| for |
| cure, remedy |
|
know with absolute certainty that you are going to die. The Duke's speech is a type of "consolation" literature, rhetorically structured to remove the fear of death by making the listener have a contempt for both death and life. Compare, for example, John Donne's sonnet, "Death be not proud": Death, be not proud, though some have called thee Mighty and dreadful, for thou art not so; For those whom thou think'st thou dost overthrow Die not, poor death, nor yet canst thou kill me; From rest and sleep, which but thy pictures be, Much pleasure, then from thee, must more must flow; And soonest our best men with thee do go, Rest of their bones and soul's delivery. Thou art slave to fate, chance, kings, and desperate men, And dost with poison, war, and sickness dwell; And poppy or charms can make us sleep as well, And better than thy stroke. Why swell'st thou then? One short sleep past, we wake eternally, And death shall be no more, Death, thou shalt die. Like Donne's poem, the Duke's speech is an extended apostrophe, an address to an inanimate object or abstract idea which imagines the thing addressed can actually hear. |
| subject to; enslaved by |
|
influences of the stars. Some Renaissance people believed strongly that astrological forces held great power over human circumstances; others, of course, were more skeptical. Shakespeare seems to have been able to voice both positions: "It is the stars, / The stars above us, govern our conditions . . ." King Lear, 4.3.32-33 "The fault, dear Brutus, is not in our stars, / But in ourselves . . ." Julius Caesar 1.2.140-41 |
| dwelling place. Here used figuratively for the body. |
| dwell, reside |
| absolutely, completely |
| The most probably reading is "made foolish by Death." Some commentators have made reference to the Dance of Death in which the Fool is one of Death's victims, dragged unwillingly to his end. |
| You struggle to run away from death, but all the while you are running toward him. |
| clothing; all the things which mark the civilized life. (Compare what Lear says to the naked Edgar: "Thou art the thing itself: unaccommodated man is no more but such a poor, bare, fork'd animal as thou art." King Lear 3.4.105-08 |
| carry about, wear |
| are given birth and brought up in lowly or unworthy origins and conditions. |
| the forked tongue of a snake |
|
Compare Sonnet 73: In me thou seest the twilight of such day As after sunset fadeth in the west, Which by and by black night doth take away, Death's second self, that seals up all in rest. |
| summon or call forth (as by prayer or narcotics) |
| excessively, stupidly |
| Although some commentators suggest that the reference is to a vegetable diet which comes from the earth, the more probable reference is to Genesis 3:19 C "because thou art dust, and to dust shalt thou return." |
| constant, fixed, steadfast |
| physical constitution, mental state, (perhaps) combination of humours. |
| alters, changes |
| outward manifestations |
| caused by or done in imitation of the moon. The moon was seen to cause changes in human behavior. Also, the moon was a traditional symbol of mutability and change. |
| bars of gold or other precious metal |
| children, offspring |
| very |
| issue, product |
| own |
| reproductive part of the body |
| skin disease, sometimes though of as venereal disease |
| old people affected by palsy |
| desire |
| passion |
| any part of the body |
| a thousand more |
| A reference to the proverbial idea that death levels all persons, making all even in the end. |
| Possibly a paraphrase of the Gospel of Matthew: (Mat 16:25 KJV) " For whosoever will save his life shall lose it: and whosoever will lose his life for my sake shall find it." Yet some have noted that the Duke's words are more Stoic than Christian. |
| Let death come toward me. |
| This is the stage direction from the Folio (1623). Many editors emend the stage direction here to have Isabella speaking from "within," having her enter just before she speaks. But it is possible to perform the scene with Isabella coming on stage at this point, perhaps unseen until a few lines later. |
| Although the Folio (1623) places no stage direction here, one may be inferred. The Second Folio (1632) places Exeunt here. Other editors emend the text to show that the Duke and the Provost conceal themselves, but remain present to overhear the conversation. |
| that is, business affiars with heaven |
| To design (a thing) for some purpose; to destine (a thing or person) to a fate or use. (OED) |
| resident ambassador |
| preparation |
| go forward; begin your journey; set off on your trip |
| A solution which will save your head from execution but will break a person's (Isabella's, and perhaps also Claudio's) heart. |
| imprisonment; confinement |
| exactly so |
| vastness, immensity |
| fixed or limited bounds |
| Of what sort? |
| to strip the bark from a tree, thereby killing it. Shakespeare is punning on the term "trunk," suggesting Claudio's body (and possibly his "family tree"). |
| vulnerable; dishonored |
| fitful, restless (OED) |
| keep up, maintain (OED); admit to consideration (OED) |
| and value living six or seven years longer rather than retain everlasting honor. |
| death is more fearful in anticipation or imagining |
| The bodily suffering of the beetle we step on is as great as that of a giant when it dies. The sentiment is liable to two interpretations, of course: Isabella means to suggest that Claudio's death is no more painful than that of a small beetle; but he may also take it to suggest that dying is painful to all creatures, great or small. |
| determination, resolve |
| wordy compassion. Claudio is alluding to Isabella's femininity and to her "flowery" speech. |
| Shakespeare uses the same image in Antony and Cleopatra 2.4.101-04: "I will be / A bridegroom in my death, and run into't / As to a lover's bed." |
| the true spirit of my father |
| preserve |
| ignoble remedies or cures. |
| having the outward seeming of a saint (continuing the theme of appearance vs. reality in the play). |
| composed |
| facial expression |
| precise and careful way of speaking |
| lewd actions or behaviors. Perhaps also the foolish behavior of youth. |
| Strikes fatally at youth. The metaphor is from hawking, where the bird of prey (the falcon) strikes the neck of its prey, killing it. "Emmew" is probably a misprint for "enew," to drive the prey into the water. |
| Most probably the meaning is to "dig up," to clean out the mud and sediment from a pond or ditch. There may also be a slight reference to the Gospel of Matthew: (Mat 23:25-28 KJV) Woe unto you, scribes and Pharisees, hypocrites! for ye make clean the outside of the cup and of the platter, but within they are full of extortion and excess. {26} Thou blind Pharisee, cleanse first that which is within the cup and platter, that the outside of them may be clean also. {27} Woe unto you, scribes and Pharisees, hypocrites! for ye are like unto whited sepulchres, which indeed appear beautiful outward, but are within full of dead men's bones, and of all uncleanness. {28} Even so ye also outwardly appear righteous unto men, but within ye are full of hypocrisy and iniquity. |
| The meaning of the word is not clear. It most probably means "princely," though it has also been emended to "precise." Perhaps Shakespeare, in coining this word, combines the two meanings. |
| The dispensing of clothing to retainers or servants (OED) |
| clothe |
| trimmings, facings, or other ornaments applied on clothing (OED) |
| The Oxford Shakespeare glosses this passage: "it is a cunning trick of the devil to cover and disguise the wickedest people in richly decorated garments so that they appear respectable" |
| He would, by my vile deed, give you the ability to continue offending him. The New Oxford suggest that "isabella may be assuming that Claudio could get away with future misbehaviour because he could blackmail Angelo. |
| readily |
| prepared |
| treat the law with contempt |
| enforce, but also possibly with a secondary sense of rape |
| In traditional medieval theology, the seven deadly sins are pride, envy , wrath, sloth, avarice, gluttony, and lust |
| Isabella is probably being ironic or contemptuous, for all the deadly sins led to damnation and were equally heinous. |
| momentary trifle, brief experience. In Shakespeare's Bawdy, Eric Partridge notes that the bawdy reference is to the very brief time a male orgasm takes, and how quickly it comes. |
| eternally punished |
| stoppage or cessation of the vital functions; the condition of the body in death (OED). The reference may also be to the pressure of the earth on the body after it is buried. |
| endowed with sensation; capable of feeling or sensing |
| power of movement |
| compressed piece of earth, after the body returns to dust |
| capable of experiencing delight |
| uncertain, wavering |
| the allusions here are to the realms of hell and purgatory (see J. E. Hankins, Backgrounds of Shakespeare's Thought). The "fiery floods" may refer to the lake of brimstone and fire, hell; the area of ice and "viewless" (invisible) winds, to hell or purgatory. For the idea of the "pendant world," the idea that the earth was suspended in space by a chain, see Milton's use later Paradise Lost, II.1052. |
| compared to |
| grants a dispensation for, condones, pardons |
| treacherous |
| without honor, shameful |
| given (new) life (that is, saved from physical death) |
| forbid. The sense seems to be, "Heaven forbid that my mother was faithful to my father when you were conceived." Isabella is denying that Claudio could really be her brother, given his cowardly attitude. |
| deformed |
| scion or shoot of a wild plant. "Wilderness" can also here carry the sense of "wildness" or moral depravity. |
| declaration of contempt or renunciation of friendship |
| happening by chance, occasional |
| course, way, or manner of life (OED); habitual. Partridge, in Shakespeare's Bawdy, also cites "trade" as "trade of whore, bawd, pimp, pandar." |
| Evans glosses this line as "Giving you mercy would only procure more sixual indulgence." |
| grant me |
| Although there is no stage direction here, many editors insert one to have the Duke come out of concealment at this point. |
| forgo, do without |
| soon |
| The New Oxford glosses this as "You would be doing a favour to yourself as well as me by granting my request." |
| I don't have any idle time to spare |
| wait for |
| test, trial |
| perhaps "exercise his ability to discern how people think and act." |
| integrity |
| virtuous, having the state of religious grace |
| get ready for. This is part of the ars moriendi (the art of dying well) tradition. The Duke, as Friar, is instructing Claudio to prepare his soul for death by confessing his sins. |
| Perhaps, "do not content your self with or put an end to your resolve with hopes that will fail (as opposed to theological or religious certainty." |
| Here Claudio states that he has learned his lesson: he no longer desires to hold on to life but rather asks to die, knowing he is prepared. |
| The meaning is not clear. The Duke may mean, "Hold on to that frame of mind," or else may mean, "Wait there while I talk with the Provost." |
| Although some commentators find this line troublesome (Lever calls it "intentionally fatuous"), in production it could make normal sense: "Now that you [the Provost] are here, you [Claudio] can be taken away." |
| My inner thoughts (intentions) agree with my clothing (the friar's habit) that nothing ill will happen to Isabella when we are alone together. |
| very well; as you wish. |
| Many editors add a stage direction, not present in the Folio, to allow the Provost to exit with Claudio. |
| The exact meaning of this proverb-like phrase isn't entirely clear. Lever glosses this as "The pleasing qualities that cost little effrt when you are beautiful make beauty soon cease to be good." And the New Oxford suggests, "If a beautiful woman despises virtue her beauty will prove to be of poor quality and not long-lasting." |
| moral excellence, a gift of God |
| the essential quality of your character |
| Your inner grace, a gift from God, will keep your outer form always beautiful. The Platonic thought of Shakespeare's time suggested that inner goodness or virtue would result in an outward beauty. |
| sexual advances |
| the reference here may be to the fall of the angels, but it is not necessary to have the biblical allusion. The Duke may merely mean that there are many examples of men (who are frail) exhibiting behavior like Angelo's. |
| that is, Angelo, who is the Duke's deputy or substitute. |
| answer him; let him know for certain what my position is |
| reveal, expose |
| moral conduct; his way of governing (that is, both himself and the state) |
| to refute, to make void (a legal term) |
| that is, he will say he was only testing you |
| if it chance that |
| courage |
| whatever does not seem evil to me in my soul (according to my moral standards) |
| This Angelo should have (was to have) married her. |
| presumably the subject of this clause is Angelo: "Angelo was engaged to her by virtue of his oath." But the text is not clear here, for the Folio reading (which was not accepted here) has "was affianced to her oath." In that case, the meaning might well be that Mariana was being faithful to her oath, to her agreement to a future marriage with Angelo. |
| Many critics see this as a special kind of engagement or betrothal, a sponsalia de futuro, a marriage contract set to be consecrated and consummated at some point in the future. Such a contract could be broken under certain circumstances, but not after it was consecrated. For more information on this material, see the following: Victoria Hayne, "Performing Social Practice: The Example of Measure for Measure." Shakespeare Quarterly 44 (1993): 1-29; Martin Ingram, "Spousals litigation in the English ecclesiastical courts c. 1350-1640" in R. B. Outhwaite (ed.), Marriage and Society, 1981; and Ernst Schanzer, "The marriage-contrzacts in Measure for Measure," Shakespear Survey 13 (1960): 81-89. |
| prescribed time for solemnizing the marriage (OED) |
| that is, full of brotherly affection |
| the strongest portion. This Elizabethan construction, a hendiady, means that in the shipwreck the shipwreck deprived Mariana of the largest (strongest) portion of her estate, and thus her marriage dowry. |
| The OED cites this one passage as meaning "Betrothed, promised, sett;ed by contract." |
| especially good looking |
| retracted |
| that is, revelations of some sexual misconduct or stained reputation in Mariana |
| in short |
| that is, left her married only to her own sorrow. "Bestowed" means "committed," with a play on its use in the wedding ceremony (to bestow on the wife all the husband's "worldly goods"). Now Mariana wears those sorrows C like a wedding dress or a keepsake C for Angelo's sake. |
| hard, impenetrable |
| profit |
| break (of the agreement or contract) |
| that is, Mariana still loves Angelo |
| faithless, dishonest, false |
| Having an appearance or show of truth, reasonableness, or worth; apparently acceptable or trustworthy (but often with implication of mere appearance). (OED) |
| to the smallest detail |
| to commit or entrust. The Duke is telling Isabella to insist on several conditions (that they not spend much time together, that it be in the dark, that there be absolute silence, and that the place be convenient) and then to trust they will protect her. |
| In his typical style, Shakespeare glosses this phrase with the one that follows it C Marian is to go in Isabella's stead. |
| make itself know, be publicly discovered |
| to give her compensation or reparation for her "unjust" treatment |
| weighed, as on scales. The most vivid image is a reference to the scales of justice, but another possible reference is to the Book of Daniel, where the prophet Daniel pronounces God's judgment on Belshazzar (see especially verse 27): (Dan 5 KJV) Belshazzar the king made a great feast to a thousand of his lords, and drank wine before the thousand. {2} Belshazzar, whiles he tasted the wine, commanded to bring the golden and silver vessels which his father Nebuchadnezzar had taken out of the temple which was in Jerusalem; that the king, and his princes, his wives, and his concubines, might drink therein. {3} Then they brought the golden vessels that were taken out of the temple of the house of God which was at Jerusalem; and the king, and his princes, his wives, and his concubines, drank in them. {4} They drank wine, and praised the gods of gold, and of silver, of brass, of iron, of wood, and of stone. {5} In the same hour came forth fingers of a man's hand, and wrote over against the candlestick upon the plaster of the wall of the king's palace: and the king saw the part of the hand that wrote. {6} Then the king's countenance was changed, and his thoughts troubled him, so that the joints of his loins were loosed, and his knees smote one against another. {7} The king cried aloud to bring in the astrologers, the Chaldeans, and the soothsayers. And the king spake, and said to the wise men of Babylon, Whosoever shall read this writing, and show me the interpretation thereof, shall be clothed with scarlet, and have a chain of gold about his neck, and shall be the third ruler in the kingdom. {8} Then came in all the king's wise men: but they could not read the writing, nor make known to the king the interpretation thereof. {9} Then was king Belshazzar greatly troubled, and his countenance was changed in him, and his lords were astonied. {10} Now the queen by reason of the words of the king and his lords came into the banquet house: and the queen spake and said, O king, live for ever: let not thy thoughts trouble thee, nor let thy countenance be changed: {11} There is a man in thy kingdom, in whom is the spirit of the holy gods; and in the days of thy father light and understanding and wisdom, like the wisdom of the gods, was found in him; whom the king Nebuchadnezzar thy father, the king, I say, thy father, made master of the magicians, astrologers, Chaldeans, and soothsayers; {12} Forasmuch as an excellent spirit, and knowledge, and understanding, interpreting of dreams, and showing of hard sentences, and dissolving of doubts, were found in the same Daniel, whom the king named Belteshazzar: now let Daniel be called, and he will show the interpretation. {13} Then was Daniel brought in before the king. And the king spake and said unto Daniel, Art thou that Daniel, which art of the children of the captivity of Judah, whom the king my father brought out of Jewry? {14} I have even heard of thee, that the spirit of the gods is in thee, and that light and understanding and excellent wisdom is found in thee. {15} And now the wise men, the astrologers, have been brought in before me, that they should read this writing, and make known unto me the interpretation thereof: but they could not show the interpretation of the thing: {16} And I have heard of thee, that thou canst make interpretations, and dissolve doubts: now if thou canst read the writing, and make known to me the interpretation thereof, thou shalt be clothed with scarlet, and have a chain of gold about thy neck, and shalt be the third ruler in the kingdom. {17} Then Daniel answered and said before the king, Let thy gifts be to thyself, and give thy rewards to another; yet I will read the writing unto the king, and make known to him the interpretation. {18} O thou king, the most high God gave Nebuchadnezzar thy father a kingdom, and majesty, and glory, and honour: {19} And for the majesty that he gave him, all people, nations, and languages, trembled and feared before him: whom he would he slew; and whom he would he kept alive; and whom he would he set up; and whom he would he put down. {20} But when his heart was lifted up, and his mind hardened in pride, he was deposed from his kingly throne, and they took his glory from him: {21} And he was driven from the sons of men; and his heart was made like the beasts, and his dwelling was with the wild asses: they fed him with grass like oxen, and his body was wet with the dew of heaven; till he knew that the most high God ruled in the kingdom of men, and that he appointeth over it whomsoever he will. {22} And thou his son, O Belshazzar, hast not humbled thine heart, though thou knewest all this; {23} But hast lifted up thyself against the Lord of heaven; and they have brought the vessels of his house before thee, and thou, and thy lords, thy wives, and thy concubines, have drunk wine in them; and thou hast praised the gods of silver, and gold, of brass, iron, wood, and stone, which see not, nor hear, nor know: and the God in whose hand thy breath is, and whose are all thy ways, hast thou not glorified: {24} Then was the part of the hand sent from him; and this writing was written. {25} And this is the writing that was written, MENE, MENE, TEKEL, UPHARSIN. {26} This is the interpretation of the thing: MENE; God hath numbered thy kingdom, and finished it. {27} TEKEL; Thou art weighed in the balances, and art found wanting. {28} PERES; Thy kingdom is divided, and given to the Medes and Persians. {29} Then commanded Belshazzar, and they clothed Daniel with scarlet, and put a chain of gold about his neck, and made a proclamation concerning him, that he should be the third ruler in the kingdom. {30} In that night was Belshazzar the king of the Chaldeans slain. {31} And Darius the Median took the kingdom, being about threescore and two years old. |
| prepare in advance, with perhaps also the sense of put into the right frame of mind |
| assault on her honor |
| that is, it benefits both Mariana (in giving her her husband) and Isabella (in saving Claudio). The New Oxford suggests, "The word is ambiguous (>twofold quality' and >duplicity, deceitfulness') and a hint of the latter meaning is perhaps also present (>a beneficial trickery')." |
| idea, the picture you have drawn |
| completion, fulfillment |
| The success of the trick depends on your being able to sustain or perform ("holding up") your act. |
| acceding to his wishes, but also with a play on the sense of giving him sexual gratification. |
| St. Luke's church |
| an outlying farm-house belonging to a religious establishment. (OED) The New Oxford gives further explanation: "The quotations given in OED and Eccles [the New Variorum] indicate that a grange was typically thought of as a lonely and isolated place: Mariana is nursing her grief in seclusion. If she has no money, it is possible that she has been given lodging at the grange as a charity by a religious institution; she leaves it to get married, so that her destiny is somewhat like Isabella's." |
| lowered or reduced in spirits and in financial condition |
| settle or conclude speedily |