The True Character of Isabella in Measure for Measure
Some critics of Shakespeare’s play, Measure for Measure, judge Isabella as "a narrow minded but passionate girl afflicted with an irrational terror of sex" (Barton, 546), "a young, immature woman" demonstrating "moral absurdity and cruelty" (Nicholls, 478), whose actions are scarcely defensible. A classmate of mine asked, "Why doesn't Isabella just sleep with Angelo? What's the big deal?" These statements reveal that these people have no understanding or sympathy for Isabella’s position: socially, morally or physically.
Perhaps I take the issue of Isabella’s character so seriously because I played the role of Isabella in our college’s production of the play.
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Yet I found that the script does allow for an Isabella of greater richness than we usually see reflected in print. From within, I measured her differently.
We often hear that Isabella is a rigid absolutist, particularly in her attitude toward sexual activity outside marriage. But beginning at the beginning, I found that Isabella is a humorous, tolerant wit. Now I imagine that those adjectives surprise you, but let me move through her first scene, taking into account the choices our director Ronnie Larson, the other actors and I made. In Act I scene iv, I was blocked to enter quietly, head down, and then suddenly see the Duke (disguised in his monk's habit) who was still center stage after his soliloquy. I paused, while our Duke awkwardly and hesitantly blessed me with the sign of the cross. I smiled and shook my head slightly, amused at his evident bashfulness, thinking "Who is this strange brother?" This moment gave me a sense of calm certainty--I knew what I was doing in this convent and in a habit, even if he didn't. I passed downstage of him as he exited, unfurled a large white cloth on the stage as a symbolic altar, and kneeled on it, beginning an audible rosary, "Hail, Mary, full of grace, the Lord is with thee."
Our Lucio, entering from the audience, saw me praying and knelt down beside me for his line, "Hail, virgin, if you be."
The most recent version of The Tempest by Julie Taymor changes Prospero to “Prospera,” a female figure played by Helen Mirren. Consider both 17th-century gender issues and more recent ones in examination of the play’s discussions about virginity, marriage and femininity.
She is vain, petulant, spoilt, full of doubt and have very little patience. She has a masochistic enjoyment of enforced separation because it enables her to dramatize their situation, lament, moan, send messages, etc. When her and Lelio do meet they are almost always tongue-tied and need interpreters who proceed to misinterpret their statements, either through stupidity (Zanni), malicious desire for revenge (Brighella) or calculated self-interest (Columbina). Isabella's attention span is short like a young child's and her fear that she might be a nobody keeps her hyper-animated.
On arriving at the convent where she is preparing to take vows, Lucio at first glance recognizes her for a virgin "as those cheek-roses proclaim no less!" As he unfolds the plight of her brother she is prepared to immediately leave to speak on Claudio's behalf. The Provost announces her to Angelo in II.ii.20-22. "Ay, my good lord, a very virtuous maid, and to be shortly of a sisterhood, If not already." Thus Isabella is introduced as a virtuous young woman with intelligence,
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“How would a modern audience view this play in a different way to an audience in Shakespeare’s time, particularly in relation to the role and status of women and attitudes to marriage and courtship?
Within Measure for Measure the character of Isabella is characterized as an innocent pure female, and there is a focus on her ever-present moral dilemma. By using Elizabethan perspectives on women, nuns, and chastity, Shakespeare uses Isabella to reveal character traits and morality of those around her. However in opposition Isabella made be seen as an individual who pontificates too much when her brother’s life is at stake, it is perhaps easier for Isabella to suffer the condemnation of a modern audience.
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