics is that Isabella does not answer the Duke’s proposal. Of course, this too poses a dichotomy. Some people have interpreted Isabella’s silence as acquiescence, while others assert that her failure to answer is indicative of her rejection of the proposal.
Far from being a point of deprecation, it could be argued that the ambiguity of the play is one of its strengths. In many ways, the inconsistency of the characters and the lack of definitive explanation in the resolution make the play all the more fascinating, exciting and captivating.
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