Providential Improvisation in Measure for Measure

Abstract

Measure for Measure has inspired widely divergent readings, in our century having been seen as either doctrinal (embodying Christian teachings) or “dark” and satiric. The play's prominent biblical and theological allusions do evoke a parallel between the duke and God, as testing master, redeemer, and judge; the parallel, however, is comic, not didactic, showing that the duke is not God but a ruler who makes a quixotic attempt in his government to imitate God (as rulers theoretically were obliged to and as King James had claimed he would), with mixed and humorous results. The duke is fallible, meddling, and laughable but beneficent, inventive, and in large measure successful in helping his subjects.

Religion and Theatrical Drama

“…Fortunately, the company created a professional, theatrical film of the production for educational purposes; however, like many recorded theatrical performances the frisson with the audience is absent. Nevertheless, the recording, coupled 1 See, for example, (Beckwith 2011;Besteman 2019;Goossen 2012;Smith 2018;Shuger 2001;Schleiner 1982;Knight 2001;Whalen 2014;Bradizza 2018;Rust 2019). 2 I recognize that the description of the theatrical experience above is subjective; however, whether each individual felt the 'engagement' of the performance, does not undermine that the intent of the design and staging was to engage the audience.…”

“Fantastic Tricks before High Heaven,” Measure for Measure and Performing Triads

“…Fortunately, the company created a professional, theatrical film of the production for educational purposes; however, like many recorded theatrical performances the frisson with the audience is absent. Nevertheless, the recording, coupled 1 See, for example, (Beckwith 2011;Besteman 2019;Goossen 2012;Smith 2018;Shuger 2001;Schleiner 1982;Knight 2001;Whalen 2014;Bradizza 2018;Rust 2019).…”

Knowledge and experience in the ‘disguised duke’ play

“…Louise Schleiner frames the Duke's conduct in terms of the New Testament's 'absentee master' parables, although she concedes that Shakespeare 'adopted' a 'radically new conception of the story'. 14 The convention most directly challenged by Measure for Measure's preference for experiential observation, however, is the typical conclusion of a romantic comedy. Playgoers have long complained that the marriages the Duke arranges at the end are deeply unsatisfying.…”