Other editions of book Measure For Measure

Measure for Measure - The Works of William Shakespeare [Cambridge Edition] [9 vols.] is presented here in a high quality paperback edition. This popular classic work by William Shakespeare is in the English language, and may not include graphics or images from the original edition. If you enjoy the works of William Shakespeare then we highly recommend this publication for your book collection.

Measure for MeasureWilliam ShakespeareMeasure for Measure is a play by William Shakespeare, believed to have been written in 1603 or 1604. Originally published in the First Folio of 1623, where it was listed as a comedy, the play's first recorded performance occurred in 1604. The play's main themes include justice, "mortality and mercy in Vienna," and the dichotomy between corruption and purity: "some rise by sin, and some by virtue fall." Mercy and virtue predominate, since the play does not end tragically.Measure for Measure is often called one of Shakespeare's problem plays. It was, and continues to be, classified as comedy, though its tone and setting defy those expectations.Vincentio, the Duke of Vienna, makes it known that he intends to leave the city on a diplomatic mission. He leaves the government in the hands of a strict judge, Angelo.In the next scene, we find a group of soldiers on a Vienna street, expressing their hopes, in irreverent banter, that a war with Hungary is afoot, and that they will be able to take part. Mistress Overdone, the operator of a whorehouse frequented by these same soldiers, appears and tells them "there's one yonder arrested and carried to prison was worth five thousand of you all." She tells them that it is "Signor Claudio," and that "within these three days his head to be chopped off" as punishment for "getting Madam Julietta with child." Lucio, one of the soldiers who is later revealed to be Claudio's friend, is astonished at this news and rushes off. Then comes the first appearance of Pompey Bum, a character whom Harold Bloom has described as "a triumph of Shakespeare's art, a vitalistic presence who refuses to be bound by any division between comedy and tragedy." Pompey, who works for Mistress Overdone as a pimp, but disguises his profession by describing himself as a mere 'tapster' (the equivalent of a modern bartender), avers to the imprisonment of Claudio and outrageously explains his crime as "Groping for trouts in a peculiar river." He then informs Mistress Overdone of Angelo's new proclamation, that "All houses [of prostitution] in the suburbs of Vienna must be plucked down." The brothels in the city "shall stand for seed: they had gone down too, but that a wise burgher put in for them." Mistress Overdone is distraught, as her business is in the suburbs. "What shall become of me?" she asks. Pompey replies with a characteristic mixture of bawdy humor and folk-wisdom, "fear you not: good counselors lack no clients: though you change your place, you need not change your trade... Courage! there will be pity taken on you: you that have worn your eyes almost out in the service, you will be considered."

Measure for Measure is a play by William Shakespeare, believed to have been written in 1603 or 1604. It was (and continues to be) classified as comedy, but its mood defies those expectations. As a result and for a variety of reasons, some critics have labelled it as one of Shakespeare's problem plays. Originally published in the First Folio of 1623 (where it was first labelled as a comedy), the play's first recorded performance was in 1604. The play deals with the issues of mercy, justice, and truth and their relationship to pride and humility: "Some rise by sin, and some by virtue fall". The play draws on two distinct sources. The original is "The Story of Epitia", a story from Cinthio's Hecatommithi, first published in 1565. Shakespeare was familiar with this book as it contains the original source for Shakespeare's Othello. Cinthio also published the same story in a play version with some small differences, of which Shakespeare may or may not have been aware. The original story is an unmitigated tragedy in that Isabella's counterpart is forced to sleep with Angelo's counterpart, and her brother is still killed. The other main source for the play is George Whetstone's 1578 lengthy two-part closet drama Promos and Cassandra, which itself is sourced from Cinthio. Whetstone adapted Cinthio's story by adding the comic elements and the bed and head tricks. The title, which appears as a line of dialogue in the play, is usually thought to be a reference to the Bible, Matthew 7:2: For in the same way you judge others, you will be judged, and with the measure you use, it will be measured to you.

Since the rediscovery of Elizabethan stage conditions early this century, admiration for Measure for Measure has steadily risen. It is now a favorite with the critics and has attracted widely different styles of performance. At one extreme the play is seen as a religious allegory, at the other it has been interpreted as a comedy protesting against power and privilege. Brian Gibbons focuses on the unique tragi-comic experience of watching the play, the intensity and excitement offered by its dramatic rhythm, the reversals and surprises that shock the audience even to the end. The introduction describes the play's critical reception and stage history and how these have varied according to prevailing social, moral and religious issues, which were highly sensitive when

Since the rediscovery of Elizabethan stage conditions early this century, admiration for Measure for Measure has steadily risen. It is now a favorite with the critics and has attracted widely different styles of performance. At one extreme the play is seen as a religious allegory, at the other it has been interpreted as a comedy protesting against power and privilege. Brian Gibbons focuses on the unique tragi-comic experience of watching the play, the intensity and excitement offered by its dramatic rhythm, the reversals and surprises that shock the audience even to the end. The introduction describes the play's critical reception and stage history and how these have varied according to prevailing social, moral and religious issues, which were highly sensitive when

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.