The controversial debate over a woman’s role is not a new issue; in fact, it is quite archaic which is why it makes for an interesting interpretation in “Measure for Measure” by William Shakespeare. The feminist criticism, discussed in “Making Arguments About Literature,” by Schilb and Clifford, was brought to life in the 1970s with its goal to “contest the patriarchal point of view as the standard for all moral, aesthetic, political, and intellectual judgements and to assert that gender roles are primarily learned, not universal.” Gender roles are not set in stone nor are they the same for every country in the world, but these roles and perceived requirements are taught and passed down like a tradition or a family recipe. Despite this, the
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Throughout the majority of the play, the Duke is disguised as a visiting friar to slyly find out how Angelo is ruling Vienna in his place. The Duke learns all of the gossip about Claudio and offers Isabella a chance to save him as long as she follows his plan by inciting that “you may most unrighteously do a poor wronged lady a merited benefit; redeem your brother from the angry law; do not stain to your own gracious person; and much please the absent Duke” (III.1.13-16). This dual personality the Duke is playing is not a common masculine role since men are shown as bold and the Duke is more of a quite observer than a righteous ruler in this play. Even the Duke becoming a friar in disguise is abnormal and his contempt with watching Angelo almost behead Claudio for lechery. Toward the end, the Duke unmasks himself though, and commands that “‘an Angelo for Claudio, death for death!’ / haste still pays haste, and leisure answers leisure; / like doth quit like, and MEASURE still FOR MEASURE” (V.1.4-6). By this, the Duke regains his masculinity and deals out the punishments by condemning Angelo and Mariana, Claudio and Julietta, and Lucio and his whore to marriage and even claims Isabella for himself. The play ends on a superficial happy ending and the women are expected to marry those assigned by the Duke. Even if the women wanted to, this
Throughout the majority of the play, the Duke is disguised as a visiting friar to slyly find out how Angelo is ruling Vienna in his place. The Duke learns all of the gossip about Claudio and offers Isabella a chance to save him as long as she follows his plan by inciting that “you may most unrighteously do a poor wronged lady a merited benefit; redeem your brother from the angry law; do not stain to your own gracious person; and much please the absent Duke” (III.1.13-16). This dual personality the Duke is playing is not a common masculine role since men are shown as bold and the Duke is more of a quite observer than a righteous ruler in this play. Even the Duke becoming a friar in disguise is abnormal and his contempt with watching Angelo almost behead Claudio for lechery. Toward the end, the Duke unmasks himself though, and commands that “‘an Angelo for Claudio, death for death!’ / haste still pays haste, and leisure answers leisure; / like doth quit like, and MEASURE still FOR MEASURE” (V.1.4-6). By this, the Duke regains his masculinity and deals out the punishments by condemning Angelo and Mariana, Claudio and Julietta, and Lucio and his whore to marriage and even claims Isabella for himself. The play ends on a superficial happy ending and the women are expected to marry those assigned by the Duke. Even if the women wanted to, this