Free Essay

How Does Shakespeare Use Representations of Speech and Other Dramatic Techniques to Convey the Relationship Between Angelo and Isabella in the Passage Below and One Place Elsewhere in the Text?

In: English and Literature

Submitted By meganhm
Words 1056
Pages 5
The passage opens by Isabella using a speech representations, she refers to Angelo as ‘my lord’ this mode of address reinforces the difference in class and also the respect that Isabella must give to him, not only because he is in charge but also he could potentially save Claudio’s life. A common thought that has been displayed in many plays such as Measure for Measure is that men are weak and women are the strong willed ones who cannot be lustful but for a man it is more acceptable and for a dramatic twist Angelos turns round to Isabella and states a declarative ‘we are all frail’, he reinforces his point by again stating ‘women are frail too’. To Angelo’s short remarks Isabella replies with a paragraph agreeing with his thoughts, this can be seen as a dramatic technique as Isabella is strong willed and stubborn yet she agrees as states that even she is weak - which could potentially encourage him - but her agreeing can also help bring to light just how much power he has. ‘call us ten times frail; for we are soft as our complexions are’. He has so much power that Isabella must agree with what he says if its harmless.

Shakespeare uses the dramatic technique of presenting Isabella as either naive or a really dedicated soon to be nun, but not letting Isabella know that Angelo is talking actually talking about wanting to sleep with her. Shakespeare highlights that Isabella hasn’t been aware of Angelo's intentions as previously they spoke and Isabella offered ‘gifts’ but in her eyes she was talking about things such as prayers and using her spiritual side in order to help him but Angelo interpreted that different and though she was offering her body. The fact Shakespeare has left Isabella in the dark for so long made her sudden realisation very entertaining, the dramatic irony that was presented was due to the fact the audience knew of Angelo’s desire right from the second scene whereas it on just become apparent for Isabella. Isabella enters a moment out outrage when she has realised what Angelo is hinting at, after Angelo declares his love for Isabella by simply stating ‘I love you.’ Isabella does wait for him to finish talking before turning the conversation back to her brother Claudio, this is to always remind the audience that the fate of Claudio is determined by Angelo. Isabella begins to show her empathetic side and tries to make Angelo see his by placing himself in Claudio’s shoes stating that Claudio loved Juliet and that he shall die for what he did and so if Angelo did the same then he should too.

Shakespeare always keeps the iambic pentameter flowing, this often involves shortening Isabellas name to Isabel, in that line Angelo admits that Claudio will not die ‘if you give me love’ this is when Isabella begins to see the malicious and blackmailing side to Aneglo that the audience has been able to see earlier on in the play. When another character such as Lucio in act 2 scene 2 is present Angelo is very cautious of what he says he claims after Isabella begs for Claudio's life that she ‘wastes your (her) words’ this is because Lucio is presnt and so he cannot propose his sinful idea that would save Claudio’s life. Now Isabella and Angelo are alone he doesn’t hesitate to use a declarative and state his love. Isabella isn't blind to this manipulation of power as she brings up the fact that Angelo has a tendency to ‘pluck on others’ this is because she has now recognised that because of his position he can lure guilty people on which is extremely sinful.

Isabella could be seen as being dramatic on the following half of the scene right at the end, now she is aware of Angelo's intention she uses the adjective ‘pernicious’ to describe him, this adjective means that he is wicked and evil, potentially even fatal. The fatal side of the word could then link back to her brother and although Claudio's life lies in Angelos hands Isabella has stopped being overly nice to him to try and sweeten him up so he’d change her mind but she tries to blackmail him back. She irrationally calls out ‘sign me a present pardon for my brother, or with an outstretched throat, I’ll tell the world aloud.’ Isabella seems to be offended by Angelo's desire for her and so claims she would tell everyone about him, the fact she used the intensifier ‘outstretched’ shows how passionate she is about trying to ruin his reputation and tell everyone, little does she know that the angrier she gets the more attracted her gets towards her.

Elsewhere in the play, in act 2 scene 2 the relationship was a lot more one sided. Angelo was very much in charge as he does have more power and so Isabella was submissive and agreed with what he said and followed him, she did make a strong attempt to save Claudio’s life but when Angelo would bring up the law and how he broke it she seems very dominated and would say things like ‘yet show some pity’ this phrase is hardly going to push him over or show her stubbornness and demand. It isn't until scene 4 where she declares she will ‘tell the world’ of his evil, sick and twisted plan, this is when Isabella begins to show that she too can have power and stand up to Angelo despite the fact he is the current ruler and is in charge. Throughout scene 2 she uses modes of address such as ‘my lord’ and ‘lordship’ and that is only done at the beginning of scene 4 when she is unaware of his intention but as soon as she finds out she stops using them and it isn't until her soliloquy where we can see just how vulnerable she is.

To conclude Shakespeare uses declaratives and modes of address throughout the play to show how Isabellas and Angelos relationship is weakening due to his love for her which is not mutual. The fact that no one would believe her if she came forward is disheartening and makes Isabella feel insignificant and does show the ultimate separation between their levels of power therefore relationship.

Similar Documents

Premium Essay

Harold Bloom

...metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references and index. ISBN 978-1-60413-723-1 (hardcover) ISBN 978-1-4381-3425-3 (e-book) 1. Shakespeare, William, 1564–1616—Criticism and interpretation. I. Bloom, Harold. II. Heims, Neil. PR2976.W5352 2010 822.3'3—dc22 2010010067 Bloom’s Literary Criticism books are available at special discounts when purchased in bulk quantities...

Words: 239932 - Pages: 960

Free Essay

Interpretation of Dreams

...of nine years between the first and second editions of this book, the need of a third edition was apparent when little more than a year had elapsed. I ought to be gratified by this change; but if I was unwilling previously to attribute the neglect of my work to its small value, I cannot take the interest which is now making its appearance as proof of its quality. The advance of scientific knowledge has not left The Interpretation of Dreams untouched. When I wrote this book in 1899 there was as yet no "sexual theory," and the analysis of the more complicated forms of the psychoneuroses was still in its infancy. The interpretation of dreams was intended as an expedient to facilitate the psychological analysis of the neuroses; but since then a profounder understanding of the neuroses has contributed towards the comprehension of the dream. The doctrine of dream-interpretation itself has evolved in a direction which was insufficiently emphasized in the first edition of this book. From my own experience, and the works of Stekel and other writers, [1] I have since learned to appreciate more accurately the significance of symbolism in dreams (or rather, in unconscious thought). In the course of years, a mass of data has accumulated which demands consideration. I have endeavored to deal with these innovations by interpolations in the text and footnotes. If these additions do not always quite adjust themselves to the framework of the treatise, or if the earlier text does not everywhere...

Words: 226702 - Pages: 907

Free Essay


...MATERIAL PRIOR TO CLASS. INFORMATION PAPER ON THE PHILOSOPHICAL ASPECTS OF CULTURAL DIFFERENCE Developed by Edwin J. Nichols, Ph.D. |Ethnic Groups/ |Axiology |Epistemology |Logic |Process | |World Views | | | | | |European |Member-Object |Cognitive |Dichotomous |Technology | |Euro-American |The highest value lies in the object |One knows through counting |Either/Or |All sets are repeatable and| | |or the acquisition of the object |and measuring | |reproducible | |African |Member-Member |Affective |Diunital |Ntuology | |African-American...

Words: 63019 - Pages: 253

Premium Essay

California an Interpretive History - Rawls, James

... CALIFORNIA An Interpretive History TENTH EDITION James J. Rawls Instructor of History Diablo Valley College Walton Bean Late Professor of History University of California, Berkeley TM TM CALIFORNIA: AN INTERPRETIVE HISTORY, TENTH EDITION Published by McGraw-Hill, a business unit of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2012 by The McGraw-Hill Companies, Inc. All rights reserved. Previous editions © 2008, 2003, and 1998. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. Some ancillaries, including electronic and print components, may not be available to customers outside the United States. This book is printed on acid-free paper. 1234567890 QFR/QFR 10987654321 ISBN: 978-0-07-340696-1 MHID: 0-07-340696-1 Vice President & Editor-in-Chief: Michael Ryan Vice President EDP/Central Publishing Services: Kimberly Meriwether David Publisher: Christopher Freitag Sponsoring Editor: Matthew Busbridge Executive Marketing Manager: Pamela S. Cooper Editorial Coordinator: Nikki Weissman Project Manager: Erin Melloy Design Coordinator: Margarite Reynolds Cover Designer: Carole Lawson Cover Image: Albert Bierstadt, American (born in Germany), 1830–1902...

Words: 248535 - Pages: 995