Summary of Act 2, Scene 1 of Measure for Measure PDF

Summary: Act 2, Scene 1 Angelo opens the second act by addressing Escalus, insisting to him that they must remain firm with the letter of the law, lest criminals grow too comfortable. Escalus responds by comparing the practice of law enforcement to the pruning of a tree, arguing that they should "c...

Summary: Act 2, Scene 1 Angelo opens the second act by addressing Escalus, insisting to him that they must remain firm with the letter of the law, lest criminals grow too comfortable. Escalus responds by comparing the practice of law enforcement to the pruning of a tree, arguing that they should "cut a little" rather than "fall and bruise to death" (2.1.6--7). He also brings up Claudio's specific case, asking Angelo to consider whether he could have erred in the same way at some point in his life. Angelo responds, "'Tis one thing to be tempted, Escalus, / Another thing to fall" (2.1.18--19). He argues that, despite the ever-changing line between lawmaker and criminal, the law must still stand firm. He admits that he himself is capable of transgression, but he adds that he hopes to be treated with the same strictness should he do wrong. Angelo calls in the Provost and tells him to ensure that Claudio is executed before nine o'clock the next morning. Elbow enters, bringing Pompey and Froth with him. Angelo asks him what he is doing, and he replies that he is the Duke's constable, and that he has brought two "notorious benefactors" to Angelo. Angelo asks if they are not "malefactors" instead, and the constable replies that he does not know. Angelo asks Pompey what he is, and Elbow calls him a "parcel bawd," or a partial bawd (2.1.68). It becomes clear that Elbow confuses words a lot, and so Angelo has difficulty questioning him. He does say that he found Pompey and Froth at a brothel. Froth confesses to working for Mistress Overdone, and Escalus tells him that prostitution is an illegal and punishable occupation, warning him not to be seen at the brothel again. Escalus questions Elbow about other constables, telling him to bring the names of other worthy people. He then mourns the fate of Claudio while lamenting that there is no remedy for it. Analysis: Act 2, Scene 1 This is the first scene where Angelo has appeared since the Duke invested him with authority. It is thus also the first scene where we have witnessed Angelo in the role of a leader. From the very beginning of the scene, it is abundantly clear that he is a narrow-minded and stern man. It's also clear that Angelo is serving the purpose that the Duke intended. Back in act 1, scene 3, the Duke described to Friar Thomas how he'd empowered Angelo to enforce the laws that he, the Duke, had long let slide. Here, Angelo echoes the Duke's speech, telling Escalus, "We must not make a scarecrow of the law, / Setting it up to fear the birds of prey, / And let it keep one shape till custom make it / Their perch and not their terror" (2.1.1--4). In other words, the only way to eradicate crime is to be consistent---and relentless---in its punishment. Although Angelo's advisors do push back against the severity of his decrees, they find their temporary ruler aggressive and immovable. As such, they quickly come to accept his decisions, even if they lament the consequences. Even the justice of the peace, known only as "Justice," reflects on the harshness of the new ruler's vision of law and order. Near the end of the scene he declares plainly to Escalus, "Lord Angelo is severe" (2.1.290). Escalus agrees with him, but by this point he already seems to have accepted the necessity of Angelo's aggressive approach. He indicates as much in a pair of proverbial phrases that he addresses to the Justice, as if to convince him that Angelo's vision is indeed just: "Mercy is not itself that oft looks so. / Pardon is still the nurse of second woe" (2.1.292--93). In other words, although pardoning someone for their wrongdoing may look merciful, it's unmerciful in the sense that leniency often leads to further wrongdoing. Thus, even as he laments Claudio's fate, Escalus has been converted to Angelo's way of seeing things. Aside from further developing the play's thematic interest in matters of law and order, this scene also serves the purpose of comic relief, momentarily distracting the audience from the gravity of Claudio's imminent execution. Throughout the scene's long middle section, Escalus is made to act as a foil to the dim-witted constable and the foolish clown. Elbow is a frivolous addition to the cast of characters, amusing because of his use of malapropisms (i.e., his misspoken phrases and words). Escalus tasks Elbow to go off and retrieve more of Vienna's criminals, and the constable will continue to appear at intervals throughout the play to provide more comic relief. Yet as so often happens in Shakespeare, even in the play's comic digressions there appear important critiques of the main action. In this case, Pompey, whom Escalus interrogates at length, makes an important point about Angelo's logic of crime and punishment. As he points out to Escalus: "If you head and hang all that offend that way but for ten year together, you'll be glad to give out a commission for more heads" (2.1.246--48). In other words, if the government executes every fornicator in the city, they'll be lucky if anyone's left alive. Summary: Act 2, Scene 2 The Provost goes to see Angelo, hoping to convince him to change his mind about Claudio. He mentions Juliet, saying that she is going to give birth soon. A servant announces that Isabella has arrived. She tells Angelo that she abhors Claudio's vice, fornication, and that she is sorry to have to beg for his pardon. Yet she asks that Angelo condemn his fault instead of him. Angelo argues that the person who commits a crime must be punished for the crime. Isabella exclaims, "O just but severe law!" (2.2.58), showing that she approves of the law and is already mourning her brother's death. Lucio whispers to her that she should not give up so easily. He tells her to kneel before Angelo and speak with greater emotional force. Isabella asks again if Claudio must die, and he says yes. She continues to plead with him, but Lucio again tells her that she is "too cold" (2.2.76). She argues that Claudio would have mercy on Angelo if the roles were reversed, but Angelo tells Isabella to leave and that she is wasting her time. Angelo also argues that he would condemn even his own relative in the same way. Isabella continues to argue her case with greater fervor, and Lucio notes that Angelo is wavering. Angelo finally tells her that he will think about it, and that she should return tomorrow. Isabella calls out, "Hark how I'll bribe you" (2.2.177), and Angelo grows interested, replying, "How?" (2.2.178). Isabella responds that she will pray for him, and Angelo again tells her to come back tomorrow. Lucio tells her to obey, and Isabella agrees to return before noon. The scene ends with a soliloquy in which Angelo realizes that he desires Isabella in a sexual way and ponders why. Read a translation of Act 2, Scene 2. Summary: Act 2, Scene 3 The Duke, disguised as a friar, visits the prison, saying that he wants to visit the prisoners. Juliet enters, and the Duke asks her if she repents her sin. She replies yes, and the Duke says he will help absolve her. He asks if she loves the man who impregnated her, and she replies that she loves him as much as she loves herself. Realizing that their sexual encounter was consensual, the Duke tells Juliet that she sinned more than her lover, and she says she repents it. The Duke then tells her that he is going to visit Claudio, who must die tomorrow, and Juliet expresses her sorrow. Read a translation of Act 2, Scene 3. Analysis: Act 2, Scenes 2 & 3 Measure for Measure reaches an early moment of tension with the encounter between Isabella and Angelo. Significantly, the dispute between these two characters reveals new sides of each. In Isabella's case, although we might have assumed that she'd appear frail when faced with a male authority figure, she proves more than capable of presenting a powerful moral argument. The argument she makes to Angelo centers on distinguishing between the sinner and the sin. She believes that his job should be to punish the sin while leaving the sinner unharmed. To support her argument, she invokes the Christian notion that all humans are born into sin. Because this condition is universal and inescapable, punishment should be wielded for the purpose of correction and repentance---not extermination. Isabella struggles to convince Angelo of her logic. She breaks through, however, when she shifts her rhetoric to address Angelo's own inner life. She directs him: "Go to your bosom, / Knock there, and ask your heart what it doth know / That's like my brother's fault" (2.2.166--68). At this point, Angelo's mind begins to change. He says in an aside, "She speaks, and 'tis such sense / That my sense breeds with it" (2.2.172--73). His language here is suggestive. He indicates that the "sense" of her reason is so powerful that it "breeds" with his own sense. In other words, the force of her rhetoric has inspired his sensual appetite. As such, Angelo suddenly finds himself vulnerable to the same sinful desires for which he has sentenced Claudio to death. This changes his position completely; no longer on a moral pedestal, his concern shifts from carrying out the law to avoiding culpability for his own sinful and criminal behavior. As Angelo's change of heart suggests, Isabella's influence over him is about more than her argument. It's also about the way she wields her femininity. As Lucio is quick to point out, her first efforts at pleading with Angelo are "too cold" (2.2.62). The primary meaning of cold here is "unemotional," but the world also strongly connotes a lack of feminine sensuality. Lucio soon repeats his complaint to Isabella: "You are too cold" (2.2.76). This coaching leads Isabella to let loose on Angelo with the full strength both of her rhetorical ability and her emotional power. Thus, Isabella, who was just on the verge of joining a convent and pledging eternal chastity, has now inadvertently used her feminine wiles to soften the strict and emotionally immovable Angelo. Her concluding promise to find a way to "bribe" him leaves the door open for Angelo's later attempt to coerce her into yielding her chastity. Meanwhile, the Duke enjoys acting in disguise as a friar. In his discussion with Juliet, he is firm with her about the nature of her sin, but he also expresses sympathy with her situation. It's therefore clear that he would show more mercy than Angelo, even though he isn't fundamentally against Angelo's judgment. What further distinguishes the Duke is his clear desire to wield his power in subtler ways. Rather than assert his authority from the top down, he prefers to move among the various characters involved in the unfolding dispute. His is thus an investigation that moves from the bottom up, collecting evidence he can later use to make a judicious and fair decision about the best course of action. Summary: Act 2, Scene 4 Alone onstage, Angelo considers his situation again, confused by the conflicting emotions he is experiencing regarding his laws about fornication and his desire for Isabella. His servant then enters to announce Isabella's arrival. Angelo tells Isabella that her brother will still die, but he seems less firm in his pronouncement. Isabella asks for clarification, and Angelo poses a hypothetical question, "Which had you rather, the most just law / Now took your brother's life, or, to redeem him, / Give up your body to such sweet uncleanness / As she that he hath stained?" (2.4.54--57). In other words, would she rather lose her brother or sacrifice her virginity to save him. Isabella replies, "I had rather give my body than my soul" (2.4.59). Angelo clarifies that he has sentenced Claudio to death, then he poses another question: "Might there not be a charity in sin / To save this brother's life?" (2.4.67--68). Isabella again asks him to pardon her brother, saying that it would be worth the sin involved to do so. However, in saying this she innocently assumes that Angelo is speaking of the sin that he would incur for forgiving Claudio for his crime. Angelo tries to make her understand what he really means, saying that she is misinterpreting his words and thus either ignorant or crafty. He again tries to make his proposition, beginning by saying that Claudio will die. Isabella understands this much, and Angelo says that his crime warrants such a punishment. Isabella agrees. Then Angelo states his question more clearly, asking whether she would be willing to have sexual relations with a man in order to save Claudio. Isabella says that she would rather die than commit such an act; therefore, her brother should die under the same conditions. Angelo replies that he will die. Isabella agrees to this, saying that it is better for him to die than for her soul to be tarnished by the sin. Angelo asks her whether she is not acting as cruelly as he is, and she argues that she cannot redeem her brother through further sin. Now dispensing with all veiled language, Angelo tells Isabella that he loves her, and she replies, "My brother did love Juliet, / And you tell me that he shall die for 't" (2.4.153--54). Angelo replies that Claudio will not die if Isabella agrees to his proposition. Isabel grows irate when she realizes he is sincere, and she says that she will blackmail him if he does not pardon her brother, telling everyone what he has asked of her. Angelo replies, "Who will believe thee, Isabel?" (2.4.168). He speaks of his reputation and position in the state, suggesting that he has more power than she does. He tells her to be less timid and agree to his proposal, or else her brother will not only die but also suffer a long and painful death. He gives her until the next day to decide and then leaves. Isabella is left to think about the situation by herself. She wonders who would believe her if she were to tell what has happened. She decides to visit her brother, sure that he will agree that she should not give up her chastity for his life. She also hopes to put his mind at rest before he dies. Read a translation of Act 2, Scene 4. Analysis: Act 2, Scene 4 Even though Isabella appears slow to realize what's going on in this scene, the audience immediately understands that Angelo is attempting to coerce her into having sex with him in exchange for her brother's life. Angelo can't tell whether Isabella is truly being naïve or just playing coy, and this remains ambiguous for the audience as well (though different productions might emphasize one reading over the other). But regardless of the reason, Isabella strains Angelo's patience. One of the reasons behind Isabella's slow realization is that Angelo initially couches his proposition in hypotheticals. That is, he uses carefully veiled language that he hopes will communicate his desire without having to express them outright. Angelo's strategy indicates his awareness that what he's doing is morally wrong, though he evidently believes that he can skirt matters of morality through rhetorical means. However, Isabella's misunderstanding---whether genuine or feigned---eventually forces him to announce his intentions plainly: "Redeem thy brother / By yielding up thy body to my will, / Or else he must not only die the death, / But thy unkindness shall his death draw out / To ling'ring sufferance" (2.4.177--81). Yet even before she fully understands that Angelo is propositioning her, Isabella engages critically with his series of hypothetical scenarios. Her resistance to Angelo helps draw out the confusing conflation of secular and sacred law involved in his proposition. That is, he's asking her to break her spiritual vow to chastity and commit a sin to save the life of her brother. However, this breach of sacred law is also, under Angelo's authority, a breach of secular law. And what's more, it is the secular law against fornication before marriage that has led to her brother's being sentenced to death. What logic is there in saving her brother's life by committing the same act that got him arrested in the first place? This question is even more significant, considering that Claudio and Juliet are truly in love, whereas Angelo and Isabella are not. Though Isabella doesn't critique the absurd hypocrisy of Angelo's proposal outright, she does reject his conflation of sacred and secular crimes when she concludes: "Better it were a brother died at once / Than that a sister, by redeeming him, / Should die forever" (2.4.114--16). Isabella clearly prioritizes sacred over secular law. In addition to the muddled conflict staged here between law and religion, this scene also powerfully reflects on how male tyranny is related to the domination of women. As the scene draws to a close and Angelo realizes that Isabella won't easily succumb to his desires, he resorts to a power play. He claims that, though all humans are frail, women are weaker than men. When Isabella agrees with him, he uses her agreement as an opportunity to assert his power. He tells her to stop speaking ("arrest your words") and to act in accordance with her natural frailty: "Be that you are--- / That is, a woman. If you be more, you're none. / If you be one, as you are well expressed / By all external warrants, show it now / By putting on the destined livery" (2.4.145--49). The "destined livery" meant here is frailty, but Angelo is also clearly implying that Isabella must submit to his will. When Isabella protests and threatens to go public about his immoral and unlawful behavior, Angelo counters again with the logic of power: "Who will believe thee, Isabel? / My unsoiled name, th' austereness of my life, / My vouch against you, and my place i' th' state / Will so your accusation overweigh / That you shall stifle in your own report" (2.4.168--72). These lines remain chilling today, when powerful men continue to leverage their social and political power to suppress women's allegations of sexual assault. For the audience watching this scene unfold, it's perfectly clear that Angelo is in the wrong, and that his use of sexual tyranny to coerce Isabella is execrable. At the same time, given that we're only just at the end of act 2, we also sense that Angelo, intoxicated as he is with his own power, is destined for a sobering comeuppance.