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Measure for Measure By William Shakespeare Produced by The College of the Holy Cross 1996-1997 Season Directed by Edward Isser
Director’s Notes: Pre-Rehearsal
First Response In the final months of the twentieth century, Measure provides us with a searing allegory about a society that is divided severely along economic and social lines. The ubiquitious moral rot of Shakespeare's play parallels our contemporary world. The political and social hypocricy of rulers who abuse power for personal gain while criticizing and punishing the lower classes comes right out of the evening news. Some issues of the play hit home harder today and in a radically different manner then they would have in Shakespeare's day. Ideas such as sexual harrassment and immorality connote wildly different things to a contemporary audience, particularly in light of recent current events.
Talking Points
I. Measure for Measure is a play about power--political, economic, and sexual power--and how these three interrelated phenomena intersect with catastrophic consequences when they are abused by an inadequate leader. But it is essential to note that the play is not against the use of power per se, because the entire crisis is instigated by the failure of a rightful ruler to exercise properly his responsibilities of office. Indeed, the entire arc of the
play is about how this ruler--Duke Vincentio--learns about the nature of power and the necessity of its public demonstration. It can be argued that, in many respects, the play is a primer about effective leadership and must be viewed as a humanistic revision of Machievelli's The Prince.
II. Political power must be exercised correctly and sexual desires must be pursued properly. Without sex there is no propagation of the species and without political restraint there is no maintenance of the social order. Political responsibility cannot be avoided and neither can the fundamental need of humans to fornicate. Without restraint, however, the pursuit of these intersecting fundamental drives will undermine the stability of society. Measure for Measure argues that political power must be exercised in a principled manner and sexual intercourse must occur under the sanction of marriage.
III. A recurring theme in the plays of Shakespeare is the nature of effective leadership. In Richard II, for example, a strong contrast is made between Richard who exercises power in an arbitrary and abusive manner and his successor, Bolingbroke, who is decisive and self-assured. Bolingbroke does not hesitate when strong action is demanded, but yet, as a merciful Christian monarch, he is willing to demonstrate forgiveness. The forceful yet merciful ruler is a paragon of leadership and this is clearly the model embraced by Shakespeare. A fundamental issue in Measure for Measure (as implied in its title) is the quality of mercy. All human fraility is forgiven by the end of the play, save the act of slander which is considered the most odious abuse because it is not for personal gain, but is merely meddlesome and undermines the institutions of the State.
her disguise both physically and figuratively by the conclusion of the play.
VI. A fundamental problem of this play for a modern, sensitive audience is not Isabel's refusal to fornicate to save her brother (this can be understood if Isabel's religious faith is truly sincere), but rather, it is her decision to marry the Duke. No matter how well staged, this conclusion strains credulity and is inherently sexist. One can argue that Isabel has learned to love, that her horizons have grown, but this is facile, particularly in light of the Duke's unconsciousable behavior. The Duke lies to Isabel by telling her that Claudio is dead in order to test the depth of her Christian faith. Once she jumps this hurdle by forgiving Angelo, he reveals that Claudio still lives and proposes. In most productions, she accepts. This contrived "happy"ending, however, undermines the sincerity of Isabel's faith and her commitment to Christ. In our contemporary world--where women are autonomous, self- actualizing beings-- such an ending is inherently retrograde. Yes, Isabel must grow during the course of the play--she must have her own character arc. A more appealing modern reading would argue that she has grown from a naive, repressed girl who enters the convent at the beginning of the play to a mature woman who decides freely to serve Christ. She must reject the Duke and return to the convent. Both Deborah Warner and John Barton--in their productions--have made similar choices and it is perfectly rational and contemporary. Furthermore, it forces the Duke--who has hitherto been the stage manager--to finally make the ultimate realization--that he is not omnipotent. The Duke is as alone and isolated at the end as he was at the beginning, but because of his journey, he is completely different. Now he will be an effective, merciful leader. Yes, this undermines the "happy" ending, but so what? Society is reintegrated, order is restored; the play
remains --a comedy.
Fable Measure for Measure is about a Duke who is cerebral and ineffectual. Confronting a disintegrating social order, he abdicates the responsibilities of his office because he is unwilling to incur the wrath of the populace by enforcing edicts he knows are both necessary and unpopular. Instead, he forces his cousin--Angelo--to take on this onerous task. The Duke, intellectually curious and unable to effect power on a general level, decides to go among the populace disguised as a member of a religious order so that he may administer to his people on an individual basis. Unexpectantly, Angelo not only enforces the law, but by acting as a demagouge, is hailed as a populist. Angelo, however, abuses his office for personal gain and attempts to sexually blackmail the sister of a man he has condemned to die for moral offenses.
But for a mere coincidence, Angelo's perfidy would never have come to light. But fortunately, the Duke, in his guise as a Friar, becomes privy to the immoral and improper behavior of his deputy. The Duke, believing himself intellectually superior to his cousin, thinks he can surriptitiously correct the situation by utilizing a "bed-trick." The machinations of the Duke, however, are thwarted by the unexpected depths of Angelo's nefarious behavior. Finally, the Duke has no choice but to publicly resume the mantle of his office to unmask Angelo and reintegrate society.
Concept The Fenwick production was set in fin de siecle Vienna. This period suits the
join Hitler's S.S. in greater percentages then their German cousins. This is a fecund yet sick world--breeding ground for a psychotic Angelo, a repressed Isabel, and an ineffectual intellectual such as the Duke.
