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Misogyny, Critical Dichotomy and Other Problems with the Interpretation of Measure for Measure Jillanne Schulte Denison University

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Misogyny, Critical Dichotomy and Other Problems with the Interpretation of Measure for Measure Jillanne Schulte Denison University Articulāte Volume 8 Article 2 2003 Misogyny, Critical Dichotomy and other Problems with the Interpretation of Measure for Measure Jillanne Schulte Denison University Follow this and additional works at: http://digitalcommons.denison.edu/articulate Part of the English Language and Literature Commons Recommended Citation Schulte, Jillanne (2003) "Misogyny, Critical Dichotomy and other Problems with the Interpretation of Measure for Measure," Articulāte: Vol. 8 , Article 2. Available at: http://digitalcommons.denison.edu/articulate/vol8/iss1/2 This Article is brought to you for free and open access by Denison Digital Commons. It has been accepted for inclusion in Articulāte by an authorized editor of Denison Digital Commons. assert that Isabella is actually attracted to Angelo and Angelo Winner of the 20O3 Robert T. Wilson Award for Scholarly Writing bears the brunt of the misogyny in the play. Despite all the tries to seduce her because "Men corrupt women because Misogyny, Critical Dichotomy and other Problems with the Interpretation of evidence of Angelo's bad character, he is often ignored, while women are corruptible, receptive as well as vulnerable to Isabella is vilified as an evil seductress. Isabella's chastity is sexual use" (95). McCandless ignores the fact that Isabel Measure for Measure often a central issue, she is likely to fall into one of two resists being corrupted and is not in the least receptive to Jillanne Schulte '05 categories: saint or whore. Female critics do take an interest Angelo's advances. However, McCandless does bring up in Isabel's chastity, but they do not use it as a tool to classify the idea of Lucio sexualizing Isabella which is a primary cause voyeuristically eavesdrops on Isabella's conversation to Measure for Measure is the Shakespeare play with her. Instead, female critics recognize her as a flawed human of the male critical belief that Isabel is to blame for Angelo's Claudio, learns of Angelo's actions, and instead of revealing being and not a paragon of virtue or exemplar of villainy. great contemporary significance. The decadence of Renais- advances (99). himself, he arranges the swapping of Isabel's body for Isabella has been charged with being frigid, ma- sance Vienna—lax sexual morality, corrupt officials, and a Female criticism of Isabella is more restrained than Mariana's—a very sexually charged bit of trickery for a friar nipulative and heartless by some male critics, and vehemently faulty judicial system—are all comparable to problems in the either male praise or criticism. Female critics generally vindi- to suggest to a religious novice. Similarly the Duke knows defended as a saint and the epitome of virtue by others. modern realm. However, Measure for Measure is one of cate Isabel of the temptress label, but they also acknowledge that Angelo was unfaithful to his engagement to Mariana Shakespeare's more controversial works because of its in- Either way, those critics who are most rabid in their opinions her faults and attempt to examine her and Angelo in a and still appoints him deputy, and then feels no qualms about of Isabel are generally male and tend to ignore other charac- tensely sexual nature. While intercourse in itself does not nonbiased manner. For instance, Katherine Maus points out suggesting pre-marital sex to Mariana—the very thing he ters—Angelo in particular. For instance, R.W. Chambers as- make an appearance in the play, human sexuality and the Angelo's lack of comprehension of the difference between condemned so harshly in Juliet. The Duke then condemns, serts that Isabel is entirely pure of heart and very near a saint consequences of sex are of paramount importance. The the "realm of intention" or contemplating but not doing, and in public, the sexual conduct of Isabella and Mariana—con- of earth. Chambers touts the "nobility of Isabella" in her women in the play are defined by their sexual roles—wife, the "realm of execution," or actually carrying the tiling out. duct that he orchestrated. He humiliates both women in or- rigid determination not to surrender her virginity, even when maiden, widow, or prostitute. The men are less constrained Maus cites Angelo's faulty logic in his example of the robber der to achieve his own ends—namely to reveal Angelo as a and more likely to follow their sexual impulses and to view faced with the death of her brother (Chambers 106). who did not get caught serving on a jury. Angelo proves that villain. The Duke, like Lucio, also classifies women accord- David Stevenson takes the opposite (and more com- women's sexuality as corrupt and contaminated. The Duke, he does not understand the line between contemplation and ing to their sexual histories. He tells Mariana that if she is mon) male view of Isabella as a merciless seductress. He rails Angelo, and Lucio all display misogynistic qualities; this execution, because the robber on the jury actually committed "neither maid, widow, nor wife" then she is nothing (V,i, 177- sexism has carried over into critical interpretation of the fe- on Isabel as an example of moral vanity because of the pride the crime, he just did not get caught. Maus also suggests 8). Finally, the best evidence of his misogyny is his punish- she derives from being virtuous, but does not apply the same male characters, particularly Isabella, whom male critics tend that while Isabella is the object of Angelo's desire, he is ment of Angelo and Lucio with marriage (McCandless 118). criticism to Angelo. He also insists that Isabel has somehow to view as a temptress or a saint, while female critics refrain aroused not because she flaunts her body, but because she With this action the Duke creates an unspoken equation of sullied her virtue by helping Mariana. Stevenson glosses from categorizing Isabella on the basis of her chastity. This conceals it. Angelo says, marriage, and loss of male autonomy, with harsh punishment, over the grotesque mistakes of Angelo—particularly his critical dichotomy stems from a misconception of the source These black enshield masks and in Lucio's case, a fate worse than death. speedy "execution" of Claudio (actually Ragozine) to pre- of Isabella's sexuality, the tendency to assign blame to one Proclaim an enshield beauty ten times louder Angelo, like the Duke, enjoys dominating women, vent Claudio from discovering the loss of Isabel's virtue and Than beauty could, displayed (II,iv, 79-81). character, and natural human bias. but does it in such a way that his reputation remains stain- Misogyny is a basic component of the actions and taking revenge. Stevenson ends his criticism with the asser- However, Maus acknowledges that Isabella's harsh condem- less. He always addresses Isabella in private, and when she tion that through Isabel the "characterization of female inno- words of Measure for Measure's male characters: Lucio, the nation of anyone who threatens her virginity, both Angelo refuses to sleep with him and threatens to tell the world about Duke/Friar, and Angelo. Lucio "s incessant commentary draws cence and purity is made to appear in the guise of a heartless and Claudio, is not "endearing" (202). his true nature, he asks her, "Who will believe tliee, Isabel?" attention to his derogatory attitude toward women. He shrew" (Stevenson 75). Marcia Reifer and Barbara Baines assert that Isabella (II,iv, 154). After all, Isabel is a mere woman with no power of Hugh Richmond also points to Isabella as the pri- speaks to women and of women as if they are mere play- defends her virtue so vehemently because her "power, place, her own except her pristine reputation, and Angelo has the things. This attitude is made apparent in Lucio's greeting to mary reason for Angelo's fall from grace. Richmond goes so and value in society are so determined by her chastity that its same reputation for purity and the full weight of the law and far as to say that Isabella admitted she "helped corrupt Isabella—"Hail virgin, if you be," which is couched in sexual forfeiture would constitute...a form of social and psycho- the Duke's endorsement behind him. Angelo indicates in Angelo into his attempt to debauch her" (155). Isabella was terms (I,iv, 16). Lucio, well aware that he is speaking with a logical suicide" (Baines 83). This thesis is supported by the several speeches that he equates sex and women with impu- pure woman informs Isabel of his tendency to play false with moved by mercy and forgiveness to say, attitude of men toward women in Measure for Measure, par- rity. He speaks of Juliet in harsh terms, referring to her as the I partly think women in order to gratify his desires. He tells her. ticularly their desire to classify' women by sexual history. "fornicatress" and telling the Provost to "dispose of her" as A due sincerity govern'd his deeds 'tis my familiar sin Reifer states that the character arc of Isabel takes her from an if she is little more than refuse (II, ii; 17,23). Angelo makes it Till he did look on me (V,i, 441-3). with maids to seem the lapwing and to jest "articulate independent woman" in the play's beginning to very clear that the reason he is attracted to Isabel is her level Tongue far from heart, play with all virgins so The statement is a testament to Isabel's goodness, not an "a shadow of her former self on her knees to male authority" of purity, which sets her far above all other women. He says. admonition of guilt. Richmond glosses over Angelo's utter (Liv; 31 3 ) .
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