Angelo, The Hypocrite
Comments(4) In as early as the second scene of Measure for Measure, we are introduced to a very important theme of the play(or so I imagine): hypocrisy. Discussing the Duke’s trip, two gentleman explain that they hope hostility between Hungary and Vienna will not end. The First Gentleman says “Heaven grant us its peace, but not the King of Hungary’s” (1.2. 4-5) Noticing that the gentlemen, who are apparently soldiers, are being hypocritical by praying for the continuation of violence, Lucio compares them to a pirate crossing out ‘Thou shalt not steal’ from a tablet of the Ten Commandments. The gentleman agree, explaining that though this attitude may seem contradictory to Lucio, they are not unique in having it as all soldiers pray for more battle.
I was reminded of this scene and the introduction of the theme of hypocrisy when Angelo tries to persuade Isabel to commit the same sin that he is sentencing her brother, Claudio, to death for in Act II Scene IV. Angelo asks if “there were / No earthly mean to save him but that either / You must lay down the treasures of your body / To this supposed, or else let him suffer. / What would you do?” (2.4. 95-99). Antonio is so drawn to the purity of Isabel and the possibility of sinning, that he gets angry at Isabel’s refusal and promises Claudio’s suffering before death. He even uses the logic of hypocrisy to try to further persuade Isabel, but in reverse. Angelo says “Were not you then as cruel as the sentence / That you have slandered so?” (2.4. 111-112). It is a pretty gutsy move for Angelo to ask a nun-to-be for pre-marital sex with the excuse that it is the same crime she is trying to save her brother from being executed for, but as we can see, Angelo was quick to let his newly gotten power get to his head.
By introducing such a powerful idea early on in the play and by means of a humorous dialogue, Shakespeare sets a specific, almost sinister, tone for Measure for Measure and brings into question many other important concepts. The questioning of authority and religion remind me a lot of Merchant of Venice, particularly the distinction between ‘mercy’ and ‘judgement’. These are especially important when considering Isabel’s rejection of Antonio’s offer in the promise of sanctity through religion. But considering how early in we are into Measure for Measure and how Shakespeare’s other plays turned out, I have a feeling Isabel’s sanctity will be prey to someone’s greed or hypocrisy.
I feel strongly about Isabel’s resolution to keep her virtue safe for God. I have not seen anything in the play so far that hints to her becoming a prey to anyone’s lust. But I get the feeling that she will bring about Angelo’s demise. “I’ll tell the world aloud What man thou art” (2.4.153,154) I do not see Isabel heading back to the nunnery to become a nun just yet. She is headstrong in dealing with Angelo and that is probably what turned him on. I am rooting for her character to unmask Angelo, th hypocrite.
In literature, as in life, smugness and pride inevitably invite tests. I am struck by the speed and force with which Angelo succumbs to his.
This particular test calls into question the entirety of his identity; his virtue and restraint. He had earlier remarked, “‘Tis one thing to be tempted, Escalus,/ Another thing to fall” *(II. i. 17), yet upon his intercourse with Isabel, he has no inclination to practice his well-exercised restraint. Not only does he fail to struggle against his temptation, but he gives ful reign to an absolute compulsion to corrupt Isabel, the earthly symbol/embodiment of all he’s held dear:
“… what art thou, Angelo?” (II. ii. 180)
“Shall we desire to raze the sanctuary, / And pitch our evils there?” (II. ii. 178) Yep.
“Dost thou desire her foully for those things / That make her good?” (II. ii. 181) Check.
But then, fundamentalism only acknowledges extremes, and never does seem to allow for the uncertainty of all the grey in between.
Lord Angelo thinks he is in charge when everyone around him is truly running the show. Throughout the play, the theme of false identity is constantly emerges. Angelo is portrayed as a strict, no nonsense, clean up guy. He comes in to do a job that the Duke himself couldn’t do for years. He is order and everyone around him is disorder. However, we see early in the play some insecurity from Angelo: a bit of foreshadowing. The Duke informs Angelo he will be taking on the “Dukedom” but he humbly declines and asking the Duke to test his skills. Here is a bit of information about Angelo that Angelo knows about himself. He is forced into the position nonetheless: to put on a mask or clothing that he may not be comfortable wearing. Even so, Angelo really is never in control, the other characters are. We discover in the text that Angelo decided to break off his engagement to Mariana because she her lost dowry. A resolution that reads as harsh and one-sided, but the law. He thinks he has addressed the situation and it’s a closed case. Later in the text, Isabella goes to speak to Angelo to save her brother Claudio. Angelo thinks he is in command but Lucio seems to have true control of the situation through Isabella. Lucio coaches Isabella in how to seduce Angelo by encouraging her to touch him. Although, Angelo seems unmoved, Lucio understands Angelo more than Angelo knows himself. He would ultimately defy what he stands for and propositions Isabella for sex. However, when the Angelo and Isabella are fulfill the sexual commerce, Mariana take Isabella’s place as per the Duke. Angelo again looks like the vulnerable one. Against his will, he is forced to pardon Claudio and marry Mariana, who he had cast off earlier. In the end, most of the characters are two-faced more or less (a play on identity): the Duke pretends to be a friar; Claudio goes from a loving brother to sacrificing his sister; nun Isabella to seductive, then married Isabella; and “Angelo the law” to “Angelo the hypocrite”.