A possible analysis of Shakespeare's Measure for Measure follows a natural progression of criminal justice throughout the play. Angelo's harsh punishments in the first act reflect the "eye for an eye," measure for measure, justice of the Old Testament. In the second act, his personal corruption and constant criticism from secondary characters undermines the legitimacy of his justice. An alternative system in line with New Testament mercy is represented by Isabella, and exemplified by her plea to save Angelo's life in the final act. The Duke represents a shift to more moderate power as he metes out punishment in the form of forced marriages rather than executions. This reading of the play satisfies the audience's desire for progress and reconciliation. Unfortunately, this reading ignores several philosophical and plot problems left unresolved in the hasty restoration of the Duke's rule. Measure for measure ultimately promotes no ideal justice system. The theme of ideal justice is suppressed by a constant, less explicit motivation: the protection of one's reputation. Although both Angelo and Isabella act to protect their reputations, the Duke's actions best show how this motivation underlies the different forms of criminal justice throughout the play. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay? The question of reputation appears early in the play when the Duke decides to fix his public reputation by temporarily putting Angelo in power. In the Duke's own words: I have imposed the office on Angelo, who can, in the ambush of my name, strike home, yet my nature is never in the struggle To make slander. (1.4.40-43)“Slander,” along with the later terms “honor” and “shame,” is repeated often in the play and plays a central role in the theme of reputation. At this time, the Duke recognizes the power of his “name,” or position as upholder of the law, even if he has not himself exercised the power of the title “Duke” to enforce the laws. The Duke fears that his personal reputation, or “nature,” would be slandered if he suddenly became tougher on criminals. The Duke takes on a more comical attitude in the guise of a friar, but because the situation itself is slightly ridiculous and because the office of legislator is no longer “imposed” on him. He is free to act away from the public eye. Like Judge Overdo in Bartholomew Faire, one might expect the Duke to go undercover to assess the criminality of his kingdom. Instead, the Duke says that he wishes to see whether Angelo's virtuous and austere nature is actually genuine: "Then we shall see, / If power change purpose, what our appearances will be" (1.5.54). A manipulative leader himself, the Duke wishes to see if Angelo can maintain his good reputation - what it appears to be - under the influence of the new power. From the moment the Duke decides to give power to Angelo until the end of the play, he is obsessed with his own image in the eyes of the public and the reputation of those around him. His closing lines at the end of the fifth act suggest that Angelo will not be able to maintain the austere personality necessary to implement and live the rigid code of laws he proceeds to enforce. Following the Duke's foreshadowing, Angelo's motivations as a legislator come into play. he asks even before proposing sex to Isabella in exchange for Claudio's life. After being sentenced to death for having impregnated his girlfriend, Claudio addresses Angelo with the most explicit criticism in the form of a metaphor: Or if thepublic body is a horse on which the governor rides, who, as soon as he sits down, can know how to command, makes the spur feel straight; (1.3.43-46)Claudio accuses Angelo of punishing him without just cause, as an immediate action whether the metaphorical horse is out of control or not. Claudio's execution therefore serves as an example to the “public body”. Angelo could gain a reputation as a law enforcement officer even before the laws are broken. Claudio continues to say that Angelo's actions are “definitely a name” (1.3.55). While it may be important for Angelo to avoid the lax justice of the Duke's reign, he appears cruel in using Claudio as a tool to change the reputation of law enforcement. In all fairness, Angelo consistently doles out harsh punishments, which demonstrates motivation beyond establishing a reputation with a sweeping arrest. However, he seems to show too much zeal for punishment when he talks about the clowns Elbow, Pompey and Froth. Although it is still unclear whether these men have committed crimes, Angelo leaves them with Escalus, "I hope you will find a good reason to whip them all" (2.1.192). This secondary motivation, whether personal malice or a sincere belief that random punishment will do the public good, is irrelevant as long as it does not conflict with Angelo's desired reputation. Angelo, and the uncompromising reputation he has quickly earned for the position he holds, are only threatened when he hypocritically breaks his own laws. When Isabella threatens to expose Angelo's hypocrisy in the second act, their conversation shows both the importance of reputation and the almost tangible power that reputation holds. Isabella asks Angelo to "Sign the pardon for my brother / Or, with my throat tense, I will tell the world / Out loud what a man you are!" (2.4.154-156) Isabella tries to use the power of her voice, in contrast to the physical power that Angelo gives up to enforce the laws, to show “the world” that Angelo is a hypocrite. Unfortunately, Angelo recognizes that his good reputation is actually more powerful than his: My pristine name, the austerity of my life, my guarantee against you and my place in the state So your accusations will prevail That you will suffocate in your same life. relationship, and the smell of slander. (2.4.157-161)Angelo relies on his good personal reputation (“pristine name”) and his reputation as an agent of the state (“my place i'th'state”) not only to thwart Isabella's accusation , but to ruin one's good reputation. Reputations take on almost tangible qualities with their reach: Angelo's "overestimates" his, which will then be "suffocate[d]". Isabella will then take on a metaphorical sign, that is, "the smell of slander". Ironically, it is the good reputation of a dishonorable man that can ruin the good reputation of an honorable woman. Their reputation takes on a meaning separate from the virtuosity of the characters themselves. An issue presented in the play, separate from questions of proper justice and mercy, is the realignment of reputation with true character. In another case where reputation has more influence than true character, Angelo points out how the state punished known criminals, rather than everyone else. criminals. Angelo explains to Escalus that there may be criminals on the jury of a trial, but “What is open to justice, / Which the judges seize” (2.1.12-22). Although punishing only some criminals is actually unjust, Angelo repeats the word and uses a personified "justice" as a stand-in. It is he who “seizes” criminals when criminals are “made open” to his knowledge. Angelo continues the phrase: “What knows the laws / That thieves pass on to thieves?” (2.1.22-23). Here,Angelo adds another layer to his conception of who or what enforces criminal justice. Laws, as a set of inanimate rules, cannot recognize that hypocrisy is latent in the system. Angelo recognizes (and rejects) the distance of the true spirit of justice in the law from criminal justice, while trying to defend his system as if it were imposed by "justice" itself. In a criminal system that punishes those with a criminal reputation rather than the criminals themselves, Angelo must bend over backwards to legitimize his actions. His Old Testament justice now seems not only harsh, but arbitrary in its application. It could be argued that Angelo's focus on reputation is a fault of his evil character, but Isabella also displays a similar concern. Isabella, the pillar of mercy and virtuosity, reveals an exaggerated concern for her and her brother's reputation through an obsession with their "honor." Isabella will do anything, even give up her brother's life, before giving in to Angelo. In his words, he would "put my body to shame" (2.4.104). “Shame” can be a feeling of personal, self-inflicted shame, but it can also be public shame. Isabella worries about both of them, but especially about the second one, as she convinces Claudio to die. If he let her yield to Angelo, he would “bark your [Claudio's] honor from that log you carry, / and leave you naked” (3.1.70-72). Honor is compared to the bark of a tree, a feature that is remarkably visible from the outside. This suggests the public side of “honor” as well as “shame.” His lowering would leave him “naked,” a form of public shaming. Isabella urges Claudius to choose “perpetual honor” for a few more years of life (3.1.74-76). “Perpetual Honor” carries the religious connotation of honor in the afterlife as well as being an honorable member of society. A mixed concern for both Claudio's eternal soul and his reputation as a man of honor pushes her to extremes. Claudio argues, candidly, that “death is a terrible thing,” and Isabella replies, “And a shameful life is hateful” (3.1.117). He would rather choose death than shame for his brother, a form of extremism that mirrors Angelo's concern for his reputation as a fierce defender of the law. In the final scenes of the show, the audience expects a final justice system to be established with the Duke's return. Instead of a clear resolution of loose ends, the long-winded scenes in which the Duke publicly reveals Angelo's crime function as a climactic stage for the building of the Duke's reputation. The first step in the Duke's twisted plan is to make his arrival a public event by sending Angelo an official decree requiring it. It's the only scene where nameless citizens crowd the stage. The Duke concludes the unveiling by first denouncing Isabella's accusations, even though he was the one who first told her to accuse Angelo. He sends her to prison for defaming the name of people nobler than herself: "Shall we thus allow / That an explosive and scandalous breath / Upon his [Angel] so close to us should fall /?" (5.1.123-125). This quote shows a continued concern for protecting reputations, but highlights the importance of protecting those in power. The Duke's incarceration of Isabella is cruel and unnecessary to bring justice against Angelo. By doing so, the Duke can disguise himself as a friar and accuse Angelo himself, giving him the final credit. For the same purpose, the Duke cruelly hides the fact that Claudio is alive until he wishes to condemn Angelo. Angelo's punishment helps restore both the Duke's and Mariana's reputations rather than follow the].