A possible analysis of Shakespeare's Measure for Measure follows a natural progression of criminal justice over the course of the play. Angelo's harsh punishments in the first act reflect the eye-for-an-eye, measure-for-measure justice of the Old Testament. In the second act, his personal corruption and constant criticism from secondary characters undermine the legitimacy of his justice. An alternative system aligned with New Testament mercy is represented by Isabella and exemplified by her plea to save Angelo's life in the final act. The Duke represents a move to more moderate power as he inflicts punishments in the form of forced marriages rather than executions. This reading of the play responds to the public's desire for progress and reconciliation. Unfortunately, this reading does not take into account several philosophical and conspiratorial issues that remained unresolved during the hasty restoration of the Duke's rule. Ultimately, Measure for Measure does not promote an ideal justice system. The theme of ideal justice is drowned out by a constant, less explicit motivator: the protection of reputation. While both Angelo and Isabella act to protect their reputations, the Duke's actions best demonstrate how this motivation is the cause of disparate criminal justice throughout the play. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get an original essay?The question of reputation arises early in the play when the Duke decides to repair his public reputation by temporarily placing Angelo in power . In the Duke's own words: I have imposed on Angelo the office, Who can, in the ambush of my name, strike at my house, And yet my nature is never in the struggle To make slander. (1.4.40-43) “Slander,” as well as the later terms “honor” and “shame,” are repeated often in the play and play a central role in the theme of reputation. At this point, the Duke recognizes the power of his "name", or his position as enforcer of the law, even though he himself has not exercised the power of the title "Duke" to enforce the laws. laws. The Duke fears that his personal reputation, or his "nature", would be slandered if he suddenly became stricter towards criminals. The Duke takes on a more comical character in the guise of a brother, but because the situation itself is a little ridiculous and because the function of legislator is no longer “imposed” on him. He is free to act out of public view. Like Justice Overdo in Bartholomew Faire, one might expect the Duke to go undercover in order to assess the criminality of his kingdom. Instead, the Duke says he wishes to see if Angelo's virtuous and austere nature is actually genuine: "We will see then,/If power changes its aim, what our appearances are" (1.5.54) . A manipulative leader himself, the Duke wants to see if Angelo can maintain his good reputation – which it appears to be – under the influence of a new power. From the moment the Duke decides to give power to Angelo until the end of the play, he is obsessed with his own image in the public eye and the reputation of those around him. His final lines at the end of the fifth act suggest that Angelo will not be able to maintain the austere personality necessary to enforce and live the strict code of laws he will enforce. Following the Duke's foreshadowing, Angelo's motivations as a lawgiver come into play before even offering Isabella sex in exchange for Claudio's life. After being sentenced to death for impregnating his fiancée, Claudio formulates Angelo's most explicit criticism in the form of a metaphor: Or if the bodypublic must be a horse on which the governor rides, which, newly in the seat, so that he knows that he can command, allows him to directly feel the spur; (1.3.43-46) Claudio accuses Angelo of punishing him without just cause, as an immediate action taken whether the metaphorical horse is out of control or not. Claudio's execution serves as an example to the "public body" so that Angelo can build a reputation as a police officer even before the laws are broken. Claudio continues to say that Angelo's actions are "surely for a name" (1.3.55). While it may be important for Angelo to avoid the lax justice of the Duke's reign, he seems cruel in using Claudio as a tool to change the reputation of law enforcement. In fairness, Angelo consistently metes out harsh punishments, demonstrating a motivation that goes beyond establishing a reputation with a single sweeping arrest. However, he seems to show too much zeal for punishment when talking about the clowns Elbow, Pompey and Froth. Although it is not yet clear whether these men have committed crimes, Angelo leaves them with Escalus, "hoping you will find a good reason to whip them all" (2.1.192). This secondary motivation, whether personal malice or a genuine belief that random punishment will do the public good, is irrelevant as long as it does not conflict with the desired reputation by Angelo. Angelo, and the tough reputation he quickly earned for the position he holds, is only threatened when he hypocritically breaks his own laws. When Isabella threatens to expose Angelo's hypocrisy in the second act, their conversation shows both the importance of reputation and almost all of Angelo's reputation. tangible power that reputation holds. Isabelle asks Angelo to “Sign me forgiveness for my brother/ Or, with a strained throat, I will tell the world/ Out loud what a man you are!” (2.4.154-156) Isabelle seeks to use the power of her voice, as opposed to the physical power that Angelo gives up to enforce the laws, to show the "world" that Angelo is a hypocrite. Unfortunately, Angelo recognizes that his good reputation is actually more powerful than his own: My intact name, the austerity of my life, My testimony against you and my place in the State will ensure that your accusation will prevail That you suffocate in yours. report,And smell of slander. (2.4.157-161)Angelo relies on his good personal reputation ("intact name") and his reputation as a state official ("my place in the state") not only to thwart the accusation of 'Isabelle, but also to ruin her own good reputation. Reputations take on almost tangible qualities in their scope: Angelo's with "overweight" his own, which will then be "suffocated". Isabelle will then take on a metaphorical mark, or “a smell of slander”. Ironically, it is the good reputation of a dishonorable man that can ruin the good reputation of an honorable woman. Their reputation takes on a meaning distinct from the virtuosity of the characters themselves. An issue presented in the play, distinct from issues of justice and mercy, is the realignment of reputation with true character. In another case where reputation has a greater influence than true character, Angelo highlights how the state punished known criminals, rather than all criminals. criminals. Angelo explains to Escalus that there may be criminals on the jury of a trial, but "what is made public to the courts/what the judges seize" (2.1.12-22). Although punishing only certain criminals is actually unjust, Angelo repeats the word and uses a personified "justice" as a substitute for himself. It is he who “seizes” the criminals when they are “made public” to hisawareness. Angelo continues the sentence: “Who knows the laws/That thieves pass on to thieves?” » (2.1.22-23). Here, Angelo adds another layer to his conception of who or what enforces criminal justice. Laws, as an inanimate set of rules, cannot recognize that hypocrisy is latent in the system. Angelo recognizes (and rejects) the distance between the true spirit of legal justice and criminal justice, while trying to defend his system as one that "justice" itself enforces. In a criminal system that punishes those with criminal reputations rather than the criminals themselves, Angelo must overcome rhetorical hurdles to legitimize his actions. His Old Testament justice seems today not only harsh, but also arbitrary in its application. One could argue that Angelo's emphasis on reputation is a flaw in his villainous character, but even Isabelle shows a similar concern. Isabelle, the pillar of mercy and virtuosity, reveals an exaggerated concern for her and her brother's reputation through obsession with their "honor." Isabella is ready to do anything, even abandon her brother's life, before giving in to Angelo. In her own words, she would say “My body is ashamed” (2.4.104). “Shame” can be a personal, self-inflicted feeling of shame, but it can also be public shame. Isabella cares about both, but more so about the latter, as she persuades Claudio to die. If he let her give in to Angelo, it would "bark your [Claudio's] honor from the trunk you carry,/and leave you naked" (3.1.70-72). Honor is compared to the bark of a tree, an element particularly visible from the outside. This suggests the public side of “honor” as well as “shame.” His debasement would leave him “naked,” a form of public shame. Isabella urges Claudio to choose “perpetual honor” for a few more years of his life (3.1.74-76). “Perpetual honor” carries the religious connotation of honor in the afterlife as well as being an honorable member of society. A mixed concern for Claudio's eternal soul and his reputation as an honorable man pushes her to extremes. Claudio frankly states that “death is a fearful thing,” and Isabella responds, “and a shameful life is hateful” (3.1.117). She would rather choose death than shame for her brother, a form of extremism that reflects Angelo's concern for his reputation as a fierce defender of the law. In the final scenes of the play, the audience expects a final system of justice to be established with the return of the Duke. Instead of a careful resolution of details, the long scenes in which the Duke publicly reveals Angelo's crime function as a climatic stage for building the Duke's reputation. The first step in the Duke's convoluted plan is to make his arrival a public event by sending Angelo an official decree ordering it. This is the only scene in which anonymous citizens invade the scene. The Duke extends the reveal by first denouncing Isabella's accusation, although it was he who told her earlier to accuse Angelo. He sends her to prison for slandering the names of those higher born than her: “Let us thus / A breath and a scandalous breath fall / On her [Angelo] so close to us? (5.1.123-125). This quote shows a constant concern to protect reputation, but highlights the importance of protecting those in power. The Duke's imprisonment of Isabella is both cruel and unnecessary in bringing justice to Angelo. In doing so, the Duke can disguise himself as a brother and accuse Angelo himself, thus giving him the final credit. To the same end, the Duke cruelly hides the fact that Claudio is alive until he wishes to condemn Angelo.].