Measure for Measure Theory Essay - Utkarsh In the play...

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Utkarsh: In the play Measure for Measure , William Shakespeare combines the binaries of wordplay, as well as justice and mercy by using complex dialogue, monologues and wordplay and he spreads them across the lives of various characters. Much of the dialogue throughout the play incorporates several genres which can related to all of the listed binaries. Shakespeare has not only given the reader the ability to make solid interpretations based on the value of the literature but has also allowed the public to decipher the original meaning and meet an accurate conclusion. "O, it is excellent To have a giant’s strength; but it is tyrannous/To use it like a giant" (2.2.136-137). Isabella says to Angelo, a phrase that warrants Angelo trying to use his position and power as Deputy Duke to condemn her brother in Measure for Measure . Earlier, Claudio claims, “The weariest and most loathed worldly life/That age, ache, penury and imprisonment/Can lay on nature is a paradise/To what we fear of death” (3.2.144-147). Shortly after, Claudio begs his sister to accept an outrageous offer: to save his life by giving up her virginity to Angelo. Surprised by her brothers plead, Isabella is outraged: “O you beast!/O faithless coward! O dishonest wretch!/Wilt thou be made a man out of my vice?.../Die, perish! Might but my bending down/Reprieve thee from thy fate, it should proceed:/I'll pray a thousand prayers for thy death,/No word to save thee.” In Measure for Measure, Shakespeare seems to put the role of comedy in the mouths of women, and tragedy in those of men. Generally speaking, Measure for Measure pursues a tragic path. Morbid language comes from the dialogue and plot. The language is taken and directed to the immoral content of the play. “Flawed acts of sexuality, punishment and legal feuds” (Dunn 1) are the sources from which the tragedy is derived. Death threats, puns and other rhetorical figures pervade the dialogue; tragedy invades comedy builds the premise that the two genres are constantly resisting each other. The shadow of death lingers in the dialogue of all men. Whether it is by fault or accidental, the morbid dialect is focused primarily on the speech of men. A man that portrays the essence of tragedy is Lord Angelo. He constantly acquires about death and morbidity. “Were he my kinsman, brother, or my son,/It should be thus with him. He must die tomorrow.” “Death waits eagerly for its chance to pounce on characters with capital punishment and wields its power through sexual wordplay,” Dunn argues. The wordplay is the focus of the two genres that conflict with each other. Death’s power is caught in the middle between it relation with sexuality and everlasting leisure. It is either limited by eliciting the experience of pleasure, or by the state of eternal rest that frees the soul. Death being the main topic of conversation has much to do with the the problematic situations. Each character deals with a problem that revolves around untimely death. Whether it is Isabella trying to save her brother life or, Angelo wanting to ‘die’. If the dying was only seen as morbid and dark, then the play

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