Whether Language Analysis (or Analysing Argument) is your favourite section of the English course or you just wish you could read an article without analysing the effect of a generalisation, here are some quick and simply tips to ensure you can maximise your marks in Section C! For a detailed guide on Language Analysis including how to prepare for your SAC and exam, check out our Ultimate Guide to VCE Language Analysis.

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Improve your metalanguage

What is Metalanguage?

Words that describe language!

For example:

• The words infer
• The words insinuate
• The words suggest

Create a word bank full of different words you can interchange throughout your analysis to eliminate any repetition!

If you’d like to see a list of sentence starters to help you broaden your vocabulary for Analysing Argument, check out this blog.

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Do not reiterate what the writer is saying

Remember you are analysing the language the writer uses, not arguing the contention of the writer!

Therefore avoid words such as: states, highlights, uses, utilises, shows etc.

What not to do: The writer states that creating a community garden will make people “healthier and happier”

What to do: The words “healthier and happier” suggest that creating a community garden will improve the lifestyles of citizens.

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Analyse the language not the technique

By now we are probably aware that puns are “often humorous” and “gain the reader’s attention”. However instead of using these generalised textbook effects, analyse the words WITHIN the pun and see how these words may affect readers.

What not to do: The pun “A new cycle” in the headline is humorous and therefore captures the attention of the reader.

What to do: The pun “A new cycle” draws a direct link between cycling and advancement in society urging readers to view cycling in a positive light.

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Always ask yourself: why?

Why is the writer using particular language? Why may the reader react with concern?

Make sure the answers to these questions are in your analysis!

What not to do: Consequently readers may feel concerned.

What to do: Readers may feel concerned due to the increase in fast food consumption.

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If you'd like to see exactly how to achieve this within your essays, check out our How To Write A Killer Language Analysis ebook for a step-by-step explanation of how to clearly and effectively answer 'why' and nail Analysing Argument!

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Don’t forget the visual

As silly as it may sound, it is quite easy to forget to analyse the visual when you’re under pressure. The visual can either complement the article or oppose the views of the writer.

Mention what the visual:

1. Symbolises
2. Suggests
3. And how readers may react to the visual‍

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Keep your introduction and conclusions as brief as possible

Most of your marks will come from your analysis so there is no need to spend copious amounts of time perfecting your introductions and conclusions. Keep them short and concise!

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Pick and choose what to analyse

It is simply impossible to analyse every single technique the writer uses in their article. Therefore pick the words/phrases that you find most persuasive. You will not be marked down for what you do not analyse!

For a step-by-step explanation of everything you need to know to ace your SAC or exam, check out our How To Write A Killer Language Analysis ebook.

For many students, Language Analysis is their downfall. Here is the main reason why: Lots of students don’t think about how language is used to persuade, instead they rely on lists of language techniques to tell them the answer. These sheets are usually distributed by teachers when you first start language analysis – see below.

Whether or not you’ve seen that particular document before, you’ve probably got something similar. You’ve also probably thought, ‘this sheet is absolutely amazing – it has everything I need and it tells me how language persuades!’ – I know I did. Unfortunately, this mindset is wrong. Don’t fall into the trap like so many other students have over the years. For a detailed guide on Language Analysis including how to prepare for your SAC and exam, check out our Ultimate Guide to VCE Language Analysis.

The following comes from VCAA 2009 English Assessment Report:

…some students presented a simple summary [when analysing]…with little development. These responses did not score well as they did not fulfil the task as required.

The ‘simple summary’ refers to students who rely on those technique sheets to paraphrase the explanations regarding how language persuades. There is ‘little development’ because copying the explanations provided on these sheets doesn’t demonstrate enough insight into the article you’re analysing. Let’s have a look at the VCAA English Practice Exam published in 2009, ‘Chickens Range Free’ so that we can demonstrate this point. We will look at two students, both analysing the same technique. Compare the two and determine who you believe provides the better analysis.

Student 1: Emotive language such as “abominably cruel” and “dire plight” is intended to stimulate strong emotional reactions that manipulate readers’ responses.

Student 2: The use of emotive language such as “abominably cruel” and “dire plight” intends to appeal to people’s instinctive compassion for the chickens by describing their dreadful treatment, hence causing readers to agree with Smith that urgent action is required to save these animals.

It should be clear that Student 2’s example is best. Let’s see why.

Student 1 has determined the correct language technique and found suitable evidence from the article. This is a good start. However, Student 1 goes on to merely reiterate the explanations provided by language technique sheets and as a result, their analysis is too broad and non-specific to the article.

Student 2 conversely, understands that this last step – the analysing part – is the most important and vital component that will distinguish themselves from others. Instead of merely quoting that the article ‘manipulates the reader response’ like student 1, they provide an in-depth analysis of how and why reader feelings are manipulated because of this technique. Student 2 was able to use the information to illustrate the author’s contention that we should feel sorry for these caged chickens – and we do because of our ‘instinctive compassion.’ They explain that the sympathy expressed from readers encourages them to agree that some action needs to be taken to help the chickens. As you can see, Student 2 has gone beyond identifying that ‘strong emotional reactions’ will be displayed by readers, to establishing what emotions are involved, and the consequences of those emotions.

This is why it’s best to avoid paraphrasing language technique sheets. By all means, don’t totally disregard them altogether. They’re definitely great for learning new language techniques – just be mindful of the explanations given. The part regarding how the author persuades is the downfall of many students because even though teachers tell you to analyse more, they often don’t show you the difference between what you’re doing wrong and what you should be doing right.

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Metalanguage is language that describes language. In films, we also need to consider cinematography – the technical side in the making of the film. For a detailed discussion, see What is metalanguage? 

The prospect of writing a Text Response or Comparative essay on a film can be daunting—it’s difficult to know how to identify filmic devices let alone analyse why the director has used them to give meaning to particular scenes. To start us off, below are some filmic devices commonly used by directors that all students should be aware of when studying films.

Filmic devices

Camera shots

This refers to the amount of space that is seen in one frame, which can be used to emphasise different aspects of the film’s setting or characters.

Example: An extreme close up of a character’s face to portray their emotions.

Camera angles

The way in which the audience is positioned to view the setting or character/s. This can enhance the audience’s understanding of the relationship between characters, or the way in which a character is feeling in a particular situation.

Example: a low camera angle can be used to demonstrate how a character is feeling empowered at a particular point in the film.

Sound

Any sound where the source of it can be seen in the scene (or is implied to be present) 

Example: Voices, are diegetic. Any sound that comes from outside the scene itself, for example, soundtrack, is non-diegetic. We can analyse the way in which sound enhances the mood of the film.

In the Made in Dagenham clip above, diegetic sound such as the pouring rain, spoons tapping on cups, radio in the background are all used to offer viewers a 'real' sense that we're in the cafe too.

Lighting

The way in which the scene is lit can create interesting effects in what it suggest about the characters in the scene.

Example: if the main source of light comes from the side of the screen, lighting up one side of a character’s face, this can create a sense of mystery.

Costume

How a character is dressed in any given scene is very important; their clothes can say a lot about their present state of mind or their physical situation.

In-depth analysis using Mabo

Even once we know all this, it can still be difficult to use these devices as evidence to support our ideas in a text response essay. So let’s put our knowledge into practice and take a look at a few scenes from the film Mabo, directed by Rachel Perkins.

Opening scene: Perkins uses a series of long shots of Murray Island in the opening scenes of the film, with high camera angles. This is done to contextualise the setting, as well as foreshadow the great significance the land will have on the events of the film. The subsequent low camera angle shots of the trees on the island present them as being tall and majestic. Paired with the upbeat, vibrant native music (non-diegetic sound) that is playing, it is evident that Perkins is celebrating the beauty of the land and emphasising its importance, not just in the film, but in the islanders’ lives.

Benny Mabo and a young Eddie walking the beach: a mid-shot is initially used in this scene to show father and son walking in the water. This alludes to the strength of the connection that the Mabos have to the island in depicting them as being immersed in water. The subsequent close ups of their faces, conveying their contentment, with the waves of the ocean in the background, indicate that this connection to the land goes beyond the mere fact that they live there; the pair are shown to have a profound spiritual and emotional connection with the island. This is emphasised by the soft, peaceful music that plays alongside Benny’s recital of Malo’s law.  

Killoran exiles Eddie off Murray Island: side lighting is used in this scene to shadow some of Killoran’s face. This has a sinister effect. It suggests that his intentions toward Eddie are not honest, and further symbolises the corruption and lack of transparency in the Australian government in their dealings with the Indigenous. The cloud of cigarette smoke that surrounds him further highlights he toxicity of his presence on Murray Island, as does the solemn, foreboding music that plays throughout his conversation with Eddie. The close up shots of Eddie’s face convey the strength of his resolve in refusing to “[work] as a slave” for Killoran in penance for his crime.

Eddie on the railway tracks: this scene is all about Eddie’s internal conflict; his desire to return to his homeland, and the allure of the opportunities that the ‘mainland’ offers him (in particular, Bonita). The high camera angle is used to show him dancing across the railway tracks, which is heavy with symbolism, representing the choice between his old and new life. The close ups of his face as he sings his native song convey his emotional attachment to Murray Island and the depth of his despair at

not being able to return to it. His costume is comprised of old, dirty clothing, which is representative of his confused, weary and sorrowful state of mind. Yet the use of backlighting as he dances suggests that his decision to embrace his new life on the mainland will empower him. It further foreshadows the significance of this choice in enabling him to pursue the land rights case.

The Indigenous protest: Perkins deliberately uses archival/stock footage in this scene to enhance the viewer’s experience of the Indigenous’ protest at the Mayday march. By using real life footage from this actual historical event, Perkins adds authenticity to this scene, in order to effectively convey the importance of Eddie’s decision to participate. The high angle shots, and long shots, are used to show the sheer number of people who were fighting for change. The music quickens in pace to indicate a change, a turning point in Eddie’s life, in which he can no longer overlook the racism that his people have suffered. The close ups of his and his wife’s face during this scene express their passion and determination in supporting this cause, as well as their strong love for each other.

List of film techniques

These are just a few examples of the way in which you can use the techniques discussed to make your ideas more credible in text response essays. Some teachers may say that these filmic devices are a secondary source of evidence, but I believe they are equally as important as quotes in demonstrating a thorough understanding of the text—as long as you analyse why the director has chosen to include them.

Remember: the director only has a certain amount of time to tell the story, so every scene is important, and every technique is deliberate. That being said, don’t use these devices at the expense of quotations! 

This study guide is written by Gabrielle O'Hagen (Mabo examples), and Lisa Tran.

Contents

1. Introduction to William Wordsworth and Romanticism
2. Key Features of Romantic Poetry
3. Poetic Analysis Examples

1. Introduction to William Wordsworth and Romanticism

William Wordsworth was a British poet and primary co-founder of the Romantic literary movement. He strongly believed that the poetry of the nineteenth century was much too fast-paced and too mindless to be able to evoke a meaningful message to the reader. Contending that ‘all good poetry is the spontaneous overflow of powerful feeling,’ he wished to pioneer Romanticism to create a genre of poetry that reminded the reader of the very essence of humanity.

As such, Wordsworth and fellow poet Samuel Taylor Coleridge founded a new style of poetry through their co-written 1798 Lyrical Ballads, a collection of poetry which attempted to unite the human condition with the tranquility of nature. 

As a resident of England’s picturesque Lake District, Wordsworth enjoyed becoming one with nature by wandering through the neighbouring hills, moors and lakeside views, while mentally composing poems inspired by its glorious elements. 

William Wordsworth: Poems Selected by Seamus Heaney is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.

2. Key Features of Romantic Poetry

Nature

The Romantic movement of poetry was founded during the Industrial Revolution, a period in which people were growing farther from the serene comfort of nature and closer towards modern mechanisation and mass manufacturing. As such, a primary characteristic of Romantic poetry is nature, as poets attempted to remind humanity of its meditative respite, and the comfort it could provide in the backdrop of the pollution that accompanied the growing industrialisation of England. 

Wordsworth was a pantheist and believed that God was within every aspect of the natural world. In addition to this, he categorised himself as an ardent ‘worshipper of nature’. Thus, much of his poetry explores nature in a sacred and religious sense, presenting goodness and naturalness as synonymous - aptly displaying his belief of nature as a living, divine entity that could only to be ignored at humankind’s peril. 

Emotionalism 

Romantic poetry subdues reason, intellect and the scientific truth in order to place more focus on the ‘truth of the imagination’. As a result of the harsh rigidity and rationality of the Enlightenment era, all human sentiments, from melancholiness to hopefulness, were celebrated by Romantics as important instruments in poetry to remind the common people of sentimentality in a modern and intransigent era. 

As Romantics believed that these feelings allowed one to look deeper into one’s self, the theme of powerful emotions constructs the very essence of Romantic poetic poetry. As a result of this, rather than placing much importance on sense or sensibility, much of Wordsworth’s poems scrutinise his own effusion of feelings and the universal truths that these help him discover, speaking as the characteristic Romantic poet occupying a sentimental place of alienation.

Rebellion and Individualism

The Industrial Revolution oversaw the creation of distinct class differences between the extremely wealthy class of businessmen, and financially struggling workers and entrepreneurs. Poets, like all other artists, were forced to become increasingly independent and needed to rely on their unique vision and style in order to succeed in their gradually declining line of work. The Romantics subsequently began to view themselves as heroes who challenged and overcame the social challenges that arose; as champions of independence and self-awareness. As such, Romantic poetry often features characters or symbols of valiant heroism, as the poet acts as a visionary figure in his work, like a prophet telling of poetic self-awareness. 

The Sublime

In accordance with their celebration of human emotions, Romantics also became fascinated with the literary conception of ‘the sublime’, a mental state that Classical authors such as Longinus defined as ‘physical, moral, intellectual, metaphysical, aesthetic, spiritual, or artistic greatness’ that is of such magnificence that it cannot be measured. 

The Romantics explored these extraordinary experiences in their poetry, describing the power of such sublime experiences on one’s senses, mind and imagination. Wordsworth expressed in his essay that a sublime experience is what occurs when one’s mind attempts to attain ‘something towards which it can make approaches but which it is incapable of attaining’. For example, his biographical poem, The Prelude recounts his ascent of Mount Snowdon and the sublime emotions he experiences as a result of its powerful atmosphere. 

Many have viewed Wordsworth’s view of the sublime as the Romantic standard, as his poetry focuses equally on both the alluring and devastating aspects of such sublime experiences. His work focuses on the intertwined pleasure and terror that is generated as a result of such experiences, and how either end of the spectrum is ultimately beautiful and inspiring.

Context is really important when engaging with a text in VCE English, so be sure to read Context and Authorial Intention in VCE English.

3. Poetic Analysis Examples 

Example Passage 1

Books! 'tis a dull and endless strife:
Come, hear the woodland linnet,
How sweet his music! on my life,
There's more of wisdom in it.

And hark! how blithe the throstle sings!
He, too, is no mean preacher:
Come forth into the light of things,
Let Nature be your teacher.

This passage, taken from Wordsworth’s Tables Turned; An Evening Scene on the Same Subject, is a primary example of a poem displaying the Romantics’ propensity and reverence for the natural landscape.  

Thematic Analysis

The speaker of the poem contrasts the ‘endless strife’ of book-learning to the spontaneous and liberal method of learning through interacting with nature. The description of the ‘woodland [linnet’s]’ song as ‘sweet’ music evokes an image of heavenly bliss associated with the charms hidden within nature. That ‘there’s more of wisdom in’ such nature works in tandem with this, as the speaker asserts that the natural landscape is able to teach a lesson of a magnificence incomparable to the monotony of the ‘dull’ studying thorough book-learning. 

The speaker’s evocation of ‘blithe’ emotions through sound is continued in the second stanza, in which ‘the throstle’ delivers another divine ‘song’ in an attempt to entice the reader. The speaker furthers his advocation for natural learning through a condemnation of route learning, as he attacks teachers of such as ‘mean preachers’. The directly following use of a pun emphasises this contrast, as the ‘light of things’ symbolises both the enlightenment that will accompany nature’s teaching, as well as the literal ‘light’ of nature underneath the sun. 

The final line of the passage summarises the speaker’s persuasion aptly, as the phrase, ‘let nature be your teacher’, rings similar to a passage which can be found in the Bible; the speaker thus implies that the natural world is the all-superior entity and source of knowledge that one should take lessons from. 

Stylistic Analysis

The rhyme and the rhythmic beat of the poem give it a sound comparable to a nursery-rhyme. This works in tandem with the Romantic viewpoint that great poetic language should be simple, accessible and conversational; as understandable to the common people as a nursery rhyme is to a child. This similarity also works in accordance with the authorial message of the poem, that nature should be a universal ‘teacher’, as nursery rhymes are often employed as enjoyable sing-songs that educate children on a moral level. As such, Wordsworth here strengthens his viewpoint through his poetic words; that nature should be a mentor to all. 

Example Passage 2

‍For thou art with me here upon the banks 
Of this fair river; thou my dearest Friend, 
My dear, dear Friend; and in thy voice I catch 
The language of my former heart, and read 
My former pleasures in the shooting lights 
Of thy wild eyes. Oh! yet a little while 
May I behold in thee what I was once, 
My dear, dear Sister! and this prayer I make, 
Knowing that Nature never did betray 
The heart that loved her; 'tis her privilege, 
Through all the years of this our life, to lead 
From joy to joy…
Therefore let the moon 
Shine on thee in thy solitary walk; 
And let the misty mountain-winds be free 
To blow against thee: and, in after years, 
When these wild ecstasies shall be matured 
Into a sober pleasure; when thy mind 
Shall be a mansion for all lovely forms, 
Thy memory be as a dwelling-place 
For all sweet sounds and harmonies; oh! then, 
If solitude, or fear, or pain, or grief, 
Should be thy portion, with what healing thoughts 
Of tender joy wilt thou remember me, 
And these my exhortations! Nor, perchance— 
If I should be where I no more can hear 
Thy voice, nor catch from thy wild eyes these gleams 
Of past existence—wilt thou then forget 
That on the banks of this delightful stream 
We stood together; and that I, so long 
A worshipper of Nature, hither came 
Unwearied in that service: rather say 
With warmer love—oh! with far deeper zeal 
Of holier love. Nor wilt thou then forget, 
That after many wanderings, many years 
Of absence, these steep woods and lofty cliffs, 
And this green pastoral landscape, were to me 
More dear, both for themselves and for thy sake!

This passage is taken from the final section from Lines Composed a Few Miles above Tintern Abbey, a critical work in Wordsworth’s poetic career. Tracing the growth of his mind in different periods of time, the poem is a condensed, spiritual autobiography of Wordsworth himself as it views his younger self from the perspective of his older self, weighing the sense of ‘loss’ suffered against the belief that the years have brought him ‘abundant recompense’. 

Thematic Analysis

After recalling his experiences with nature over his formative and adult years, the speaker now addresses his younger sister Dorothy, as he gives her heartfelt advice about what he has learnt. Here, Dorothy becomes a ghost of his former self, as he hears ‘the language of his former heart’ when she speaks and perceives his ‘former pleasure’ in the ‘soothing lights of [her] wild eyes’. 

The speaker depicts his loyalty to nature and its reflective loyalty to him, by the expression that ‘nature never did betray [his] heart’ that loves Dorothy, and this is the reason they have been living from ‘joy to joy’, lending nature a role of salvation. 

The speaker then directly addresses the moon as a kind of separate entity, in order to ask it to bless his sister by shining on her ‘solitary walk’, so that when she is an adult her mind may become a ‘mansion for all lovely forms’. This is an ode to the harshness of the society at the time, in which the privileged businessmen and factory owners possessed a monopoly over British wealth, and accompanying prejudices clouded social judgement. As such, the speaker expresses his desires for his beloved sister to be exempt from such hardship that he was once subjected to, so that she can enjoy ‘sweet sounds and memories’ without experiencing the vexations of an unrelenting human society. 

The conclusion of the poem is cyclic, as it takes the speaker back to the ‘green pastoral landscape’ of the beginning of his meditations. This symbolises the omnipresent timelessness of nature. As the speaker muses upon his ‘past existence’, he wishes to convey his own reverence for nature to his beloved sister, as he expresses that she will not forget the ‘steep woods and lofty cliffs’ upon which he first understood and respected nature. 

Stylistic Analysis

The language utilised in this poem is lucid and natural, characteristic of Romantic poetry. The simplicity of the words chosen by Wordsworth effectively communicate the honesty of his own emotions towards nature. The elevated blank verse structure furthers this simplicity, as its familiar and easy tone is like that of a comfortable heartbeat or pulse that runs throughout one’s body in a serene state of mind. 

Ultimately, the unconstrained and liberating tone of the poem, in accordance with its free blank verse structure emphasises Wordsworth’s belief that nature is within our very selves. Just as the poem runs smoothly and continuously, akin to a human pulse, Wordsworth suggests that nature too runs within everyone as an incessant heartbeat, necessary in order to experience a ‘warmer’ and ‘holier’ love for this universe.

Want more?

We've got you! Over on this blog, we share with you a complete A+ Wordsworth essay, including annotations and a full breakdown of the prompt so you can see the exact thought process behind this A+ essay.

If you are anything like me, the thought of standing up in front of a classroom, or even a small panel of teachers, having to hold the floor for five minutes, and being assessed on your performance is just about as terrifying as it gets. Where other students thrived on the oral presentation SAC, embracing its change of pace in comparison to the other written tasks, I dreaded it. I knew the feeling all too well: legs jelly-like and quivering, breath short and rapid, palms sweating, tongue uncomfortably heavy as the words tumble out too fast to keep up with…essentially (as I, a true master of the English language, would put it) the absolute worst. 

Fast forward to the present day and, I hate to break it to you, I am still not a fan of public speaking. But guess what? I did my oral presentation and I’m still alive to tell the tale. Plus, as a bonus, it did not involve me passing out, and as a double bonus, I still ended up with a great result. So I am here, my fellow members of the ‘Might Go Ahead and Drop Out of VCE so I Don’t Have To Do My Oral’ club, as proof that it can be done and to help you get through it. 

What Do We Mean by ‘Overcoming’?

As I have already mentioned, emerging triumphant from your oral does not require you to magically become a public speaking fanatic. Let me manage your expectations right now: that probably isn’t going to happen overnight, and likely never will. But you can still be good at public speaking, perhaps great at it, even if it scares you. Trying to figure out a magical formula of preparation that will have you breezing through the oral in total zen-mode is not only going to waste your time, but will likely also make you more frightened when you realise that you can’t completely shake the nerves. So, by accepting the reality that the fear probably isn’t going to go away any time soon we can start to learn how to manage it, at least succeed in spite of it, and hopefully even use it to our advantage. 

Selecting a ‘WOW’ Topic

Arguably the best way to improve the delivery, and overall quality, of your oral presentation is to choose a topic and contention that you actually care about. In our eBook How to Write a Killer Oral Presentation we cite the first pillar of the process as being to choose a ‘WOW’ topic and contention. As Lisa says,

“an inherently interesting topic means that you’ll showcase your opinions in an authentic way, which is incredibly important when it comes to presentation time.”

This becomes particularly significant for someone dealing with a fear of public speaking because of this basic principle: when you care about something it is easier to talk about, even in front of other people. This means that you don’t just need to choose a topic that will engage your audience, but also one that you yourself find engaging. 

Fear is an intense emotional response to a situation, and as we know it can easily consume us in the moment. If your oral topic is boring and does not interest you on a personal level then what is going to be the strongest emotion you feel when delivering it? Fear. However, passion is another intense emotional response, and so if you are passionate about the arguments you are making then, although your fear will still be there, you will feel another strong emotion that can balance it out. 

So how do you find a contention that you care about? Often the best place to start is to think about the things that affect your life. We know that your topic has to have been in the media since September of last year, but lots of things are on the news and they don’t only matter to the older generations. Think about issues that relate to schools, jobs, climate change, animals, drug-taking, fashion – these are all aspects of our lives that you might be able to form a personal connection to, and that personal connection will help you find the passion you need to get through the speech, and also get through to your audience. Check out our 2021 Oral Presentation Topics for some topic inspiration, and then learn how to create a killer contention here. 

More About the Voice, Less About the Words

It is quite likely that if you know you struggle with the delivery of oral presentations, you might try to compensate by overreaching with your script. For someone who feels more comfortable with written assessments, it can be easy to try to make the oral as close to one as possible by writing it almost as you would an essay – using lots of impressive vocabulary, complex sentences and a formal structure. This approach is all well and good until you try to say it all out loud. This isn’t to say that your command of language isn’t important to the oral, but by trying to craft a safety net of eloquent, written words you are simply distracting yourself from what makes this SAC unique; you can’t avoid the fear by avoiding the task altogether. So, you need to write a speech that you can say, not just one that sounds good on paper. Writing with the wrong sense of tone is one of the points we touch on in 5 Common Oral Presentation Mistakes.

During the writing process, you need to make your speech work for you rather than make yourself work for it. This means constantly thinking about what the words will sound like in front of an audience, and not making the performance unnecessarily hard for yourself before you even start practicing. When you’re already nervous about speaking in front of other people, the last thing you want to have to worry about is tripping over difficult language to make convoluted arguments. So, simplicity and punch is always better than verbosity and pretence. Here are some ideas of how to use this strategy:

• Make your arguments short, sharp, and to the point. Avoid going off on any tangents, and just stick to the main points you need to get across. You are trying to persuade your audience, not confuse them. 
• Use a mixture of long and short sentences, because a script that uses varied sentence structures is easier to say out loud without stumbling due to nerves. Short, bold statements are both less prone to being mangled by nerves and more memorable for your listeners – just make sure you don’t only use short sentences and prevent your oral from flowing. 
• Think about where you can schedule in pauses for emphasis, because these will give you space to stop and catch your breath without revealing your nervousness. 
• Write like you speak! Of course you want your tone to be assertive and intelligent, but it is possible to maintain this whilst also incorporating some relaxed language. You are allowed to use the first person in this task, so take the opportunity to personalise what you say, which will help you appear more comfortable and also form a personal connection with your audience. Remember that an oral is essentially a conversation with your audience, even if they don’t get to speak back, and this means that as long as you don’t use slang you can have some fun with your delivery. 
• Don’t rely on an essay-like structure. Your audience won’t know when a paragraph ends, so the way the script looks on the page is largely irrelevant. Make it easy for yourself to follow. 

Remember, when you struggle with a fear of public speaking it is difficult to make what you say in the spotlight sound natural. To overcome this, you want to prepare yourself to almost sound unscripted (as ironic as that sounds). Without slipping into an overly casual or informal voice, it is best if you sound comfortable and relaxed when addressing your audience. This is of course the exact opposite of how you might feel going into the assessment, so you write a speech that will make you seem like you aren’t worried about passing out. The ancient adage ‘fake it ‘til you make it baby’ definitely rings true here. However, that said, really believing what you are saying and caring that the audience believes it too, as we advised earlier, will also help you avoid sounding forced and uncomfortable. 

Preparation and Memorisation

Another mistake often made when attempting to compensate for a fear of public speaking is to rely too heavily on cue cards in the oral. Having your entire speech on hand when you complete the assessment just in case you get lost might seem like a good idea, but it is most likely actually going to hold you back from giving your best performance. Ideally, you want to have done enough preparation so that you do not need to look at your notes at all. As we discussed earlier, having a script that is as simple as possible, and that mimics your speech patterns, will help you sound less fearful – and will also be easier to memorise.

Memorise your speech by practicing it as much as possible. Make sure to get your script written as far in advance as you can, so you have plenty of time to practice without stressing yourself out further. When you do practice, do so standing up, envision an audience in front of you (or practice in front of friends or family), and rehearse how you might move around the space as you talk. You can start by having your whole script with you, but eventually you should work up to only needing a few dot points for each section that can jog your memory if you forget. This strategy might seem to make the speech even scarier, but in reality not reading off a script will help you relax into the performance, and allow you to focus on your movements and voice. Practicing enough to have the speech memorised will also help build your confidence. 

Making the Most of Your Nerves

As much as I would love to tell you that you can be ‘cured’ of your fear of public speaking, it is best to accept that the nerves are going to be there and learn how to succeed in tandem with them, rather than just hoping that they go away. Instead of being convinced that fear is going to be your downfall, try to think about how, as impossible as it sounds, you can use the nerves to your advantage. Apart from making you jittery and uncomfortable, nerves also boost your energy and adrenaline, and with the right attitude you can turn this energy into confidence. Instead of letting your nerves cause you to close up, you can use them to help you open up. Often those of us who fear feeling exposed in front of a crowd have quiet, reserved personalities that we might think of as preventing us from being able to perform. However, when our bodies are flooded with nerves this ‘wired’ feeling can be used to help us project our voices and to take up space, therefore driving us to appear more outgoing. Instead of just making you feel ‘on edge’, a manageable amount of nervous energy can give you an edge that will amp up your performance. 

Even if all of this sounds completely different to your experience of fear, what I am trying to communicate is that the way you frame the oral, and the nerves that come with it, in your mind makes all the difference. If you convince yourself that you are too scared of public speaking to ever succeed with this task, you are severely limiting your chances of achieving a positive outcome. So, focussing on retraining your mindset in the lead up to delivering your speech is very important. Try not to think of this one assessment task as being a make or break five minutes, and instead view it as a learning experience that you can use to your advantage. After all, public speaking is something most of us will have to deal with multiple times over the course of our lives, so you may as well work on getting better at it. That said, my number one piece of advice about the oral presentation is to…*drumroll please*...not take it too seriously! This might sound unrealistic, and I am definitely not telling you to put in less effort, but the more pressure you put on yourself the more nervous you are going to be. Choose a topic that interests you, believe in your contention, make use of humour and personal anecdotes, and just have fun with what you say! Your fear is probably going to be your biggest obstacle, so make it as easy as you can on yourself and the rest should fall into place…as long as you put in the work. 

Finally, our Ultimate Guide to Oral Presentations is a must-read for anybody who is doing an Oral Presentation!

Measure for Measure is currently studied in VCE English under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.

INTRODUCTION‍

Ahh William Shakespeare. That guy. You’re probably thinking, “Great. More fancy language. Hasn’t he been dead for centuries? Why does he keep popping up in our English curriculum?”

At least, that’s how I reacted.

Shakespeare is actually a huge figure in the history of the English language, and really no high school English curriculum is complete without a mandatory dose of him. In fact, the current VCAA study design demands that one of his texts must be on the text list. What a legend.

Shakespeare doesn’t only influence our world in the classroom. The Bard coined many words and phrases that we use today. We can thank this playwright for “be -all, end-all”, “good riddance”, and my personal favourite, “swagger”.

The Bard’s play “Measure for Measure” was first performed in 1604; over 400 years ago. So why do we still study his works today? In fact, the ideas and themes that are evoked in his plays are universal and timeless; pertinent to his contemporary counterparts, as well as today’s audience. Shakespeare’s plays are like soup (bear with me, this is going somewhere). One could say the playwright is a master chef; he mixes tales of the human condition and experience and asks us to question people and ideas. Everyone, regardless of their time, will gobble up the story.

So, what is this soup- I mean ‘Measure for Measure’ about? The play is known as a “problem play” and/or “tragicomedy”. That’s right, it’s both a tragedy and a comedy. Dire trials and tribulations are intertwined with humorous gags and jokesters. I guess Shakespeare couldn’t choose just one.  

‘Measure for Measure’ is also a problem play. Critic W.W Lawrence defined a problem play as one in which "a perplexing and distressing complication in human life is presented in a spirit of high seriousness ... the theme is handled so as to arouse not merely interest or excitement, or pity or amusement, but to probe the complicated interrelations of character and action, in a situation admitting of different ethical interpretations".

Ok, crazy, but he also said that "the 'problem' is not like one in mathematics, to which there is a single true solution, but is one of conduct, as to which there are no fixed and immutable laws. Often it cannot be reduced to any formula, any one question, since human life is too complex to be so neatly simplified.”

In short, a problem play presents lots of complications and issues that are open to different ethical interpretations. As in “Measure for Measure”, the “problem(s)” is/are not always solved.

So, what actually happens in this play that is problematic? What are our ingredients in this problem soup?

‍P(L)OT SUMMARY

Get it? Cause soup is cooked in a pot. Sorry.

The Duke of Vienna appoints his deputy, Angelo, as the temporary leader. This Duke then pretends to leave town but instead dresses up as a friar to observe what happens in his absence. Angelo, strict and unwavering in his dedication to following the rules, decides to rid Vienna of all the unlawful sexual activity; including shutting down the brothels. Prostitutes like Mistress Overdone (pun alert) and her pimp Pompey are poised to lose their livelihoods. Laws against this activity exist, but they’ve gotten lax over the years. Angelo, a stickler for the rules, has Claudio arrested because young Claudio has gotten his engaged wife-to-be (Juliet) pregnant before they were officially married. Claudio is to be executed.

The virtuous Isabella, Claudio’s sister, is poised to enter a nunnery. Upon hearing of her brother’s arrest and sentence, she goes to Angelo to beg him for mercy. He hypocritically, in an absolutely dog move, propositions her, saying he’ll pardon her brother if she sleeps with him (with Angelo, not Claudio). She immediately refuses, being the religious and chaste woman that she is. At first Claudio is upset because he wants to live, but then he calms down and accepts death.

Luckily, the Duke (secretly dressed as a friar) helps in their sticky situation. He brews up a plan; Angelo’s former flame Mariana was engaged to him, but he broke off their engagement after she lost her dowry in a shipwreck. The Friar (Duke) plans to have Isabella agree to sleep with Angelo, but then send Mariana in her place. In theory, Angelo would pardon Claudio and be forced to marry Mariana by law.

The old switcheroo goes off without a hitch. But come morning, Angelo refuses to pardon Claudio, fearing he will seek revenge. The Duke, in collaboration with the Provost, send Angelo the head of a dead pirate (Ragozine) who died of natural causes. They claim that it’s Claudio’s head, and Angelo is satisfied, thinking him to be dead. Isabella is also told that her brother is dead and is encouraged by the Friar (Duke) to complain about Angelo to the Duke, who is returning home.  

The Duke makes a grand return to Vienna, saying he will hear any complaints immediately. Isabella tells her story, and the Duke feigns disbelief, despite having orchestrated the plan himself. In an act filled with more twists and turns than a Marvel movie, everything comes out; the Duke reveals he was a friar all along, Angelo is forced to confess, and Claudio is pardoned amongst other things. To top it all off, the Duke proposes to Isabella. Crazy!

HISTORICAL CONTEXT

It’s important to acknowledge what was going on in the world during the writing of a text. This may help give insight into why the author has included (or not included) some aspect of their work.

The Divine Right of Kings

This holy mandate states that a monarch derives his right to rule from the will of God and is not subject to earthly authority. The “king” or monarch is hence practically divine, and questioning his orders is also questioning god; blasphemy.

The Great Chain of Being/Class divides

This chain is a hierarchy of all life forms and matter in the following order:

• God
• Angels
• Kings & Royalty
• Nobles
• Commoners (Gentry, Merchants, Yeoman, Laborers)
• Slaves
• Animals
• Plants
• Non-living things

Hence, alongside The Divine Right of Kings, this ideal gave monarchs huge power over their subjects.

In early 1600s England, there was a defined social hierarchy and class system. Everyone had a place in the hierarchy, and there was little movement between the classes. Within each class, men were considered superior to women.

Shakespeare encourages us to ask a few questions of our supposedly holy leader and his actions. According to the Divine Right of Kings, the Duke is god’s right-hand man, and thus all his decisions are holy and backed by heaven. However, the Duke is pretty shady when he plots his bed-trick plan with Isabella and Mariana. Is this deceptive behavior still holy? Furthermore, is it not sacrilege to pretend to be a holy friar when one is not truly a holy man?

Moreover, when the Duke assigns Angelo as his deputy, would this transform Angelo into a divine ruler too? Could he be divine, considering his cruel rule and despicable request to Isabella?

Women

Women were considered subservient, lower class citizens then men. Alliances were forged between powerful families through arranged marriages of daughters. These girls may have received an education through tutors attending their homes (there were no schools for girls), but their endgame would be marriage, children and maintaining the home. Women and girls of a lower class did not receive any formal education but would have learned how to govern a household and become skilled in all housewifely duties. Impoverished and desperate women (Mistress Overdone) would turn to prostitution to stay alive.

Shakespeare perhaps highlights the struggle of women in his female characters; Isabella, Mistress Overdone, Juliet, and Kate Keepdown. Their futures appear bleak; Isabella is poised to enter a nunnery, Juliet’s husband (her only source of income and protection) is to be executed, while the brothels that facilitate Mistress Overdone and Kate Keepdown’s livelihoods are being closed down by Angelo.

Jacobean Audience

It was a tumultuous time when Shakespeare penned ‘Measure for Measure’ in 1604. A year earlier came the end of the 45 year long Elizabethan era and began the Jacobean era under the rule of King James. Since the late Queen Elizabeth had no direct heirs, King James of Scotland (a relative) took to the throne. Little was known by the English people of this foreign king.

Perhaps, as Shakespeare portrays the ruler in ‘Measure for Measure’ as clever and good-hearted, the Bard sought to appease the king by calming the people and encouraging them to trust in their new monarch.

The playwright characterizes the Duke as loving his people, but not enjoying being before their eyes and in the spotlight; much like King James, a quiet ruler who relished studying privately in his great library.

‍Playhouses and Brothels

The general public (commoners) paid a penny (could buy you a loaf of bread back in the day) to see Shakespeare’s plays, standing in the “yard”; on the ground, at eye-level of the stage. The rich (gentry) paid 2 pennies for seating in the galleries, often using cushions. The really rich (nobles) could watch the play from a chair set on the side of the stage itself. Shakespeare’s plays were performed at the Globe Theatre. Playhouses in Shakespeare's time were often close to brothels, both in terms of their physical locations in the suburbs and the way they were viewed by some of polite society. Thus, Shakespeare's relatively sympathetic portrayal of sexual deviance in ‘Measure for Measure’ may also constitute a defence of other suburban entertainment—his plays—and a way to humanize lower classes who patronized them.

WRITING ABOUT 'MEASURE FOR MEASURE'

If you’re lucky enough to study this interesting piece, the study design requires you to prepare “sustained analytical interpretations…discussing how features of the text create meaning and using textual evidence to support (your) reasons”. Basically, you’ll be given a topic; this topic could surround themes, characters, etc., and you must write analytically.

While you may choose to structure paragraphs around themes, ideas or characters, make sure to embed some historical context in there; that’ll show the examiner that you’ve done your research and have a thorough and deeper understanding of why Shakespeare put this or that in. Talking about authorial intent in your analytical essay leads to a more in-depth analysis.

“Shakespeare portrays characters that are flawed as a result of pre-destined circumstances. These characters, such as bawd Pompey and prostitute Mistress Overdone, lived in a time when there existed strong class divides, and movement within the social hierarchy was rare. As per the “Great Chain of Being”, a contemporary religious dogma, there was a hierarchy of all living things and matter, from lofty God and his angels down through the ranks of men and finally to animals and non-living things. In some cases, attempting to move up the social ranks was even considered a blasphemous rejection of the fate chosen by God.”

- embedding historical context (The Great Chain of Being) into a paragraph that discusses characters being flawed because of their circumstances

“Shakespeare offers characters such as Isabella and The Duke who strive for self-improvement through understanding and temperance. Perhaps the playwright suggests that perfection is very difficult if not impossible to attain, even for a ruler like the Duke and a pure soul like Isabella. However, he posits that it can be strived for and that perhaps this attempt to become better is what truly matters.”

- talking about authorial intent - what is Shakespeare trying to tell us?

Think of it as an opportunity to make your very own soup! Add some themes, stir in character analysis, sprinkle in some quotes and serve with historical context and authorial intent. Just like with a soup, there’s got be a good balance of all your ingredients; test out different structures during the year to find what works for you. (Just try not to overcook it, like I have done with this soup metaphor). If you need more help, How To Write a Standout Measure for Measure by William Shakespeare Essay is for you!

So, you see, there’s more to Shakespeare and ‘Measure for Measure’ than just fancy old language and iambic pentameter (What’s that? Well...). Keep on reading this blog post, where we’ll delve into themes, characters and symbols/motifs. In the meantime, let’s have a break. Grab a snack, a drink, and enjoy this tasty Shakespeare meme.

...Aaaaand we’re back!

Are you ready for part 2 of the Shakespeare train? Hop on board as we explore themes, characters and symbols/motifs.‍‍

THEMES‍

These are the major themes in ‘Measure for Measure’.

As you can see, the themes are interconnected. (Do you like the diagram? Made it myself :)) Why does this matter? Well, if you get an essay topic about Justice, for instance, you can also link it to Sexual and Gender Politics as well as Social Decay/Cohesion.

So, why is any one theme an important theme?

Which moments and characters are these themes related to?

Is there a link to historical context?

What are some key quotes?

What could be Shakespeare’s potential message? (Keep in mind that depending which pieces of evidence you look at, the Bard could be saying something different. In this piece, we’ll only discuss one or two authorial messages. The beauty of Shakespeare is that much is open to interpretation. You can interpret characters and ideas in so many different ways!)

Those are some great questions. Let’s explore some of the biggest themes...

Power and Authority

Power not only dictates the Viennese society, but we see it is a basis for moral corruption (I’m looking at you, Angelo!). The Duke is the leader of Vienna, ordained by God. He hands this power to his deputy Angelo, who misuses it in his request of Isabella. Now consider Isabella - she has power too, but a different kind… Also consider characters who have little to no power - Mistress Overdone, Pompey etc.

This theme could be linked to the Divine Right of Kings, the Great Chain of Being and Women.

• “O, it is excellent to have a giant’s strength, but it is tyrannous to use it like a giant” - Isabella when she pleads to Angelo to not kill her brother (Act 2, Scene 2, Line 130-132)
• “He who the sword of heaven will bear should be as holy as severe” - The Friar (Duke) to himself, not happy with Angelo’s dog move (Act 3, Scene 1, 538-539)
• “When maidens sue, men give like gods” - Lucio to Isabella, encouraging her to convince Angelo not to kill Claudio (Act 2, Scene 1, Line 87-88)
• "Hence we shall see, if power change purpose, what our seemers be.” - The Duke lowkey suggesting that once Angelo gets power, he’ll change into something evil (Act 1, Scene 4, Line 57)
• “Some rise by sin, and some by virtue fall.” - Escalus is sneakily hating on Angelo. This quote shows that power and authority often involve corruption (Act 2, Scene 1, Line 41)

Perhaps Shakespeare is suggesting that power is a dangerous weapon and that in the wrong hands, it could be deadly.

Morality and Sin

This is an interesting theme. What defines sin? For instance, if Isabella sleeps with Angelo she’s sinning before God. But if she doesn’t, then she’s letting her brother die, which is not good either. Bit of a pickle that one. Some characters to consider include Isabella, Angelo, The Duke, Claudio, Lucio, the Provost…. jeez just about everyone! So many of the characters take part in questionable deeds. Was it immoral for the Duke to pretend to be a holy friar? Is Claudio’s sin of impregnating Juliet really punishable by death if both parties were willing, and no one else has been punished for the same “crime”? Are Pompey and Mistress Overdone being immoral in being in the prostitution business, if it’s the only way to survive?

Deep stuff man. This can be linked back to class divides, women and the contemporary playhouses/brothels.

• “What sin you do to save a brother’s life, nature dispenses with the deed so far that it becomes a virtue” - Claudio begs his sister to sleep with Angelo (immoral, especially since she’s poised to enter a nunnery), saying that it’s for a good cause, and will actually be a virtue/good deed (Act 3, Scene 1, Line 146-148)
• “Might there not be a charity in sin to save this brother’s life?” - Angelo asking Isabella to sleep with him and trying to paint the act as a charitable deed (Act 2, Scene 4, Line 65-66)
• “I am a kind of burr, I shall stick” - Lucio, who represents sin and immorality in Vienna (we’ll talk more about this later in symbols/motifs) (Act 4, Scene 3, Line 182)
• “To bring you thus together ‘tis no sin, sith that the justice of your title to him doth flourish the deceit.” - The Friar (Duke), encouraging Isabella and Mariana to do the dodgy bed-trick and trick Angelo (Act 4, Scene 1, Line 79-81)

Perhaps Shakespeare tries to tell us that there is a fine line between something moral and something sinful. Maybe he’s asking, “who are we to judge?”, since we all do questionable things sometimes. Everyone from the almighty Duke to a lowly prostitute has committed potentially immoral acts. Perhaps audiences are encouraged to be more understanding of others, and their reasons for these deeds.

Justice

Mmm, this theme ties in nicely with just about all of the others. How does one define justice? The play explores this idea; does justice mean punishment? Or mercy? How do we balance the two to deliver the right punishment/lack thereof? Characters that dispense justice include The Duke, Angelo (although they have differing ideas of justice) and Isabella. Since Vienna is a religious place, consider the divine justice system (ie. a perfect, flawless system meted out by God) and the earthly one (ie. the flawed, human justice system). Laws exist in an attempt to ensure justice. But does it always work? Consider also the Old and New Testament ways of thinking - the former strict and punitive, while the latter is more measured and merciful (see symbols/motifs below for more info).

This theme can be linked to the Divine Right of Kings, Great Chain of Being, Women, and Jacobean Audience.

• “Justice, justice, justice, justice!” - (Wait, are you sure this quote is about justice?) Isabella pleads for (you guessed it) justice to the Duke (no longer dressed as a friar), thinking Angelo has, in fact, killed her brother (Act 5, Scene 1, Line 26)
• “The very mercy of the law cried out… ‘An Angelo for Claudio, death for death!’ Haste still pays haste, and leisure answers leisure, like doth quit like, and measure still for measure” - The Duke, explaining that it’s only fair that Angelo die for “killing” Claudio. (Act 5, Scene 1, Line 437-441)
• “liberty plucks justice by the nose” - The Duke tells Friar Thomas that the laws have slipped over the years, and the citizens of Vienna are not being punished for immoral deeds (prostitution, sex before marriage etc)

Perhaps Shakespeare says that since we humans are inevitably flawed, that any justice system created by us will too be imperfect. Who are we to decide the fates of our fellow man? Furthermore, the Bard may be encouraging us to be kind when dispensing justice, leaning more to mercy than punishment.

Sexual and Gender Politics

Who run the world? Gir- no it’s a bunch of men. This theme contributes to why ‘Measure for Measure’ is a problem play. The exploration of the female characters in this play are very interesting, and kind of sad. Of 20 named characters, only 5 are women. Together, their lines make up only 18% of the play. Yikes! There is a lot to unpack here. Our female characters are Isabella, Mariana, Mistress Overdone, Juliet, Francisca (a nun who speaks twice) and Kate Keepdown (who we never meet). Their situations: a maiden poised to enter a nunnery, a prostitute, a pregnant girl about to lose her husband, a nun, and another prostitute. Quite gloomy, isn't it? Meanwhile, the men are leaders (The Duke, deputy Angelo, and ancient lord Escalus) and gentlemen (Lucio, Claudio, and Froth). Over the course of the play, our female characters are put into worse situations by men. Their experiences are dictated by men. Consider taking a “feminist perspective” and exploring ‘Measure for Measure’ from a female point of view.

This theme links to the Great Chain of Being, Women and Playhouses/Brothels.

• “see how he goes about to abuse me!” - These are the last words we hear from Mistress Overdone, as she calls out Lucio for betraying her even though she kept secrets for him. All this happens while she’s being carted off to prison in only Act 3! What do you think Shakespeare is saying to us? (Act 3, Scene 1, Line 481)
• “Then was your sin of heavier kind than his” - The Friar (Duke) says to Juliet that she sinned more than Claudio, even though their sin was “mutually committed”. Even though they were both consenting, the woman is blamed more. Consider what would become of Juliet if Claudio was executed. She’d probably end up like Mistress Overdone... (Act 2, Scene 3, Line 31)
• “Who will believe thee, Isabel?” - Angelo says this after Isabella threatens to reveal his disgusting request. Ouch. It really goes to show how untrustworthy women are deemed.  (Act 2, Scene 4, Line 163)
• “Why, you are nothing then: neither maid, widow, nor wife?” - The Duke says this to Mariana. Basically, he says a woman can only be those 3 things. Jeez. (Act 5, Scene 1, Line 196-197)
• “When maidens sue, men give like gods” - Lucio to Isabella, encouraging her to convince Angelo not to kill Claudio. So, perhaps women do have some power. But, it’s due to their sexuality; something evaluated by men. Peachy. (Act 2, Scene 1, Line 87-88)

Perhaps Shakespeare suggests that women are treated unfairly in society. Maybe he posits that women are afforded so few opportunities in a man’s world. The Bard potentially says that such sexual and gender politics do not create a cohesive and just society.

Mercy

This theme, again, connects to many others. It can link to all groups of people (The wealthy, the poor, women, criminals etc). Most of the mercy is dispensed at the end of the play when the Duke does his grand reveal. Characters who choose to mete out mercy over punishment include The Duke and Isabella. Also consider Angelo, who instead of choosing to spare Claudio, decides to kill him to uphold a law that hasn’t seen anyone punished for the same deed. We might think this is harsh, but it a legal and lawful decision.

Connect this idea with historical context, specifically Jacobean audience and playhouses/brothels.

• “I find an apt remission in myself” - Apt remission = ready forgiveness. The Duke says this after pardoning Angelo (Act 5, Scene 1, Line 539)
• “pray thee take this mercy to provide for better times to come” - The Duke pardons murderer Barnadine, asking him to use it to do better. How lovely!  (Act 5, Scene 1, Line 525-526)
• “let us be keen (shrewd/sharp), and rather cut a little than fall and bruise to death” - Escalus says this to Angelo, who wants to enact all strict laws immediately. The ever-reliable Escalus advises Angelo to be lenient and merciful. (Act 2, Scene 1, Line 6-7)
• “Mercy is not itself that oft looks so, pardon is still the nurse of second woe” - Escalus says this, defending Angelo’s decision to punish Claudio. He suggests that sometimes being merciful can encourage further wrongdoing. (Act 2, Scene 1, Line 282-283”)
• “I show it (pity) most of all when I show justice” - Angelo says to Isabella that he is showing Claudio pity/mercy by punishing him. A firm believer in the law, Angelo thinks he’s doing the right thing and teaching Claudio a lesson by punishing him.  (Act 2, Scene 2, Line 123)

Perhaps Shakespeare encourages us to look at mercy and punishment from different perspectives. Angelo believes he is punishing Claudio for his own good, and cleaning up Vienna of lechery too. Maybe we ought to be merciful in our opinion of the deputy. Nonetheless, the Bard shows that in the case of young Claudio, mercy and forgiveness is the right path to choose. Finally, consider why Shakespeare may have portrayed a merciful leader to his Jacobean audience. Maybe if he were to portray a leader as fair and merciful, the Jacobean audience would trust that their new king (a man similar in character to the Duke) could be kind and merciful too. Earning the favour of the king and writing a killer play? He’s killed two birds with one stone.

Human Frailty & Fallibility

I’ve encountered many essay topics about how humans are flawed and imperfect. It’s a pretty big theme in many texts, not just in our friend William Shakespeare’s. Human fallibility is to blame for a lot of the going-ons in ‘Measure for Measure’. Angelo takes the law too seriously, he gets heart eyes for Isabella and kills Claudio even though he thinks he’s slept with Isabella. Why? He wants to save his own ass, fearing Claudio will seek vengeance. The Duke is flawed too. He’s a leader, but he just avoids his problems, leaving Angelo in charge to deal with them. Then he plans to swoop in and look like a hero. Kinda dodgy. Consider Claudio and Juliet too. They, like Angelo, succumbed to lust and slept together before they were officially married. (Sigh, humans just can’t get it right.) It’s also worth thinking about the “low-lives” and poorer characters. Are the poor frail in a different way? For example, Mistress Overdone keeps Lucio’s secrets for him. In that way she is virtuous. However, she sells her body to survive. Perhaps she is not prone to desire like Angelo, but serves another desire - a desire to survive?

In terms of historical context, consider the Divine Right of Kings, the Great Chain of Being and Playhouses/Brothels.

• “They say best men are moulded out of faults, and for the most become much more the better for being a little bad” - Mariana pleads to Isabella to support her in begging the Duke to pardon (her new husband) Angelo. She is optimistic for man, believing our bad deeds can lead to self-improvement. (Act 5, Scene 5, Line 473-475)
• “Why, all the souls that were were forfeit once” - Isabella pleads to Angelo to pardon Claudio. She states that all souls were flawed before Christ offered redemption. (Act 2, Scene 2, Line 93)
• “I speak not as desiring more, but rather wishing a more strict restraint” - Isabella is speaking to a nun as she is poised to enter the ranks of the nunnery. We usually think of a nun as living a very strict life, but Isabella wants it even stricter! Here we see her flaw is that her thinking is too singular and blinkered. (Act 1, Scene 5, Line 3-4)
• “Lord Angelo is precise, stands at guard with envy, scarce confesses that his blood flows, or that his appetite is more to bread than stone.” - The Duke talks about how unhuman Angelo is. The deputy follows rules very closely, almost to the point where he’s like a machine. His nature is too strict.  (Act 1, Scene 5, Line 53-56)
• “I love the people, but do not like to stage me to their eyes” - The Duke says this to Angelo and Escalus as he hands over power to his deputy. Even the Duke is not perfect, in that he does not like being before crowds of his people (Act 1, Scene 2, Line 72-73)

Perhaps Shakespeare suggests that no one is truly perfect, not even a leader supposedly ordained by God, a law-abiding deputy, or a maiden who is poised to enter a nunnery. Yet while Angelo is overcome by his lust and emotion, the Duke and Isabella attempt to better themselves by showing mercy and temperance. Maybe Shakespeare suggests trying to improve one’s flawed self is most important.

God, Religion and Spirituality

Phew, we’re at our last theme. So, society in Vienna is very much religious. Their beliefs dictate actions and laws within the city. Some very religious characters include Isabella and Angelo. However, our novice nun, who is obsessed with virtue and chastity, agrees to and takes part in the bed-trick, a deception that is not particularly Christian. Our lusty deputy also succumbs, hellishly propositioning a maiden to sleep with him in exchange for her brother’s life. Even The Duke, supposedly semi-divine, makes some dubious choices. He spends most of the play posed as a holy man, even though he is not. He plans the bed-trick to deceive Angelo and lets poor Isabella think her poor brother is dead, instead of saving her so much pain. Furthermore, the title of the tale, ‘Measure for Measure’, comes from the Gospel of Matthew. (See symbols/motifs for more deets). The question of how much we should let religion dictate us is another reason this piece is a problem play.

The theme of God and Religion can link to historical context such as the Divine Right of Kings.

• “more than our brother is our chastity” - (Act 3, Scene 1, Line 194) and “Better it were a brother died at once, than that a sister by redeeming him should die forever” - (Act 2, Scene 4, Line 111-113) show that Isabella values her chastity and virtue over her brother!! Damn girl!
• “Ay, but to die, and go we know not where, to lie in cold obstruction and to rot” - Claudio tells Isabella that he fears the uncertainty of death. Perhaps his belief in a heaven has left him in the wake of his impending death? (Act 3, Scene 1, Line 129-130)
• “Let’s write good angel on the devil’s horns - ‘tis not the devil's crest” - Angelo is talking to himself about his lust for Isabella. It’s an appearance vs reality (ooh another theme!) kind of idea, where you can try to pretend something is something else (ie. Angelo doesn't lust after Isabella), but it doesn't change the thing (ie. he’s still keen). The deputy is comparing his emotions to these religious extremes. (Act 2, Scene 4, Line 16-17)

Perhaps Shakespeare criticises religious extremism in his portrayal of characters like Isabella and Angelo. Or maybe he just wants us to remain open-minded about ideas and our spirituality.

Yikes, there are so many themes in this play! Let’s move it along, and talk a little bit about characters.

CHARACTERS

Each character can be viewed in different lights, even more so than themes can be. We’re going to discuss characters very briefly because it’s up to you how you want to read them.

Here are the characters, in order of how much they speak in the play. To keep things short, let’s pretend these are all tinder bios. Who would you swipe right on? (Hint: not Lucio)

The Duke

• super chill (the benevolent ruler of Vienna who’s let the laws slip a little)
  
• loves dressing up (actually spends most of the play disguised as a friar)
  
• clever/cunning (secretly counteracts the injustices decreed by Angelo)
  

Isabella

• strong morals (would rather her brother die than she lives in shame)
  
• can get wild (conspires with the Duke to complete the bed-trick)
  
• holy gal (poised to enter a nunnery)
  

Lucio

• a gentleman (well, his title is. He’s rude about the Duke and abandoned a prostitute that he got pregnant, so maybe he’s not that kind of gentleman)
  
• loves attention (legit! He’s a minor character but he has the third most lines of them all! Lucio loves to stir the pot!)
  
• loves some symbolism (Lucio represents all the bad stuff in Vienna…..see symbols/motifs)
  

Angelo

• plays by the rules (a little too much)
  
• hypocrite (Sentences Claudio to death for sex before marriage, while asking the same thing of Isabella…. wow we’ve found our antagonist)
  
• Deep (Angelo is a bit of a complex character. He seems aware of his misdeeds and struggles to deal with these desires. It’s hard not to pity him at times)
  

Escalus

• reliable (consistently counsels Angelo against acting too harshly)
  
• virtuous (he’s merciful, lets Pompey go with a warning in Act 2 Scene 1)
  
• loyal (trusts in the Duke)
  

Provost

• hard worker (he’s a prison ward)
  
• virtuous (does what’s right by him, disobeying Angelo’s orders to behead Claudio)
  
• magician (not really, but he makes Angelo believe that pirate Ragozine’s head is Claudio’s)
  

Pompey

• clever (philosophically debates whether prostitution is worse than murder)
  
• funny (his character is the clown, and he’s got some sassy comebacks)
  
• poor (Pompey is a bawd employed by Mistress Overdone. Not the best dating bio)
  

Claudio

• down for a good time ;) (impregnates Juliet before they are officially married)
  
• cool family (he’s Isabella’s brother)
  
• good hearted (initially is horrified at Angelo’s request of Isabella, saying she shouldn’t do it. Unfortunately, his fear of death get’s to him. After he’s calmed down, he’s accepting of death)
  

Elbow

• a man in uniform (a policeman)
  
• a little dumb (he speaks a lot of malapropisms - hilariously using similar but incorrect words)
  
• not like Pompey (Pompey is a clever poor man, while Elbow is a policeman who’s a little bit all over the place)
  

Mariana

• dedicated (still in love with Angelo even though he called off their engagement because her dowry was lost)
  
• a willing accomplice (participates in the bed-trick)
  

Mistress Overdone

• poor (she’s a prostitute, who fears for her livelihood when Angelo announces he’s destroying all the brothels)
  
• good hearted (kept Lucio’s secret. What secret? Read on…)
  

Abhorson

• works for the Duke (as an executioner…. there’s no way to make that sound nice)
  
• doesn't have a great name (c’mon it’s true)
  

Juliet

• also likes to have a good time ;) (pregnant before official marriage)
  
• dependent (if Claudio dies she will probably end up as a prostitute to survive)
  

Boy

• can sing (Mariana asks him to sing a sad song about how she lost her beloved Angelo)
  

Francisca

• holy gal (she is a nun)
  

Kate Keepdown (we never actually meet this character)

• a colleague of Mistress Overdone (a prostitute)
  
• single mum (Lucio got her pregnant and then ran away. He thinks marrying a prostitute is akin to whipping and hanging)
  

Ragozine (we never actually meet this character)

• dies (legit that’s all he does)
  
  

SYMBOLS & MOTIFS

These are people, objects, words etc that represent a theme or idea. For instance, the fact that I’ve used a bad soup metaphor AND a tinder reference means I need to go outside more. But let’s move on…

Title

The title, “Measure for Measure” draws from the gospel of Matthew. The idea of heavenly justice vs earthly justice is prominent throughout the text. Moreover, it’s worth exploring the Old Testament ways of “an eye for an eye” and “measure for measure” in comparison to the New Testament teachings which lean towards forgiveness and mercy. Now, where do the Duke’s actions fit in? Is he harsh and equalising? Is he just and sympathetic?  

New Testament vs. Old Testament

When the Duke sentences Angelo to death, he makes a fancy speech which includes the play’s title.

“‘An Angelo for Claudio, death for death!

Haste still pays haste, and leisure answers leisure.

Like doth quit like, and measure still for measure.”

Act 5, Scene 1, Line 439-441

This mimics the Old Testament views, which famously states “eye for eye, tooth for tooth” (Exodus 21:24). These ideals teach that the person who committed a misdeed shall have the same misdeed done unto them. (For example, if you don’t like my new Facebook profile picture, I’m not liking yours…..but way more severe.)

In comparison, the New Testament states that we “Be merciful, just as your Father is merciful. Do not judge, and you will not be judged. Do not condemn, and you will not be condemned. Forgive, and you will be forgiven.” (Luke 6:36-37)

So, when sentencing Angelo the Duke employs the words of the Old Testament. However, he doesn’t go through with Angelo’s execution, instead showing the mercy encouraged by the New Testament. He’s not really following either way. Perhaps he’s instead choosing a middle road; one of temperance and justice.

Lucio

Wait, who? We haven’t mentioned the “gentleman” Lucio much in the plot and in this blog post. That’s because he doesn’t really do that much other than buzz around and annoy everyone. Maybe that’s why his name rhymes with mosquito….

Regardless, we do see enough of Lucio’s character to learn that he’s not a very nice person. He treats Mistress Overdone and Pompey poorly, makes visits to the brothel, doesn’t take responsibility for his actions (getting Kate Keepdown pregnant) and bad-mouths the Duke. So yeah, we don’t like Lucio, what’s the big deal? Well, in Act 4, Scene 4 Line 182, Lucio says something very intriguing.

“I am a kind of burr, I shall stick.”

Burr - those little brown prickly things that get stuck to you.

We can think of Lucio as representing all the sins and misdeeds in Vienna - lechery, immorality, lack of justice, selfishness etc. Hence, Lucio is saying that these shortcomings and flaws will always be present to people and in Vienna, sticking to the city like a nasty burr. Damn, that’s deep.

Prose/Verse

The metre of the verse (ie. the classic Shakespeare writing) in ‘‘Measure for Measure”  is iambic pentameter. This means that each line is divided into 5 feet. Within each foot, there is one unstressed syllable followed by a stressed one.

Consider:

I’ll TELL him YET of ANgelO’S reQUEST, And FIT his MIND to DEATH, for HIS soul’s REST. (Act 2, Scene 4, Line 195-196)

Verse does not have to rhyme, as the above lines do. Shakespeare often employs a rhyming couplet to close a scene and add some drama.

Verse is usually reserved for the higher class citizens, with those who are less fortunate speaking in prose.

Prose is language in its ordinary form, with no metre.

Certain characters, such as Lucio, switch between verse and prose depending on who they are speaking to. This could allude to Lucio’s duplicity, or perhaps a deep understanding of class divides in Vienna.

Names: Escalus and Angelo

Escalus is the ever reasonable and loyal lord and close confidant of the Duke. His name gives connotations of scales and balance - characteristic of the rational man.

Angelo’s name has connotations of “angel”. If we judge him only by his name, he should be a pure and heavenly being. Bah! That’s so fake! We can see that appearance is very different from reality. Isabella notices this too, stating that “this outward-sainted deputy...is yet a devil” (Act 3, Scene 1, Line 95-98).

Angelo’s Words/Actions

There is so much to unpack about this douchebag. Let us briefly consider 2 ideas. When he propositions Isabella to sleep with him, he requests that she “lay down the treasures of (her) body” (Act 2, Scene 4, Line 100).

Firstly, that’s weird. Perhaps Angelo can be seen as someone who is obsessed with the physical - Isabella’s body and treasure. Maybe this obsession leads to his immorality and poor leadership.

Secondly, Angelo struggles to directly say, “hey, let’s sleep together”. He weaves his way around the request, propositioning Isabella so indirectly that at first, she does not even seem to understand his request! However, once she threatens to tell everyone about his vile demand, he speaks bluntly; “Who will believe thee, Isabel?” (Act 2, Scene 4, Line 163). Perhaps this shows Angelo is self-aware that he’s being an ass. Or maybe this scene is yet more evidence of a patriarchal society, with the men knowing very well the power they hold.

Ragozine

We never actually meet this fellow. Ragozine is a pirate who dies in jail while “Measure for Measure” unfolds. His head is used in place of Claudio’s to convince Angelo of the former’s execution. Fascinatingly, Ragozine is the only person who dies in the entire play. ALSO, he dies of natural causes. Interesting. It feels like the play is full of death, grief and many heads on the chopping block. But curiously, there is only one death, of a minor character, of natural causes. Perhaps this says something about fate and justice or offers some commentary on life and hope.

Elbow vs. Pompey

Elbow is a silly policeman who speaks in malapropisms (using a similar but incorrect word for humorous effect). Pompey is a clever pimp who seems to have a deep understanding of justice and the Viennese people. The comparison of these characters, fortunate and dumb to unfortunate and clever, perhaps serves to show that the law is not always apt and that sometimes those who break the law are more clever than it.

Mistress Overdone (or lack thereof)

Mistress Overdone is a pitiable prostitute. She worries for her survival when Angelo begins pulling down the brothels, and she keeps Lucio’s bastard child a secret, only for him to throw her under the bus to save his own skin. The last we see of Mistress Overdone is her getting carted off to prison, crying “See how he goes about to abuse me!” (Act 3, Scene 1, Line 481) Yes, the last we witness of one of five speaking female characters is of her imminent incarceration. Furthermore, this happens in Act 3 of 5, around halfway through the play! The audience never hears from Mistress Overdone again, and her future is left uncertain. Even Barnadine, a convicted murderer, is given freedom and a happy ending.

Consider writing a few sentences of your essay from a feminist’s perspective. Think about the events of the play from the female characters’ points of view. What is Shakespeare saying by portraying Mistress Overdone (and other women) in such a way? Perhaps he is pointing out the injustices of the patriarchal system, or how uncertain a woman’s life was in his contemporary time.

“Measure for Measure” truly is an incredible text. This blog post is by no means an exhaustive list of all its quirks and complexities. This play’s relevance has survived centuries, and I believe it will continue to be pertinent to audiences well into the future. You are very lucky to be studying a text with such universal themes and ideas that you can carry with you even after high school.