Abstract
This paper will compare and contrast Machiavelli's "The Prince" and Shakespeare's "Measure for Measure" in terms of their representation of the law, cruelty and mercy. As will be seen, Machiavelli's diabolical reputation notwithstanding, these works illustrate how both men thought along very similar lines. It will be argued that the point at which these elements - law, cruelty and mercy - converge in both men's works is power. Political power is the overriding theme of "The Prince" and the most prominent subtext of Shakespeare's "problem play". Through a discussion first of "The Prince" and then of "Measure for Measure", it will be shown how law, cruelty and mercy are - through the analogous figures of Duke Cesare Borgia and Duke Vincentio - represented as tools of political power and governance in both men's works.

Abstract
This paper explains that, in William Shakespeare's problem comedy "Measure for Measure", there is a certain sense of Shakespeare's discomfort or downright cynicism toward the concepts of religion such as Providence, divine mercy and the afterlife. The author analyzes the way the actions of the characters of Duke Vincentio, Isabella and Claudio reflect the religious skepticism that Shakespeare so frequently insinuated into his work. The paper concludes that Claudio is the only one for whom the play ends with a truly happy ending; insinuating that perhaps for all of those, who deny their true nature and insist on living their lives to achieve the impossible standards of religion, perhaps there is no happy ending.

From the Paper
"The questionable actions of Isabella, too, can be construed as Shakespeare commenting on divine mercy. For instance, when dealing with her brother Claudio, Isabella shows little or no pity toward his eminent death when it is directly weighed against her chastity. Yet when Angelo is condemned for basically an identical crime for which he doomed Claudio, Isabella pleads to the Duke that Angelo might be spared because Angelo did not, for all intents and purposes, actually succeed in his objective. Since Isabella did not stand to lose anything in her defense of Angelo, she made it willingly. When Isabella was forced to give up something precious to herself, however, she chose her own salvation over her brother's salvation."

Tags:vincentio, claudio, cynicism, isabella, afterlife

Abstract
This paper looks at the drastically different interpretations by critics of "Measure for Measure." The comments of H.C. Goddard, Harold Bloom and Martin Lings are contrasted, who variously take the play as: a moral tale on the nature of authority and governance, a spectacle of extreme nihilism, and a mystical quest for spiritual redemption. The paper asserts that each of these writers has a distinctly valuable approach to Shakespeare's text, but none has captured the mysterious whole.

From the Paper
"Measure for Measure has always been a difficult play to interpret, engendering many conflicting viewpoints. Much of twentieth century criticism tried to find a moral direction in the story, redeeming it from charges of inconsistency and vulgarity. R.W. Chambers, for example, insisted that "from first to last, the plot turns on the problem of punishment and forgiveness." [1] He took particular care to defend both Claudio and Isabella against accusations of selfishness, pointing out that Isabella is simply being human when she erupts at her brother Claudio in his prison cell, noting "there are things about which we cannot argue calmly.""

Tags:angelo, bloom, claudio, goddard, isabella, lings, lucio

Abstract
The writer of this paper presents a detailed discussion about the way different manipulators are treated in the works of William Shakespeare depending on the style of the work. The writer explored several characters in tragedies and comedies written by Shakespeare -including "All's Well That Ends Well" and "Troilus" - and takes the reader on a journey of discovery regarding the acceptance or rejection of manipulators in the works.

From the Paper
"If one studies the works of Shakespeare one will see that there is a connection between manipulation and comedies. The connection is one that is subtle yet obvious once discovered. A manipulation is really nothing more than getting someone to do what one wants done, and in a life setting this can be comedic. The connection between manipulation and comedy is similar in that they are really both manipulations. Comedies are written in such a way that the audience is manipulated into accepting manipulation as funny and acceptable. This in and of itself is a form of manipulation and the audience is the target for the author. It is such a subtle connection that the audience often does not recognize it until they stop and realize that they accepted events and actions in the comedy that they would have found repulsive of worthy of revenge in any other setting."

Tags:Measure, to, Measure, Duke, Angelo, Isabelle, Claudio, Helena, Bertram, Cressida, Iago, Othello

Abstract
This paper explores and compares the psychology of the Ego and masks that are worn by two of Shakespeare's characters; Malvolio(Twelfth Night) and Angelo(Measure for Measure). Using concepts of the Ego laid down by Freud and Jung the author demonstrates how Shakespeare uses this flaw, of imagining oneself as an ideal persona, in both a comedic, and later, tragic play. The paper cites examples from Shakespeare's plays to demonstrate his points. Also, the author references known critics in the field of literary criticism to further elucidate his meaning. The author concludes that by using the Ego as a flaw, Shakespeare created characters that are easy to relate to and provides valuable insight on how to deal with ones mask.

From the Paper
"In C.G. Jung's book, The Archetypes and the Collective Unconscious, he described what can happen to one who is "possessed" by what Freud would call the Super-ego. This is an idea Shakespeare was well aware of. He used the concept in his writing as a means to bring about both comedy and later to develop a more sophisticated plot, with a more developed conflict. This flaw of imagining oneself as an ideal persona is supported by critiques of Shakespeare's comedies. Richmond, states that Shakespeare's comedies suggest, "that we should test higher sentiments against the implication of facts"(p.2). He argues that Shakespeare finds virtue in what might be called compromised relationships and only destructiveness in single-minded commitment to an ideal. This is not because this harsh world will not tolerate ideals, but because ideals are self-destructive. Through the characters of Malvolio, in Twelfth Night and Angelo in Measure for Measure, Shakespeare explores this character theme, and creates, not only internal conflict, but external as well ."

Tags:comedy, ego, english, flaw, jung, literature, measure, pyschology, shakespeare, tragedy

Abstract
This paper compares and contrasts Shakespeare's portrayal of connubial bliss in his comedies "Much Ado About Nothing," "Measure for Measure," and "Twelfth Night." The institution of marriage during Shakespeare's time is examined in detail, including how one decided when one should marry, and to whom, and contrasted to today's notion of marriage. Some of the topics examined include finances, a person's reputation, family involvement, love and honor.

From the Paper
"However, despite the fact that in early modern England, "Most people got married, and most people had children," (McDonald 265), Beatrice and Benedick seem hell-bent against marriage. It is therefore probable that, while it wouldn't strike modern audiences as particularly odd, Elizabethan theatergoers found both Beatrice and Benedick's adamancy against marriage a source of humor and eccentricity in social behavior. When Claudio makes light of his intention to marry Hero, Benedick's immediate reaction is, "Is't come to this? In faith, hath not the world one man but he will wear his cap with suspicion" Shall I never see a bachelor of threescore again? Go to, I? faith, and thou wilt needs thrust thy neck into a yoke, wear print of it, and sigh away Sundays,? (Sundays were the day a man was expected to be with his wife), (Shakespeare, MAAN, I, i, 197-202). Likewise, the Prince, Don Pedro, says of Beatrice, "She cannot endure to hear tell of a husband," (Shakespeare, MAAN, II, i, 347-8)."

Tags:ado, bibliography, cited, comedy, format, homosexuality, love, marriage, measure, mla, money, much, night, shakespeare, twelfth, works

Abstract
This paper discusses how the four main characters in William Shakespeare's "Measure for Measure", the Duke, Angelo, and the two siblings, each draw moral standards from different sources. The paper also attempts to show how these characters subsequently shape or even abandon those standards to suit themselves.

From the Paper
"In the Duke's personal moral hierarchy, it is by mercy that he seems to rule Vienna. And yet, where is his mercy and sense of justice in his treatment of Isabella? He could have saved Claudio and punished Angelo without withholding the news of Claudio's safety from Isabella. "I will keep her ignorant of her good,/ To make her heavenly comforts of despair/ When it is least expected," he explains (4.3.110-112). He then theatricalizes the situation to the point of emotionally torturing Isabella so that he may "sentence" her to marry him when all is revealed (Magedanz, 328). The Duke's mercy disappears when he sees an opportunity to attempt to woo Isabella, even if it means that he must cruelly manipulate her. "

Tags:Duke, Angelo, isabella, claudio

Abstract
This paper considers the statement that Shakespeare's comedies and problem plays tend to wind through to their happy endings by way of some kind of victory over the opposite possibility, through an encounter with death or calamity of some sort. The paper applies this statement to "Much Ado about Nothing" and "Measure for Measure", assessing the differences between the comedy and the problem play. The paper asserts that, while the above statement is true, the vehicle through which we honestly proceed towards a conclusion flattering to our optimism is considerably different for comedies than it is for problem plays.

From the Paper
"The title of Much Ado about Nothing suggests that, in tone, this play is a comedy: we have a sense that a great deal will be made over a small affair, and look forward to what this affair might be, how the characters will become embroiled in it, and how the various misunderstandings and confusions that characterize a comic play will be worked out in the end. In comedies, it is the harmonious conclusion towards which the audience yearns.
"Not surprisingly, love is central to this play's themes, as it is in comedy generally. Much Ado about Nothing presents us with two sets of lovers: Beatrice and Benedick represent the sceptical lovers, and Hero and Claudio represent the ideal lovers. For both sets of lovers, the articulation of mutual love is the first in a series of hurdles that threaten to obstruct the relationship from blooming into maturity, as is expressed in the bonds of matrimony."

Tags:death, calamity, harmony, resolution, moral, choices

Abstract
This paper argues that Shakespeare wrote "Measure for Measure" as a complimentary tutorial for King James. In doing so, he portrays the current state of affairs in England and attempts to provide James with advice concerning the problems facing his kingdom.

From the Paper
"Shakespeare's England at the time that Measure for Measure was written was in a state of internal conflict and discord. King James I came to power in 1603 and inherited a kingdom rife with a myriad of social and cultural problems, including corruption in the justice system, religious disputes and crises, and rampant sexual immorality. Shakespeare, the ?King's Playwright,? as Alvin Kernan dubs him, wrote Measure for Measure as a complimentary tutorial for King James. In doing so, he portrays the current state of affairs in England and attempts to provide James, as a ruler with Divine Right and responsibility to his country, with advice concerning the problems facing his kingdom."

Tags:acting, advice, divine, england, ethics, immorality, james, king, literary, measure, playwright, politics, puritan, shakespeare, society

Abstract
Lucio is a key role in "Measure for Measure", but is he simply a foil for Duke Vincentio or is he more than that? This paper asks if Duke Vincentio is actually just as much of a slanderer as Lucio is and whether Shakespeare is trying to make a point about the rule of King James.

From the Paper
"The more I read about Lucio the more I realized that everyone had different views about him and his role in Measure for Measure. Some simply dismiss him as an unimportant character that was just inserted for comic relief, some believe him to be Duke Vincentio's foil that was there simply to make the Duke look even better, and some believe that Lucio is an extremely important character without which the play would have virtually no meaning. I read a few different journal articles and books to prepare for this presentation, but I was especially influenced by Kaplan's The Culture of Slander in Early Modern England because there was an entire chapter dedicated to slander in Measure for Measure and I found myself agreeing with Kaplan's interpretation of Lucio's role more than anyone else's. I found all of the articles that extolled the virtues of the Duke and portrayed Lucio as a villainous slanderer who deserved all that he got and more very limited in their analysis. It is just too easy, and since Shakespeare does not create characters that are easy to analyze, Lucio is no exception."

Tags:duke, jacobean, james, king, vincentio