Measure for Measure : Angelo 의 '위선'을 중심으로 Chiefly on Angelop's 'Hypocrisy'
저자
崔京蘭 (檀國大學校 人文科學大 英文學)
발행기관
학술지명
권호사항
발행연도
1984
작성언어
Korean
KDC
001.3
자료형태
학술저널
수록면
111-130(20쪽)
제공처
소장기관
Measure for Measure was first produced at the Whitehall on December 26, 1604. Since then the play has had a long and successful production history despite a reputation among critics as a bad play. In critical views: Dryden found the play "meanly written"; Coleridge found the low-life scenes "disgusting"; Dr, Johnson, however, found Lucio and the low-life scenes "very natural and pleasing"; Hazlitt found the subject matter "repulsive"; Swinburne cordially disliked the play; Walter Pater thought the play one of Shakespeare's best. The play has illicited abundant disagreement.
The plot of Measure for Measure is an amalgm of several common stories such as the disguised ruler, the false magistrate and the monstrous ransom he demands, and the substite lover, contained particularly in the work of George Whetstone's Promos and Cassandra.
Duke Vincentio of Vienna leaves that city to the charge of Angelo whose reputation is as stainless as his name suggests. The Duke's purpose is twofold: (1) Angelo's moral uptightness, put to power, may moderate Vienna's moral corruption. (2) Angelo himself will be tested, as well the corruption influence of power.
Angelo begins his reign severely, condemning the death a young man, Claudio, for a moderate moral offense. Claudio has gotten with child a woman, Juliet, to whom he is formally contracted in marriage, though the ceremony has not been finalized because of complications concerning the dowry.
Were Angelo consistent in his law, as he seems at first to intend, he might at least have dealt rightly with justice, though never understanding mercy. But Angelo fails even at consistency. When the virgin and holy Isabella, Claudio's sister, pleads to Angelo for Claudio's life, Angelo, for the first time in his life, experiences the powers of love. To his credit Angelo loves Isabella, who seems goodness personified. But to Angelo's discredit, his warped and withered sensibilities can manage from love only a carnal lust. Claudio's life will be spared if Isabella will render up her chaste body to Angelo's desires. The false magistrate thus demands his monstrous ransom.
However, the ruler is at hand to work a solution to the dilemma. Disguised as a friar, Duke Vincentio learns of Isabella's plight and contrives with her to provide a substitute lover. One Mariana, a woman betrothed to Angelo but abandoned by him, agrees to take Isabella's place in the tryst, pretending to be Isabella. Conditions of the meeting-no light, little talk, short stay――facilitate the deception. The Duke, as friar, pronounces moral judgment on this act: It is no sin because it consummates a marriage contract.
Angelo thus has his desires, as he thinks; yet he still betrays his agreement. Claudio must die. At the insistence of the disguised Duke, the Provost saves Claudio's life by sending to Angelo the head of another prisoner very like Claudio in looks. The trick works. All but the Duke and the Provost believe Claudio dead Isabella feels heartbroken and betrayed. The disguised Duke sends word he is returning to Vienna. Isabella stations herself at the gate, confronts the Duke, and pleads for justice.
When Mariana and the Duke at last reveal Angelo's guilt, Isabella kneels with Mariana to plead that Angelo's life be spared. Claudio is brought forth, very much alive. The Duke grants pardon to all. He asks for Isabella's hand in marriage, as he enforces seveal other marriages.
In Measure for Measure the 'seeming' motif gives substance to the central concern with hypocrisy in Vienna as a whole. In particular, the depth and full meaning of 'seeming' show clearest in Angelo's hypocrisy about his moral character.
Angelo is first introduced as a man with a self-image of gravity, austerity, and self-rest-raint both by the Duke and Escalus. Then he is given a new role to play, that of the deputy for the Duke. Though the Duke speaks highly of Angelo in naming him his deputy he is in fact testing Angelo, as can be seen by the Duke's remarks to Friar Thomas at the close of Ⅰ. ⅲ. 50∼54. In this speech, the nature of Angelo's character is more specially defined. He is an austere, ascetic type; he is certainly not magnanimous or generous. It reveals a man compounded of strength and weakness.
Angelo begins his reign severely, condemning to death a young man, Claudio, for a law(sex outside marriage is forbidden) offense. But Isabella's plead for Claudio's life is set off in Angelo's unconscious. With his soliloquy following his first interview with Isabella(Ⅱ.ⅱ. 177∼187), Angelo confesses his hypocrisy――his lust for Isabella overrides his empty words of virtue. When Angelo offers Isabella so monstrous a solution to her brother's difficulties, he goes beyond hypocrisy and purposes to commit the very crime for which his brand of justice claims Claudio's life. Especially Angelo who argues so convincingly about justice after he has treated Mariana so unfairly is regarded as a hypocrite. Angelo's profundity of character begins to drop off when he makes his bed bargain with Isabella. Henceforward, Angelo loses his attractiveness and becomes a common villain.
During the course of the play, Angelo is morally guilty of lust and murderer and actually guilty of hypocrisy, meanness, and treachery.
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