In conversation with a small group composed of ordinary citizens of Vienna, Lucio alludes to the Ten Commandments in a simile that also compares the First Gentleman and Second Gentleman to pirates:
Thou concludest like the sanctimonious pirate, that
went to sea with the Ten Commandments, but scraped
one out of the table.
Earlier, the assembled Viennese gentlemen claimed that they wish for peace, but nevertheless hope that the Duke will go to war with the King of Hungary, considered by many in the city to be a dangerous enemy. Lucio responds by suggesting that they are hypocrites for pretending to value peace while in fact clamoring for war. In a simile, he compares them to a “sanctimonious pirate,” or in other words, a criminal who nevertheless makes a show of being morally superior to others. Further, Lucio alludes to the Ten Commandments, a set of principles considered central to Christian ethics. In describing them as having “scraped” one of the Commandments away, Lucio suggests that the First and Second Gentlemen put up a pious facade but ignore any moral principles that are inconvenient. More specifically, he suggests that they have ignored the commandment not to steal, as soldiers in this time often looted a defeated city or kingdom, returning home with the spoils of war.
Upon seeing that Pompey Bum has been arrested, Lucio makes a number of allusions to Roman history and literature.
How now, noble Pompey! What, at the wheels of
Caesar? art thou led in triumph? What, is there
none of Pygmalion's images, newly made woman, to be
had now, for putting the hand in the pocket and
extracting it clutch'd?
Lucio plays on Pompey’s name, which he shares with Pompey the Great, a Roman Statesman who was first an ally and then enemy of Julius Caesar. As Pompey Bum is being led through town by the officers in chains, Lucio imagines him as his namesake and alludes to the Roman tradition of parading conquered rivals through the streets of Rome in “triumphs” or military parades. Lucio’s allusion is satirical, emphasizing the contrast between Pompey Bum, a lowly criminal, and Pompey the Great, a major figure in history.
Next, Lucio alludes to the figure of Pygmalion. In the works of Roman poet Ovid, Pygmalion is a sculptor who spurns all women and instead falls in love with one of his own sculptures, which is brought to life by Aphrodite. In alluding to the Pygmalion myth here, Lucio suggests that Pompey Bum, as a pimp, in some way “makes” the women whom he employs as prostitutes, giving them new names and appearances.
Friar Peter alludes to the birth of Christ when responding to Isabella’s accusations against Angelo:
Blessed be your royal Grace.
I have stood by, my lord, and I have heard
Your royal ear abused. First hath this woman
Most wrongfully accused your substitute,
Who is as free from touch or soil with her
As she from one ungot.
The Friar, not knowing the truth of her claims, condemns Isabella for speaking out against the seemingly virtuous figure of Angelo. Angelo, the Friar suggests, is as “free from touch or soil with her” as Isabella is free “from one ungot.” By “one ungot,” the Friar here alludes to Jesus; according to the Bible, Jesus was not conceived by two parents, but rather, placed by the Holy Spirit directly into Mary’s womb. Because he was not “begotten” by parents, he is “ungot.” In other words, then, the Friar suggests that Angelo is “free” from sin and wrongdoing just as Isabella is “free from” Jesus. In declaring Isabella “free” from Jesus, the Friar accuses her of being irreligious, and therefore ill-suited to her own vocation as a novice nun. This allusion highlights Angelo’s false reputation in Vienna as a pious and holy man, while simultaneously condemning the virtuous Isabella as a liar.
