Measure for Measure Extra 0.0 / 5 ? English LiteratureMeasure for MeasureASOCR Created by: okokoutchrifasserCreated on: 14-05-19 20:23 CONTEXT Shakespeare was familiar with London life Both the corrupt and respected parts- like Lucio 1 of 38 CONTEXT be broke laws for sex outside marriage and pregnancy, like Lucio and Claudio He got his Fiance, Anne Hathaway, pregnant 2 of 38 CONTEXT 1600-1604 – Measure for Measure and ‘Hamlet’ ect all show... sexuality/sexual disgust/bawdry in common – also cynical spokesmen/points of view and unconventional heroes/heroines 3 of 38 CONTEXT #MeeToo Movement Modern day movement aimed to abolish sexual abuse of woman in Hollywood, not seen as acceptable 4 of 38 CONTEXT James I like the Duke James was also known to be reluctant to appear in public 5 of 38 CONTEXT The Duke Is he a Machiavellian Villain Christ-like figure 6 of 38 CONTEXT The Plague 1603- many houses pulled down in suburbs of London Pompey Act 1 7 of 38 CONTEXT Problem Play Comedy elements- end marriages and bed trick vs decpetion 8 of 38 CONTEXT Title Measure for Measure The idea that theice and mercyre must be a balance of just 9 of 38 CONTEXT role of Women Decreases through the play, especially Isabella 10 of 38 CRITICS Samuel Johnson (Angelo) ‘every reader feels some indignation when he finds Angelo spared’ 11 of 38 CRITICS Pater (Angelo) ‘is psychologically possible’ 12 of 38 Chris Abomeli, who played Angelo in the Theatre de Complicite 2004 production ‘a young zealot driven by moral righteousness.’ 13 of 38 CRITICS Chambers (Angelo) ’ a cold-hearted, self-righteous prig’ 14 of 38 CRITICS Bloom (Isabella) 'Isabella is the human soul destined to marry the Duke and become the Bride of Christ’ 15 of 38 CRITICS Clarke (Isabella) - ‘Isabella grows in confidence and self-assertion. In her soliloquy she is not full of self-doubt like Angelo’ 16 of 38 CRITICS Clarke (Isabella) : ‘Isabella allows herself to be used as a commodity by the Duke’ 17 of 38 CRITICS Hazlitt (Duke) Duke ‘more absorbed in his own plots and gravity than anxious for the welfare of the state’ 18 of 38 CRITICS Bloom (Duke) ‘weirdly motivated’ 19 of 38 CRITICS Wilson-Knight (Play is a religious allegory) Isabella is ‘sainted purity’ Angelo ‘Pharisaical righteousness’ and the Duke a Christ-figure 20 of 38 CRITICS Hazlitt (Corruption) ‘defiantly amoral character of Barnadine’ 21 of 38 CRITICS Pater (tyranny) ‘the tyranny of nature and circumstance over human action’ 22 of 38 CRITICS Bloom (Lucio) ‘Lucio, the fantastic, is saner than anyone else on stage’ 23 of 38 Performances Royal Shakespeare Company 1950 (Angelo) wasn't born a hypocrite but a man with a steady moral outlook who was genuinely shaken by desire 24 of 38 Performances Royal Shakespeare Company 1950 (Underworld) The grimy, underworld of sleazy of Vienna and Mistress Overdone, Pompey and Lucio own the stage- populated with beggars, prostitutes and degenerates 25 of 38 Performances Royal Shakespeare Company 1950 (control) Those who sought control seemed detached and out of depth 26 of 38 Performances The National Theatre 2004 (Angelo) Centred around Angelo's psychological journey which ended in a break down 27 of 38 Performances The National Theatre 2004 (Angelo and Isabella) Angelo and Isabella end the play next to one another showing how the should be together as they are so alike 28 of 38 Performances The National Theatre 2004 (Angelo's attraction) Angelo genuinely likes Isabella because she is distorted refection of is own 29 of 38 Performances The National Theatre 2004 (Angelo 's Mental health) Angelo seduction was sexually abusive using the razor blade to cut away her clothes as he uses to self-harm 30 of 38 Performances The National Theatre 2004 (Sex) The Duke's attendant's watch **** and were self satisfied customers of abused, emotionally, dead prostitutes 31 of 38 Performances Royal Shakespeare Company 2003 (Duke) Places it's focus on the Duke - a man with great ideas unaware of his own faults who manipulate everything 32 of 38 Performances Royal Shakespeare Company 2003 (Duke ending) He is expected to become the great hero but pubically crumbed when his people failed to give him adulation 33 of 38 Performances Royal Shakespeare Company 2003 (Isabella and The Duke) The play suggests genuine attraction between Isabella and the Duke 34 of 38 Domar Warehouse 2003, 2018 (Act 1) Al the play in one act- at the end Isabella screaming in the Duke's face and the stage goes blank 35 of 38 Domar Warehouse 2003, 2018 (Act 2) Characters dressed in lawyers/ judges outfits- role reversal, Duke leaves Isabella in charge and Isabella and the Duke sexually exploit Angelo 36 of 38 Domar Warehouse 2003, 2018 (Rourke-Director) "measuring our own standards against happens when a man says something to when a woman says the same thing" 37 of 38 Domar Warehouse 2003, 2018 (End of Act 2) Returns back to traditional setting and Isabella says the famous line "I come to know your pleasures" to the Duke 38 of 38
Journey's End - Measurement Quotes/Analysis - AQA English Literature - World War One Literature 2.5 / 5 based on 3 ratings
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