The concept of tragi-comedy
Tragic-comedy was a hybrid form of drama which flourished
for a brief period in the seventeenth century. Modern critics have offered
various definitions of what tragi-comedy meant for Jacobeans; and the treatment
of ‘Measure for Measure’ as a tragi-comedy has had a long history. One modern
critic, for instance, describes ‘Measure for Measure’ as deviating from the
more familiar paths of dramatic entertainment, and claims that the Jecobeans
themselves would probably have termed in a tragic-comedy. Another critic agrees
that ‘measure for Measure’ is in effect a tragic-comedy; it employs in the main
action all the conventional devise of this genre, namely disguise, mistaken
identity, complex intrigue, and the surprise ending. However, it may be pointed
out that this devise, which our critic describes as typical of tragic-comedy,
were actually typical of any comedy belonging to the Jacobean times. Yet
another modern critic has defined tragic-comedy as a representation of
inversion, deflation, and paradox; while another critic finds the region of
tragic-comedy somewhere between the tragic and comic extremes, and warns that
its limits are not to be too precisely fixed.
Guarini’s theory of tragi-comedy
Within the loose terms if these definition, ‘Measure for
Measure’ may easily de accommodate. These comments in effect treat the play as
a comedy with certain tragic passages and implications. However, it is
necessary to point out that the Jecobeans understood something far more complex
by the term tragi-comedy. In a book published in 1601, a critic Guarini (an
Italian critic who stated his view of tragi-comedy in ho book ‘Compendio deiia
Poesia Tragicomica, 1601) defined tragi-comedy as a closed blend or fusion seeming
disparates; taking from tragedy its great characters, but not its action; a
likely story, but not a true one; delight, not sadness; danger, not death; and
taking from comedy laughter that was not dissolute, modest attractions, a
well-tied knot, a happy reversal and, above all, the comic order of things. This
avoidance of extremes was said to be morally justified in the conditions prevailing
in the world at that time. In ancient times, tragedy had performed the
homoeopathic function of purging terror with terror, and pity with pity. But in
a Christian society, which believed in the redemption of sinners, such drastic
purges were unnecessary and unwelcome. Equally obsolete was the ancient comic
purge of dissoluteness as a cure for melancholy. Hence, tragi-comedy which
qualified extremes and promoted a balanced condition of mind was held to be the
best form of drama for the Jacobean world. Thus tragi-comedy was expected to
employ a mixed style, a mixed action, and mixed characters; passing from side
to side, it worked amongst contraries, sweetly tempering their composition.
The ingredients of a tragi-comedy in ‘Measure for Measure’
This theory of tragi-comedy became widely influential; and
term tragi-comedy, previously fallen into disrepute, soon took on a new
dignity. Whether or not Shakespeare had read this book continuing the new
theory, its ideas were in the air after 1602 and many well have promoted the
design of ‘Measure for Measure’, with its blend of serious and comic, extreme
peril and happy solution, mixed characters, and a well-tied knot. Structurally,
the play is divisible into almost mathematical halves. Through the first part,
there is a progressive mounting of tension between opposed characters and
conflicting principles, with no more than vague hope of a solution offered by
the continuing presence of the Duke on the scene of events. At the point of a
total deadlock in act III, scene l, the movement is reversed by the Duke’s
direct intervention. From this point onwards the Duke, in his part of
moderator, is engaged tirelessly in passing from side to side, working amongst
contraries, and shaping a new course for the drama. Accordingly, the play ends
with pardon instead of punishment, marriages instead of deaths, reconciliation
of enemies, harmony and, above all, the comic order of things.
Mixed action: Serious and comic elements in act I
Even a superficial glance at the play shows that it contains
a mixture of comic and serious elements, with serious elements occasionally
bordering on the tragic. The play begins seriously with the Duke’s entrusting
the government of the country to Angelo and himself withdrawing from the scene.
Then comes a comic scene with Lucio, two other gentlemen, besides Pompey and
Mistress Overdone, providing amusement and mirth to us. This scene ends with a
serious episode, verging on the tragic, when Claudio, who is facing death,
entrusts Lucio with an argent task which is to contact Claudio’s sister
Isabella and ask her to try to save Claudio’s life by pleading with Angelo and
obtaining a pardon for the unhappy man. The next scene is again serious. Here
the Duke explains to Friar Thomas his reasons for having temporarily renounced
his official duties, and describes his desire to move about in the disguise of
a friar. The scene which follows is again a serious one. Here Lucio contacts
Isabella at the convent, where Isabella is hoping to be admitted as a nun or
probation, and communicates to her a message from her brother. Isabella is now
deflected from her original purpose of joining the convent because she must
strive to save her brother’s life by pleading his case to Angelo.
Mixed action: Serious and comic elements in act II
Act II opens on a serious note. Angelo is determined to
stick to his original decision to have Claudio executed for having committed
fornication. Angelo rejects Escalus’s recommendation on Claudio’s behalf and
says that, even if he himself (namely Angelo) were to commit the kind of
offence which has been committed by Claudio, he would be prepared to face the
same punishment. Then this opening scene of act ii takes a comic turn when
Elbow, a police constable, produces Froth and Pompey before Escalus and Angelo
for trial. Elbow amuses us by his ignorance and by his malapropisms; Forth
amuses us by his stupidity; while Pompey amuses us by his witty remarks. Then
follows a highly dramatic scene with a serious import. This scene describes
Isabella’s interview with Angelo, and the outcome of that interview. Isabella
pleads for mercy to be shown towards her brother, and asks for a pardon for
him. But Angelo sticks to his original decision and then, on being pressed
further, asks Isabella to meet him again on the following day. The next scene
in this act is again a serious one, with the Duke offering consolation to
Juliet and urging her to repent of her sinfulness. In the scene, which follows,
Isabella’s second interview with Angelo is described. This is again a serious
scene which verges almost on tragedy because Angelo threatens to torture
Claudio before having him executed in case Isabella does not agree to surrender
her virginity to him to save her brother’s life. As Isabella is determined to
preserve her virginity and not to surrender it even to save her brother’s life,
we feel overwhelmed by a sense of the peril which Claudio and Isabella now
face.
Mixed action: Serious and
comic elements in act III
Three very serious developments take place I the opening
scene of act iii. They are the Duke sermon to Claudio on life and death;
Isabella’s denunciation of Claudio who wants her to surrender her virginity to
Angelo in order to save Claudio’s life; and the Duke’s scheme of substituting
Mariana for Isabella to satisfy Angelo’s lust as the price for saving Claudio’s
life. The second scene of this act is, however, a comic one, with Pompey being
once again under arrest for continuing as a professional pimp. The comedy in
this scene is provided chiefly by Lucio who makes fun of Pompey instead of
bailing him out as Pompey has expected. Lucio also amuses us in this scene by
his sarcastic comments on Angelo and on the Duke. But the scene ends on a serious
note with the Duke saying in a soliloquy that he now proposes to use “craft”
against Angelo’s “vice”, meaning that he would send Mariana disguised as
Isabella to Angelo to satisfy Angelo’s lustful desire and thus to through dust
into Angelo’s eyes.
Mixed action: Serious and comic elements in act IV
Act IV is again a mixture of comic and serious elements. In
the opening scene of this act, Mariana is prevailed upon the disguise herself
as Isabella and go to satisfy Anglo’s lustful desire. In the following scene,
we derive considerable amusement from the conversation between the Provost and
Pompey, and then from the conversation between Pompey and Abhorson, the
executioner. However, the situation becomes serious when fresh orders for the execution
of Claudio are received from Angelo. There is an element of seriousness also in
the Duke’s planning to save Claudio’s life. The scene which follow is again a
comic one, with Pompey saying in a soliloquy that he is well acquainted with
many of the inmates of this prison because these fellows had been his own
clients and Mistress Overdone’s customers at her brothel. The comedy continues
with Barnardine’s refusal to be executed. However, the situation becomes
serious when the Duke falsely tells Isabella that her brother has already been
executed and that Claudio’s severed head has been sent to Angelo for Angelo’s
satisfaction. In the following scene Angelo and Escalus are informed that the
Duke is now about to return to the capital in order to resume charges of his
government. The two scenes which follow are inconsequential.
Act V: The reversal and the happy ending
Act V is wholly serious except for the fact that the play
has a happy ending. Much of the suspension that could have been created by
Shakespeare in this scene is absence because we know that the Duke had been
moving about in the city in disguise of a friar, that Friar Lodowick was no
other that the Duke himself, that Claudio is alive and safe, and so on.
However, the charges brought against Angelo by Isabella and Mariana are highly
dramatic; and the situation becomes serious and grim when the Duke sentences
Angelo to death, saying that the law demands the life of Angelo against
Claudio’s life, that the law demands death for death, and the law insists upon
Measure for Measure. But when Claudio is produced before the Duke by the
Provost, the sentence of death against Angelo is withdrawn. Likewise, the
sentence of death against Lucio too is withdrawn. Angelo has now become
Mariana’s lawful husband; Lucio has been compulsorily marred to the girl Kate
whom he had made pregnant; Claudio is called upon to compensate Juliet whom he
had wronged; Escalus and the Provost are promoted to highest posts; and the
Duke himself offers to get married to Isabella. Thus act V contains the
reversal and happy ending which are essential in a tragi-comedy.
The well-tied knot
A knot or a complication is an essential feature of all
drama. It is therefore not surprising that the theory of -comedy should refer
to the need of well-tied knot. The knot in ‘Measure for Measure’ begins to be
tied in the course of Isabella’s first interview with Angelo when Angelo
refuses to budge from his position. By the end of her second interview with
him, the knots have fully been tied. During this interview Angelo offers to
pardon Claudio if Isabella surrenders her virginity and satisfies Angelo’s
sexual desire for her. Isabella firmly refuses to accept the bargain. Here is a
complication, indeed: Isabella is determined to preserve her chastity, whereas
Angelo is determined not to pardon Claudio unless she agrees to his terms. The
deadlock is complete.
Mixed characters
Mixes characters are not necessarily the criterion of a
tragic-comedy alone. Almost every play contains characters of a mixed kind:
good characters, evil characters, and characters that are partly good and
partly evil. ‘Measure for Measure’ is therefore no exception in this respect.
We have here characters who are wholly given to voice. They are Pompey and
Mistress Overdone. Then there is a character, namely Angelo, who has always
been pious and free from all vice, but who turns evil when faced with a
temptation. Angelo has always been thought by the people and by the Duke
himself to be a Puritan, free from all carnal desires, and a man devoted to
study and other intellectual pursuit. But as soon as Angelo happens to see a
young virgin, namely Isabella, he experiences an uncontrollable sexual desire
for her and would like to seduce her. Thus the puritan turns into a veritable scoundrel.
Subsequently, he even goes back on his promise to pardon Claudio’s life. Then
there is the Duke who is a personification of kindness and benevolence; and yet
he has his faults and failings which are all too human. The Provost is a very
good man. He is highly sympathetic; and sympathy is a quality which, as the
Duke remarks, is rare in jailors. There is Escalus, another good and
kind-hearted man. Isabella is a model of virtue. She is a personification of
chastity, though she suffers also from a serious flaw in her character. The
flaw in her is that she makes a fetish of her virtue and, as a consequence,
denounces her brother in terms which take away considerably from our admiration
for her.
The virtues of moderation
‘Measure for Measure’ is a
tragic-comedy also in the sense that it teaches us the virtues of moderation.
Shakespeare in this play lays great stress on the virtues of moderation as
upheld by the Duke. The play’s message seems to be that excess is undesirable
and harmful in every sphere of life, and that moderation should be the aim.
Even excess in virtue is not desirable, as is demonstrated by the portrayal of
Isabella. Isabella is certainly to be admired for her determination to preserve
her chastity to saving the life of her brother by surrendering her chastity.
The excessive Puritanism of Angelo is also to be deplored, because it is this
excessive Puritanism which leads to a crisis in his life. As soon as Angelo
gets an opportunity to come into contact with a young virgin, his repressed desire
come to the surface and prove his undoing. Then there is Lucio whose excessive
self-indulgences and addiction to irresponsible talk land him in trouble.
Escalus represents perhaps the golden mean, as does the Provost. But it is the
Duke who, more than Escalus and Provost, exemplifies moderation. Before the
play opens, the Duke was carrying on his government in a rather half-hearted
manner, permitting too much freedom of conduct to his subjects. At the opening
of the play, we find him realizing the folly of allowing his subjects too much
license, and therefore entrusting the reins of government to Angelo who is
reputed to be an extremely strict man. Then we find Angelo going to the other
extreme and showing too much strictness. His sentencing Claudio to death on a
charge of fornication and his failure to recognize the extenuating
circumstances, under which Claudio committed the offence, show that Angelo is
unduly tyrannical. Then comes the sudden change in Angelo who seeks the
gratification of his newly aroused lust. The Duke, in his disguise as a friar,
learns many lessons. He finds Claudio feeling terrible frightened of death; and
he tries to offer comfort to the condemned man. He meets Juliet to whom he
teaches the lesson of genuine repentance. But it is in the judgments which the
Duke delivers in the final act that we see him exercising the principle of
moderation which the Duke shows but a regrettable weakness in delivering these
judgments. It may be said, for instance, that the Duke inflicts no punishment
at all into anybody, not even upon Angelo who has proved himself a scoundrel,
and not even Lucio who had slandered the Duke himself. The Dukes judgments may
be regarded not as moderation but as a complete disregard of the claims of
justice. But our presumption here is that the various culprits have learnt
their lessons, and that their cases do not call for any punishment beyond that
which they had already undergone in the form of suspense, mental torture, and
forced marriages. Moderation then may almost certainly be regarded as the chief
lesson which can be derived for the play. For Jacobean audiences, and probably
for Shakespeare himself as a thoughtful man of his time, the importance of the
‘Via media’ may have seemed paramount in real life and likewise in dramas
concerned with contemporary issues.
Mixed style
The mixed style of ‘Measure for
Measure’ shows itself in the use of verse generally and the use of prose
wherever necessary. Prose is inevitable in the comic parts of the play, while
verse is necessary for emotional and passionate speeches and for serious
purposes in general.
No comments:
Post a Comment
thank you for your wise concern. your comment will be shown after a short review. have a nice time.