Measure for Measure
by William Shakespeare

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Virtue Theme Analysis

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The core tensions of Measure for Measure derive from different characters' differing attempts to attain virtue. The most prominent example is Isabella's desire to maintain her virtue while navigating the conflict between her religious devotion and her love for her brother Claudio. However, the play depicts a range of approaches to virtue: at one end is Isabella, who initially seeks to isolate herself from the sins of society and live as a nun, but eventually ends up reaching a compromise that saves Claudio while still preserving her purity. In the middle lies Claudio, who does not patronize brothels and seeks to wed Juliet legitimately; however, he lacks the willpower to abstain from consensual, premarital sex. On the more liberal end are characters like Mistress Overdone and Pompey, who perpetuate and profit from Vienna's prostitution problem. Finally, there is Angelo, who on one hand embodies fervent uprightness through his draconian enforcement of moral codes, but on the other hand willingly indulges in the same sorts of sexual misconduct that he punishes in others. Worst still, he, unlike most other characters, is actively dishonest about his behavior. While Mistress Overdone and Pompey readily admit to their professions, Angelo tries to mask his deviance by enforcing moral codes with an iron fist.

These characters' respective fates illustrate that virtue is not achieved through inflexible orthodoxy, but rather through sincerity. Angelo's unyielding compulsion to impose virtue on himself and others turns him into a hypocritical despot and precipitates his downfall. By marrying the Duke, Isabella ultimately ends up straying from her monastic intentions, but her choice was clearly the just course of action, compared with her initial impulse to consider Claudio's execution an acceptable consequence of his transgression. The Duke, too, is willing to make some moral compromises by using trickery to mislead his subjects, but he prevails because he makes these compromises in the pursuit of greater virtue. And less-than-pure characters like Claudio and Mistress Overdone escape the worst consequences because they, unlike Angelo, are sincere and upfront about their misbehavior. Thus, Shakespeare demonstrates that a genuine moral compass is a far more virtuous attribute than the unyielding adherence to and enforcement of a given moral code.

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Virtue Quotes in Measure for Measure

Below you will find the important quotes in Measure for Measure related to the theme of Virtue.

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
Related Literary Devices:
Page Number and Citation: 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 Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit

Act 1, Scene 2 Quotes

Thus can the demigod, Authority,
Make us pay down for our offense by weight
The words of heaven: on whom it will, it will;
On whom it will not, so; yet still ’tis just.

Related Characters: Claudio (speaker)
Related Literary Devices:
Page Number and Citation: 1.2.116-117
Explanation and Analysis:
As Claudio enters the stage, he is being taken to prison slowly and publicly. This is supposedly happening under Angelo's specific commands, as the provost tells Claudio when Claudio begins to (perhaps rightly) complain about this. Therefore, Claudio is being thoroughly and publicly punished for having sexual intercourse with his betrothed Juliet because of Angelo's whim and decision.Claudio protests the societal structures which bestow "Authority" on such individuals and allow capricious human actors to (try their best to) enforce the "the words of heaven" and heaven's infallible decrees. When human figures such as Angelo make the determinations, only some guilty Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debit

Act 1, Scene 3 Quotes

We have strict statutes and most biting laws
(The needful bits and curbs to headstrong weeds),
Which for this fourteen years we have let slip,
Even like an o’ergrown lion in a cave,
That goes not out to prey. Now, as fond fathers,
Having bound up the threat’ning twigs of birch,
Only to stick it in their children’s sight
For terror, not to use, in time the rod
Becomes more mock’d than fear’d; so our decrees,
Dead to infliction, to themselves are dead,
And liberty plucks justice by the nose;
The baby beats the nurse, and quite athwart
Goes all decorum.

Related Characters: The Duke (speaker)
Related Literary Devices:
Page Number and Citation: 1.3.20-32
Explanation and Analysis:
It turns out that Duke Vicentio has not left the play at all; after he is absent for one scene, the audience sees him again, as he converses with a friar. Fittingly, it is in this monastery that the audience may begin to understand why the Duke has left Vienna, spurring the action of the play. The Duke at least claims that he left not for love, but rather for the good of his people. For fourteen years, he has supposedly allowed the virtue of his city to slip; in the Duke's colorful description, even fathers and children become figures Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perf

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), Angelo, The Duke
Related Literary Devices:
Page Number and Citation: 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 Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possim

Act 2, Scene 1 Quotes

'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), Escalus, Claudio
Page Number and Citation: 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 Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Vol

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 and Citation: 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" Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provid

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
Related Literary Devices:
Page Number and Citation: 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 Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia

Act 2, Scene 3 Quotes

Look, here comes one; a gentlewoman of mine,
Who, falling in the flaws of her own youth,
Hath blister’d her report. She is with child,
And he that got it, sentenc’d; a young man
More fit to do another such offense
Than die for this.

Related Characters: The Provost (speaker), Juliet, Claudio
Page Number and Citation: 2.3.10-15
Explanation and Analysis:
When the Duke comes to visit the prisoners in his friar disguise, the Provost introduces him to Juliet, revealing his personal sympathy for her plight. When he mentions how Juliet is pregnant, the Provost also shares the fate of her lover Claudio. These two lovers tend to be defined in relation to one another -- one of their crimes is easily explained by the other's crime -- and this suggests the way that one person's actions never exist in a vacuum, and thus one can never be completely culpable. It also suggests, however, that Claudio is more responsible than Juliet; Dolorem et quae. Exercitationem non aut. Eveniet

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 and Citation: 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 Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetu

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

Related Characters: Angelo (speaker), Claudio, Isabella
Page Number and Citation: 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 Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis c

Better it were a brother died at once,
Than that a sister, by redeeming him,
Should die forever.

Related Characters: Isabella (speaker), Claudio
Page Number and Citation: 2.4.114-116
Explanation and Analysis:
To Isabella, moral consequences are not easily transferred among individuals, as Angelo now suggests they are. She is not merely entrenched in systems of circulation and exchange; she is also dedicated to particular religious tenants. According to her Christian beliefs, the life of one's soul is far more important than the life of one's physical body. Thus it would be better for her brother to physically die than for her to spiritually die, thus condemning herself to an eternity in Hell.Isabella is repulsed to the suggestion that saving her brother's life would justify losing her virginity. Her sexual purity is Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores

Act 3, Scene 1 Quotes

O, were it but my life,
I’d throw it down for your deliverance
As frankly as a pin.

Related Characters: Isabella (speaker), Claudio
Page Number and Citation: 3.1.117-119
Explanation and Analysis:
As Isabella speaks to Claudio in prison, she reveals that Angelo has offered to spare Claudio's life if Isabella will have sex with him. Claudio's immediate response is to state that Isabella will not "do't" -- she will not sacrifice her virginity for her brother's life. Isabella feelingly agrees, claiming that she would "throw it [life] down" "as frankly as a pin" in order to save her brother. Once again she values the soul far more than the body. Further, she only implies that she will not even consider saving her brother through having sex. This hesitancy to even speak Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut ven

Ay, but to die, and go we know not where;
To lie in cold obstruction, and to rot;
This sensible warm motion to become
A kneaded clod; and the delighted spirit
To bathe in fiery floods, or to reside
In thrilling region of thick-ribbed ice;
To be imprison’d in the viewless winds
And blown with restless violence round about
The pendant world; or to be worse than worst
Of those that lawless and incertain thought
Imagine howling—’tis too horrible!
The weariest and most loathed worldly life
That age, ache, penury, and imprisonment
Can lay on nature is a paradise
To what we fear of death.

Related Characters: Claudio (speaker)
Related Literary Devices:
Page Number and Citation: 3.1.133-147
Explanation and Analysis:
As Claudio speaks with his sister in his jail, he seems somewhat more than willing to die, when he claims "If I must die, / I will encounter darkness as a bride, / And hug it in mine arms." Similarly, he initially does not oppose Isabella's desire to stay pure instead of sacrificing her virginity for his life.Yet his resolve then becomes plagued by fear. "Death is a fearful thing," he first says, briefly, before continuing in this more fervent speech. Although we might associate the tragedy Hamlet more with death, here we briefly escape the worldly nature of this Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamu

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), Angelo, Claudio
Page Number and Citation: 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 Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendi

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 and Citation: 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 Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus

Act 4, Scene 1 Quotes

Nor, gentle daughter, fear you not at all.
He is your husband on a pre-contract:
To bring you thus together ’tis no sin,
Sith that the justice of your title to him
Doth flourish the deceit. Come, let us go,
Our corn’s to reap, for yet our tithe’s to sow.

Related Characters: The Duke (speaker), Mariana
Related Symbols: “Measure for Measure”
Page Number and Citation: 4.1.78-83
Explanation and Analysis:
As the Duke encourages Mariana to follow his plan, he uses the language of sin and virtue to appease any doubts or concern she might have. He tells Mariana to "fear ... not" because sexual intercourse with Angelo is supposedly not sinful; Angelo "is" Mariana's husband, at least "on a pre-contrast." This social relationship is, however, remarkably similar to that between Isabella and Claudio, who were also betrothed to marry. This underscores the ways that laws, and rules become altered and rewritten in the changeable social sphere of Measure for Measure.The Duke appeals to the "justice" of this social relationship Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae v

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 and Citation: 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 Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis c

Act 5, Scene 1 Quotes

By mine honesty,
If she be mad, as I believe no other,
Her madness hath the oddest frame of sense,
Such a dependancy of thing on thing,
As e’er I heard in madness.

Related Characters: The Duke (speaker), Isabella
Page Number and Citation: 5.1.68-72
Explanation and Analysis:
The play's final scene opens by the city gates, with Isabella accusing Angelo to the Duke Vicentio, as the Duke himself (disguised in friar form) earlier bid her. Angelo attempts to suggest that Isabella is mad, but Isabella relies upon this play's tension between appearance and reality to make clear her sanity (and Angelo's guilt): "even so may Angelo, / In all his dressings, characters, titles, forms, / Be an arch-villain." This explanation seems to satisfy the Duke, who is no stranger to deception, as he himself was in costume throughout the play (except for the very first and very Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recu

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), Claudio, Mariana, Angelo, Isabella
Related Symbols: “Measure for Measure”
Related Literary Devices:
Page Number and Citation: 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 Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus

Marrying a punk, my lord, is pressing to death, whipping, and hanging.

Related Characters: Lucio (speaker), The Duke
Page Number and Citation: 5.1.596-597
Explanation and Analysis:
Shortly before the play ends, the Duke orders Lucio to marry the prostitute ("punk") whom he impregnated. This is how the Duke chooses to punish Lucio for speaking so slanderously about the Duke while the Duke was absent -- or so Lucio thought. (Of course, the prostitute herself never appears, and her feelings on the matter aren't considered.) Thus we end the play with sex and the law entwined, just as we began the play with Claudio being punished according the law because of his sexual "deviance." Here, a character is also being forced to confront a consequence for associating Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam conseq