This piece is from 2018, but is still an great example of strong writing. The best parts of this piece come from the extremely detailed knowledge of the text, and the ability to explain these complex concepts in a simple way. This essay also displays strong writing skills: the author uses varied prose to communicate in an interesting way without repeating themselves.
In a time of social and religious flux, Shakespeare depicts a Vienna filled with moral and judicial change. Characters in this era of self-preservation are seen to either stoop to immorality, or to try to act in the interests of others. While ‘Measure for Measure’ highlights social corruption, it notes the systematic and personal flaws of leaders that contribute to this. Overall, Shakespeare asks us to view how power can increase the impact of ones actions, both good and bad.
Note: this introduction is nice and brief. It communicates simply and directly, though it could have slightly clearer main ideas.
Shakespeare opens his play presenting a world in which commoners and lowlife characters are undoubtedly corrupt. Pompey, for example, works in a brothel, and when confronted by Escalus’ question, “is it a lawful trade?”, he proclaims he is but “a poor man that would live”, and in fact, “the valiant heart’s not whipped out of his trade”. The bawd is fully content with living off the sin of lust shown by the citizens of Vienna. No threats move him, and any advice given by Escalus is scorned, followed “as the flesh and fortune shall better determine”. While Pompey does note one would have to “geld and splay all the youth of the city” in order to remove the need for brothels, he feels no remorse working to fill this demand. Likewise, Mistress Overdone’s only lament is that “with the war…sweat…gallows and…poverty”, she is “custom shrunk”. Through her self-centred behaviour, the audience is shown a desire for self-preservation at the expense of others, condemned as morally unsound. While corruption is written all over a profession that profits off sin, it is frowned upon also in Shakespeare’s subtle criticism of the death penalty. Abhorson is a lowlife character, employed by the state as an executioner. While his work sins against one of the Ten Commandments as much as that of the bawdy characters, the state sanctioned aspect of it allows its continuation. Despite the grace it is given by the court, Shakespeare notes the nature of the work itself, killing to help the victim atone for sin, is hypocritical, and thus condemns Abhorson also for living off corrupt work. While the possible need for the lowlives to work in compromising professions is suggested through the lack of any other common careers, Shakespeare still critiques those who profit willingly off sinful professions for encouraging systematic corruption.
Note: this paragraph does not contain a lot of quotes. However, it is still very strong because it includes a careful analysis of many relevant characters.
However, the playwright notes also the influence of corrupt government on the body politic, and thus the need for a good example in order to encourage strong behavioural standards and a healthy system. The Duke notes “‘twas [his] fault to give the people scope”, already aware of his effect on those he rules. Before parting, he informs Angelo that if you, as a leader, do not give the example of your virtues, “‘twere all alike as if [you] had them not”. Those in power in early 17th century Britain were endowed with “power divine”, the representatives of God on earth. With such a status, responsibility is required of leaders not only to present a good standard of morality, but also to challenge that presented by the people when they show abuse of leniency. The actions of the people are a reflection of the ruler: Friar Thomas notes “it rested in” the Duke’s power “to unloose this tied-up justice when [he] pleased”. One can almost understand the actions of the people tending towards immoral behaviour, when the Duke muses a ruler promotes sin “when evil deeds have their permissive pass and not the punishment.” As a man looked to by a whole city, the onus is on him to provide guidance. A figure of authority or status must watch his actions, as they set the bar for those of the people who follow him. A counter to the result of failing this is offered at the end when the Duke gives reprimands, but grants release. Under a ruler who shows temperance and mercy, but who no longer allows the law to “[sleep] like an o’ergrown lion”, hope is offered for the future of Vienna as the curtains close. Thus, Shakespeare acknowledges the greater burden on the gentry to act in a morally sound way given their influence.
Note: this paragraph is strong as it uses several quotes from multiple different characters to back up the same main idea. The evidence presented is directed, and doesn't wander off topic. Additionally, there is a healthy dose of historical context.
Nevertheless, concern is also displayed for the private actions of those who have aristocratic status. Blatant criticism is offered for Lucio, a man whose extensive fornication permitted by his money results in “[getting] a wench with child”. Additionally, he lies about it in court in order to avoid being “married…to the rotten medlar”. His immoral attitude to life and society is shown even more as Pompey is carted off to jail. The honour among thieves expected by Pompey of Lucio is denied, and the latter man has both financial and social power over the former. While he could pay for his bail, he prefers to jokingly advise Pompey to “go to kennel” despite all the sin Pompey has enabled for him. This lack of moral compass is allowed by Lucio’s standing in society, and thus the power he has over people. A greater power allows for greater influence, both negative and positive. This again is seen in the scene where Isabella declares she “will proclaim…Angelo” and “tell the world” what kind of man he is. Instead, horror falls upon the audience and Angelo assuredly replies “who will believe thee, Isabel?” His “vouch against” her given his “place i’th’state will so…overweigh” her accusation that in fact accusations of calumny against her will arise. Angelo’s corruption is marked not only by his attempts at committing fornication of a far more damaging kind than that for which he sentenced Claudio to death, but also by how he behaves after his attempt is rejected. While coercing Isabella to sleep with him, he threatens to torture and kill her brother, which he can legally do given his position. Even after Angelo believes he has slept with Isabella, he goes back on his promise on his promise to free Claudio, fearing revenge for what he has done to Isabella. This is not he first time he has gone back on a promise: we learn also Angelo broke an engagement with Mariana after she lost her dowry, and was “a marble to her tears”. While aristocracy gives the gentry the means by which to act immorally, for Angelo it also gives his reason. The desire to protect his name and “gravity, wherein…[he takes] pride” leads to hypocrisy, and corruption on a far greater scale than shown by any of the commoners. Through these characters, Shakespeare suggests in fact “power changes purpose”, and those of high social status have both the reason for and ability to act in ways that hurt others.
Note: this paragraph is probably the most interesting for how it deals with the complex issue of corruption among the wealthy. In particular, the suggestion at the end that Angelo's status both enables and also justifies his corruption is unique. As with the paragraphs above, this one is strong for its complex and especially deep understanding of the characters' interactions within the plot.
Shakespeare presents a Vienna where “corruption boil[s] and bubble[s]”. Although immediately, one is struck by the poor behaviour of the lower classes, it is the power and status of the gentry that give them the ability to act in far less pleasant ways. Despite this, the power of the upper classes can also be harnessed for good, and Shakespeare closes his play with this hope for the futures of both Vienna, and society in general.
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