Measure for Measure

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Angelo Character Analysis

Angelo is the clear antagonist of the play. As regent of Vienna, he imposes a draconian regime in the name of restoring morality. However, he ends up being as duplicitous and immoral as his discipline is uncompromising. While he plans to execute Claudio for having sex out of wedlock, he himself attempts to force Isabella to have sex with him—an action he later lies about in an attempt to conceal it. At the play's end, he is justly punished for his hypocrisy. The Duke initially offers him a death sentence, but decides simply to sentence him to marry the woman he had once scorned when her dowry fell through, Mariana. However, in spite of his reprehensible behavior, Angelo is one of the play's more complex characters. He is aware of, and deeply conflicted by, his wrongdoings. While his conduct may ultimately deserve condemnation, it is hard not to pity him at the beginning of the play, as he self-consciously struggles to reconcile his morals with his desires before succumbing to villainous hypocrisy.

Angelo Quotes in Measure for Measure

The Measure for Measure quotes below are all either spoken by Angelo or refer to Angelo. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
Virtue Theme Icon
). Note: all page and citation info for the quotes below refers to the Simon & Schuster edition of Measure for Measure published in 2005.
Act 1, Scene 1 Quotes

Now, good my lord,
Let there be some more test made of my metal,
Before so noble and so great a figure
Be stamp'd upon it.

Related Characters: Angelo (speaker), The Duke
Page Number: 1.1.51-53
Explanation and Analysis:

Duke Vicentio begins the play by describing how he will leave, and he urges his deputy Angelo to "Take thy commission." The Duke specifically commands Angelo to act in his stead, by letting "Mortality and mercy in Vienna / Live in thy tongue and heart." The Duke places Angelo in charge of the city's justice (by giving him the ability to command executions) and virtue (by leaving him in charge of doling out mercy).

This is a heavy task, and Angelo might be responding honestly (as well as politely) when he asks the Duke to not give him such a lofty duty until he is more worthy of it. In this response, Angelo's response also alludes to notions which will resurface throughout the play, such as appearance versus reality. After the Duke gives Angelo this responsibility, Angelo will act as the duke without being the duke; the "figure" of authority will only be "stamp'd upon" him. Yet, this pretense is a public one; everyone will see and know that Angelo is not the duke himself. When describing this, Angelo uses an analogy in which his body is a kind of "metal," much like a coin; this early foray into notions of money, circulation, and capital reminds us that this play's title, "Measure for Measure" will have multiple layers of meaning as the acts continue.

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Act 1, Scene 4 Quotes

The Duke is very strangely gone from hence;
Bore many gentlemen (myself being one)
In hand, and hope of action; but we do learn
By those that know the very nerves of state,
His givings-out were of an infinite distance
From his true-meant design. Upon his place,
And with full line of his authority,
Governs Lord Angelo, a man whose blood
Is very snow-broth; one who never feels
The wanton stings and motions of the sense;
But doth rebate and blunt his natural edge
With profits of the mind: study and fast.
He (to give fear to use and liberty,
Which have for long run by the hideous law,
As mice by lions) hath pick’d out an act,
Under whose heavy sense your brother’s life
Falls into forfeit; he arrests him on it,
And follows close the rigor of the statute,
To make him an example.

Related Characters: Lucio (speaker), The Duke, Angelo
Page Number: 1.4.54-72
Explanation and Analysis:

After we see the Duke disguise himself as a friar, Lucio goes to Claudio's sister Isabella, another individual who is only partially a member of the clergy. Isabella is in the process of becoming an authentic nun, however, so she acts as a model of piety and goodness. To Isabella, Lucio summarizes the situation so far: the Duke has left "very strangely" and mysteriously (disguising his "true-meant design") and his replacement, Angelo, has already sentenced Claudio to death for his generally minor offense of impregnating his betrothed Julia. 

Lucio echoes Claudio's conviction that human actors in command arbitrarily and unfairly use their own liberty to pick (or "pluck") sinful individuals. Then, these authoritative actors punish their chosen sinners, removing their sinners' liberty to "make" their sinners "an example" for the broader community. He also further characterizes Angelo, the figure who represents this flawed form of justice, as a man without spontaneous  human feelings. Angelo seems to be a man driven only by law and reason, instead of the variations and ambiguities of human passion.

Act 2, Scene 1 Quotes

We must not make a scarecrow of the law,
Setting it up to fear the birds of prey,
And let it keep one shape, till custom make it
Their perch and not their terror.

Related Characters: Angelo (speaker)
Page Number: 2.1.1-4
Explanation and Analysis:

As the play's second act opens, Angelo closely echoes the Duke's supposed reason for placing him in charge of Vienna. He describes the difficulties of enforcing laws and decrees; these rules become a mere empty framework, an impotent "scarecrow," unless human individuals are able to actively enforce them. Angelo seems willing to carry out this enforcing and ensure that "custom" does not continue to stray far from legalistic action. Angelo suggests that he will place law over mercy and reason over spontaneous human passion. This declaration is unsurprising given the prior events of the play, yet it will itself become a "scarecrow" in the upcoming act. 

'Tis one thing to be tempted, Escalus,
Another thing to fall. I not deny
The jury, passing on the prisoner’s life,
May in the sworn twelve have a thief or two
Guiltier than him they try. What’s open made to justice,
That justice seizes. What knows the laws
That thieves do pass on thieves? ’Tis very pregnant,
The jewel that we find, we stoop and take’t,
Because we see it; but what we do not see
We tread upon, and never think of it.
You may not so extenuate his offense
For I have had such faults; but rather tell me,
When I, that censure him, do so offend,
Let mine own judgment pattern out my death,
And nothing come in partial.

Related Characters: Angelo (speaker), Claudio, Escalus
Page Number: 2.1.18-2.1.33
Explanation and Analysis:

Angelo's reply to Escalus's suggestion for greater mercy and forgiveness becomes a detailed unpacking of many tensions. We are introduced to the notion that temptation and sin are two separate phenomena; again the inconsistencies between the internal and the external figure prominently. Angelo also directly addresses the prevailing concern that justice can only be partial and humans cannot punish all sinners, in order to fully act out heaven's rulings. To Angelo, this is certainly reality. Yet, he suggests that individuals who enforce justice are duty-bound to punish all sins which are revealed. Although a human society cannot fully act out heaven's justice, it can fully act out its own to the best of its abilities. It can fully enforce all wrongdoings it sees, undiluted by merciful tendencies, so that it completely acts out its own justice and "nothing" will "come in partial."

Act 2, Scene 2 Quotes

Because authority, though it err like others,
Hath yet a kind of medicine in itself,
That skins the vice o’ th’ top. Go to your bosom,
Knock there, and ask your heart what it doth know
That’s like my brother’s fault. If it confess
A natural guiltiness such as is his,
Let it not sound a thought upon your tongue
Against my brother’s life.

Related Characters: Isabella (speaker), Claudio, Angelo
Page Number: 2.2.164-171
Explanation and Analysis:

As Isabella pleads her brother's case to Angelo, she begs Angelo to be merciful, but not always using wholly religious words such as mercy and forgiveness. Fittingly, she is the figure which reminds Angelo of his heart; she will again unintentionally do this when she unwittingly inspires Angelo to fall in love (or at least lust) with her. Though she is the individual with the most virtue, Isabella claims that Angelo also has a kind of virtue, a "kind of medicine" within himself. He can choose to refrain from making harsh choices. 

Isabella asks Angelo to recall his own "natural guiltiness" and past transgressions. She introduces the notions of human experience and emotion -- passion, frailty, and reality -- as she virtuously pleads for mercy in her brother's case.

O cunning enemy, that to catch a saint,
With saints dost bait thy hook! Most dangerous
Is that temptation that doth goad us on
To sin in loving virtue. Never could the strumpet,
With all her double vigor, art and nature,
Once stir my temper; but this virtuous maid
Subdues me quite.

Related Characters: Angelo (speaker), Isabella
Page Number: 2.2.217-223
Explanation and Analysis:

After Isabella begs him to reconsider, and spare her brother's life, Angelo confronts his sudden passionate attraction to her. The tensions of the play begin to unravel; Angelo contemplates his lust "to sin in loving virtue" and claims that the "cunning enemy" uses "saints" to fulfill his aims. Sin and virtue become hopelessly entangled, as the "virtuous maid" incites him to the very acts which Claudio committed, and for which Angelo condemned him.

Another contrast, that between reason and human impulse, becomes a flawed binary as well. Angelo has been our character of the law, our strict dictator who seems to wholly lack human passion. Yet he is the character who becomes infatuated so immediately, in an event which any reasonable individual would think could "never" occur. 

Act 2, Scene 4 Quotes

Heaven hath my empty words,
Whilst my invention, hearing not my tongue,
Anchors on Isabel; heaven in my mouth,
As if I did but only chew his name,
And in my heart the strong and swelling evil
Of my conception. The state, whereon I studied,
Is like a good thing, being often read,
Grown sere and tedious; yea, my gravity,
Wherein (let no man hear me) I take pride,
Could I, with boot, change for an idle plume,
Which the air beats for vain. O place, O form,
How often dost thou with thy case, thy habit,
Wrench awe from fools, and tie the wiser souls
To thy false seeming!

Related Characters: Angelo (speaker), Isabella
Page Number: 2.4.2-15
Explanation and Analysis:

Struck by Isabel, Angelo's distracted, guilty prayers do not fulfill their function and connect him to heaven. In this soliloquy, which Angelo utters as he is alone on the stage, Angelo becomes curiously close to Claudius in Hamlet, whose prayers did not reach heaven as well. Angelo only intends to experience sexual intercourse with Isabel, and only intends to kill Claudio, yet Angelo's speech here links him to Claudius -- the character in Hamlet who did have sexual intercourse with Gertrude and did kill the former King of Denmark, all while lamenting his own guilt as Angelo does here. This alludes to the darker nature of Measure for Measure, Shakespeare's final and darkest comedy. 

Angelo is now painfully aware of his heart -- but he is only aware of his impending vices, instead of his former transgressions (the acts which Isabella suggested that he should remember). He now must confront the central dualities of the play and decide whether he will act out his own impulses or act in service of his society's justice. He must decide whether he will maintain the pretense of a wholly reasonable and just individual or allow himself to reveal his newly emotional internal experiences.

Might there not be a charity in sin
To save this brother's life?

Related Characters: Angelo (speaker), Isabella, Claudio
Page Number: 2.4.67-68
Explanation and Analysis:

As Angelo attempts to convince Isabella to commit herself to sexual intercourse with him, he suggests that he would spare her brother if Isabella offers herself to him in this way. Before, Angelo expressed in speech the new entanglements between good and evil, virtue and vice, and appearance and reality; now, his actions (in his attempts to convince Isabella to engage in sexual actions with him) attest to these as well. 

Angelo suggests that, as a virtuous woman, Isabella has much to offer. She could choose to selfishly preserve it, until she fully commits to the nunnery and offers it to God, or she could use it to save her brother. Isabella could condemn her own soul through intercourse outside of wedlock, or she could condemn herself in order to un-condemn her brother. This suggestion does not merely use female virginity as a bartering tool; it suggests that moral depravity and consequence is transferable between individuals more broadly. Virtue and vice is entrenched in social networks and exchanges, as well as custom and law. The significance of the title "Measure for Measure" begins to become clearer, even as the moral compass of the play grows more confused. 

Say what you can, my false o'erweighs your true.

Related Characters: Angelo (speaker), Isabella
Page Number: 2.4.184
Explanation and Analysis:

Angelo ends his conversation with Isabella by refusing to be intimidated by her threat to share his offer to her with the rest of society. Angels knows that, in this social context, appearance would trump reality; Angelo has built up a solid reputation as an honest and moral character over time, and after so long, this reputation for goodness would be enough evidence to disprove any charges Isabella might place against him. Character can accrue over time, and individual circumstances are always compared and measured against past histories and records. Furthermore, as a woman in this society, Isabella's word is automatically considered less important and reliable than the word of a man, particularly a well-known nobleman like Angelo.

Act 3, Scene 2 Quotes

Why, what a ruthless thing is this in him, for the rebellion of a codpiece to take away the life of a man!

Related Characters: Lucio (speaker), Claudio, Angelo
Page Number: 3.2.115-117
Explanation and Analysis:

Lucio asks the Duke (who is disguised as a friar) for news about the Duke, and the "friar" declines to provide any, claiming that he knows nothing of the Duke's recent affairs. Lucio then details how Angelo had been acting in the Duke's absence -- that is, ruthlessly-- and indulges in the common speculation that Angelo is not an ordinary mortal and thus not susceptible to the lusts common to flesh-and-blood humans. Lucio exclaims that there is a "ruthless thing" in Angelo ("in him") which inspires this lack of mercy, this hardness towards the baser impulses and actions that are spurred by female sexuality (or innocence, in the case of Isabella). The "rebellion of a codpiece" here jokingly refers to male genitalia and its tendency to lead men into trouble -- something usually knowingly winked at and pardoned in a patriarchal society, but here inexplicably punished. Thus Angelo's judgment against Claudio is not just seen as a harsh punishment, but as an attack upon the worldview that allows sexuality (particularly male sexuality) to exist in a vague no-man's-land, universally known to all but outside of society's direct acknowledgement and condemnation.

Twice treble shame on Angelo,
To weed my vice, and let his grow!
O, what may man within him hide,
Though angel on the outward side!
How may likeness made in crimes,
Making practice on the times,
To draw with idle spiders’ strings
Most ponderous and substantial things!
Craft against vice I must apply.
With Angelo tonight shall lie
His old betrothed (but despised);
So disguise shall by th’ disguised
Pay with falsehood false exacting,
And perform an old contracting.

Related Characters: The Duke (speaker), Angelo, Mariana
Page Number: 3.2.269-282
Explanation and Analysis:

After craftily conversing with characters through his disguise a friar, the Duke utters this soliloquy on false virtue. He focuses on Angelo's crimes, without considering the hypocrisy of his own deception and the way he is hiding his own truth underneath his priestly appearance. 

Here, the Duke also attempts to offer a solution to this play's problem of false appearances. He suggests that "craft against vice I must apply" -- supposedly, wit and intelligent plans might be enough to conquer the sin which grows when men use false "angel" appearances to hide their inner vice. The Duke's plans noticeably use their own form of false appearances, though; he will disguise Mariana, Angelo's own abandoned betrothed, so Angelo believes she is Isabella. Here, the Duke is harnessing female sexuality for his own uses.

Act 4, Scene 4 Quotes

But that her tender shame
Will not proclaim against her maiden loss,
How might she tongue me! Yet reason dares her no,
For my authority bears of a credent bulk,
That no particular scandal once can touch
But it confounds the breather. He should have liv’d,
Save that his riotous youth with dangerous sense
Might in the times to come have ta’en revenge,
By so receiving a dishonor’d life
With ransom of such shame. Would yet he had liv’d!
Alack, when once our grace we have forgot,
Nothing goes right—we would, and we would not.

Related Characters: Angelo (speaker), Isabella
Page Number: 4.4.25-36
Explanation and Analysis:

Angelo and Escalus discuss the Duke's letter, which, written as the Duke, asks them to meet him at the gates of Vienna and to order citizens with complaints to present petitions on the street of the city. At the street, the common crossing-place of nuns, dukes, prostitutes -- all individuals -- the play's events promise to reveal themselves.

After Escalus leaves, though, Angelo stops describing his confusion over the Duke's orders and instead provides this soliloquy about his own actions. His (supposed) sexual experience with Isabella weighs heavily on him; in his guilt, Angelo fears that Isabella might speak out against him (although he even thinks about this in a sexual way). Yet he placates himself convincingly, arguing that the solidity of his own reputation, gender, and social rank will protect him from any possible accusations she could present. He still has the appearance of a sinless man, although he believes he is merely another sinner -- like Claudio, the man he believes he condemned to death (and now regrets). Angelo is entrenched in misconceptions; he believes he has killed Claudio and taken Isabella's virginity, which gives deeper meaning to his statement "we would, and we would not."

Act 5, Scene 1 Quotes

For this new-married man approaching here,
Whose salt imagination yet hath wrong’d
Your well-defended honor, you must pardon
For Mariana’s sake; but as he adjudg’d your brother—
Being criminal, in double violation
Of sacred chastity and of promise-breach,
Thereon dependant, for your brother’s life—
The very mercy of the law cries out
Most audible, even from his proper tongue,
“An Angelo for Claudio, death for death!”
Haste still pays haste, and leisure answers leisure;
Like doth quit like, and Measure still for Measure.
Then, Angelo, thy fault’s thus manifested;
Which though thou wouldst deny, denies thee vantage.
We do condemn thee to the very block
Where Claudio stoop’d to death, and with like haste.
Away with him!

Related Characters: The Duke (speaker), Isabella, Claudio, Angelo, Mariana
Related Symbols: “Measure for Measure”
Page Number: 5.1.455-475
Explanation and Analysis:

The irony of the play is fully revealed on stage, by the city gates; the Duke openly states that Angelo has indeed committed the same crime for which he sentenced Claudio to death. And so, according to the "eye for an eye" (or, "Measure still for Measure") notion of retributive justice, Angelo should be condemned to death as well, receiving the same judgment that he doled out to others. It is no accident that the Duke, who has manufactured the play's entire plot, here reveals its fundamental irony. The Duke also seems to advocate for its "Measure for Measure" brand of justice. According to the Duke, it is "the very mercy of the law" which cries of "Measure for Measure"; he even curiously associates the term mercy with retributive justice. As we know well, however, the Duke's words are not always what they may seem to be. He is not actually planning to kill Angelo for this "fault," but he can exercise his power and momentarily pretend that he will carry out this threat. 

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Angelo Character Timeline in Measure for Measure

The timeline below shows where the character Angelo appears in Measure for Measure. The colored dots and icons indicate which themes are associated with that appearance.
Act 1, Scene 1
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...of Vienna speaks with a nobleman, Escalus, about his plan to leave another nobleman, Lord Angelo, in charge of the city while the Duke travels. Angelo is summoned and informed of... (full context)
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...he does not enjoy the formal, public aspects of his authority. Afterwards, Escalus requests that Angelo listen to his input while he oversees the city. (full context)
Act 1, Scene 2
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...and the Provost informs him that he acts not in "evil disposition," but rather on Angelo's special orders. Claudio ruminates somewhat cynically that earthly authority is a sort of “demigod:” it... (full context)
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According to Claudio, Angelo is likely handing down a steep and rarely-used punishment in this case so that he... (full context)
Act 1, Scene 3
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...request "secret harbour." He explains that he has pretended to leave for Poland and granted Angelo absolute governing power under these pretenses. The goal of this ruse, the Duke elaborates, is... (full context)
Act 1, Scene 4
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...Lucio tells her that they would, however Duke has been temporarily replaced by cold, cerebral Angelo. Claudio is to be made into an example and executed, and Lucio asks Isabella to... (full context)
Act 2, Scene 1
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In a room of Angelo’s house, Angelo confers with Escalus while the Provost, a Justice, and other officers of the... (full context)
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...as Escalus knew Claudio's father to be very noble. While he emphasizes that he respects Angelo's judgment, Escalus also suggests that the regent consider whether he might at some point transgress... (full context)
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Angelo replies that being tempted to sin is completely different from actually sinning. The law is... (full context)
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In an aside, Escalus laments Angelo’s decision to execute Claudio. "Well, heaven forgive him! and forgive us all!” he says; “Some... (full context)
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...advantage of Elbow's dull wits and confuses the constable to steer the interrogation off course. Angelo remarks that this interrogation will take a long time, and exits, leaving Escalus in charge.... (full context)
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...leaves, and Escalus commiserates with a Justice about Claudio's tragic fate. However, Escalus remarks that Angelo's severity is warranted, as oftentimes what seems like mercy can in fact be a crueler... (full context)
Act 2, Scene 2
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In another room of Angelo’s house, the Provost appeals to Angelo that he might stay Claudio's execution. Angelo is unmoved,... (full context)
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Angelo replies that every fault is condemned before it is committed. However, the actor must be... (full context)
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Isabella tells Angelo that if Claudio were the one in the position of power, he would take mercy... (full context)
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This supplication seems to break through to Angelo, and he tells Isabella he will think about her request and bids her to come... (full context)
Act 2, Scene 4
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Angelo reflects on the discrepancies between his words and his desires: “Heaven hath my empty words;... (full context)
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A servant tells Angelo that Isabella has come to speak with him. Angelo summons her. Before she enters, he... (full context)
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Isabella enters, and Angelo tells her that Claudio still must die. However, he sounds less adamant than before. He... (full context)
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Frustrated that Isabella misinterprets his innuendos, Angelo remarks to her, “either you are ignorant, Or seem so craftily; and that's not good.”... (full context)
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Angelo then accuses Isabella, with her strict refusal to save her brother on religious grounds, of... (full context)
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Finally, Angelo tells Isabella outright that he loves her. She is indignant that Claudio is facing execution... (full context)
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...is convinced he would rather die twenty times over than let her be polluted by Angelo’s lust. Isabella promises to care for him to help him prepare his mind for impending... (full context)
Act 3, Scene 1
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...Duke, still disguised as a friar, asks Claudio if he hopes for a pardon from Angelo. Claudio replies that hope is all he has left, though he is prepared to die.... (full context)
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Claudio is scandalized to learn of Angelo’s designs, and tells Isabella that she should not sacrifice her virginity. She tells him that... (full context)
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Claudio then begins to consider how Angelo could manage to act so hypocritically by possessing desires counter to the law he enforces... (full context)
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...with Isabella. He advises that Claudio should prepare for death instead of clinging to hope; Angelo, he says, only tried to seduce Isabella to test her virtue. Claudio simply responds by... (full context)
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...he can speak with Isabella in private. When the two are alone, the Duke condemns Angelo’s misconduct and asks Isabella what she plans to do. She answers that she would sooner... (full context)
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The Duke tells Isabella that she will not succeed by denouncing Angelo publicly; instead, he proposes a solution that will save Claudio, please the absent Duke, preserve... (full context)
Act 3, Scene 2
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...Rome. The disguised Duke offers no response other than good wishes. Continuing, Lucio observes that Angelo is a stern ruler, and perhaps punishes lechery too harshly. The Duke responds by saying... (full context)
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Lucio continues, saying that rumor has it that Angelo was not conceived through sex. He describes other fantastical legends about the man, and laments... (full context)
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Escalus and the Provost leave. Alone, the Duke delivers a soliloquy condemning Angelo’s shameful behavior. The Duke promises to use craftiness and disguise to counter Angelo’s duplicity and... (full context)
Act 4, Scene 1
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...Duke finds Mariana at her home, and Isabella arrives there soon after. Isabella relays that Angelo has given her two keys that she can use to access the garden of his... (full context)
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...scheme. Isabella then gives Mariana one final instruction: when she leaves, she must whisper to Angelo the phrase “Remember now my brother.” Once Mariana assents, the Duke reassures her that sleeping... (full context)
Act 4, Scene 2
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A messenger appears at the jail carrying word from Angelo. Instead of a pardon, he carries the command that Claudio’s execution should proceed as planned,... (full context)
Act 4, Scene 3
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...postponing Barnadine’s execution and instead presenting the pirate’s head as Claudio’s in order to fool Angelo. The Duke enthusiastically accepts this plan and tells the Provost to send the pirate’s head... (full context)
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...pardon has been delivered. The Duke answers that Claudio’s head has already been sent to Angelo. Isabella rages, and the Duke (whom she thinks is the friar) tells her that the... (full context)
Act 4, Scene 4
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In Angelo’s house, Angelo and Escalus review the letter from the Duke. The Duke’s erratic correspondences make... (full context)
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Escalus leaves, and Angelo speaks to himself with concern about what might happen at the meeting. He hopes that... (full context)
Act 4, Scene 6
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...gates, Isabella and Mariana wait. Isabella says she is reluctant to speak her complaint against Angelo, but Mariana urges her to follow the disguised Duke’s instructions. Isabella says that the disguised... (full context)
Act 5, Scene 1
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...group of lords and townspeople is assembled at the city gates. The Duke enters, greets Angelo and Escalus, and thanks them for their service. Friar Peter brings Isabella forward, and she... (full context)
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...and the Duke curtly tells him to be silent. Isabella continues and says she begged Angelo to free her brother, but he said he would do so only if she had... (full context)
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...sent away, the Duke asks her if anyone knew of her plan to testify against Angelo. Isabella answers that Friar Lodowick did. The Duke asks if anyone knows this friar; Lucio... (full context)
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...saying that she has slept with her husband, though her husband does not know it. Angelo, she says, is this husband, though he believed her to be Isabella when they had... (full context)
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Angelo, scandalized, asks Mariana to show her face, and she complies. The Duke asks Angelo if... (full context)
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...Provost. Escalus asks the disguised Duke if he conspired to have the women testify against Angelo. Indignant, the disguised Duke asks to see the Duke, but Escalus responds that the Duke... (full context)
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...Isabella be released from custody and requests that Lucio be restrained. He then asks whether Angelo can say anything to defend himself. Angelo admits his guilt and requests a death sentence,... (full context)
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Angelo, newly-married, returns, and the Duke proclaims that he shall be executed in Claudio’s place, as... (full context)