View Points
R. W. Chambers: "Isabella Approved"
Madeleine Doran: "Two Problems in Measure for Measure"
Argues Isabella would rather give up her body to physical pain than give up her chastity; nonetheless, she is criticized and viewed as not having endured emotional agony.
Compares Measure for Measure with Calderon's Magician
Brings up multiple perspectives ( i.e. Isabella lacks morality and christianity) and argues against them
This critic is utterly wrong.
William Witherle Lawrence: "The Duke"
"The state and the church are two representatives of
"Duke represents wisdom of the church"
Duke is theatrical; "a stage Duke." (especially when compared to other Shakespearean pieces)
Shakespeare's first time mixing the authorities of church and state, where lawful and moral authorities come together.
Morals and laws are dramatized and romanticized
Argues that Vincentio is the epitome of "standing in" -- Lacks character flaws; hyperbolic moral and religious authority (Duke's depiction is invalid historically)
Lawrence suggests Shakespeare's Duke Vincentio is aware of the fourth wall, for he knows what is expected of him as a stage duke and he will fulfill his role.
Murray Krieger: "Measure for Measure and Elizabethan Comedy"
Isabella is the "gull" of the play.
Argues that Isabella IS religious and pure but she proves to be otherwise.
Ernest Schanzer: "Isabella Reproved"
Isabella's puritanism: splendid and terrible
Isabella finds a way to excuse Angelo for his judgement toward her brother but is unable to forgive her brother for his actions.
She can excuse Angelo but not Claudio for asking her to give up her chastity.
Argues in favor of Isabella's choice to maintain her chastity rather than sparing her brother by giving up her body.
E.W.M Tillyard (Thanks for this Nathalie!)
"Isabella is the most independent character in the play"
Every single character has their own personal problems, allowing us to become intimate with every character portrayed
Tillyard contends that Shakespeare develops a "penetrating sense of human intimacy;" multiple characters' problems are unveiled.
"The Vehicle of [Shakespeare's] comedy is prose."
Play begins poetic and finishes set off/barbaric
The second half of the play features more prose but also features more rhyme schemes
A key critic to use when discussing iambic pentameter vs prose
Lucio embodies the dichotomy of public vs. private.