Book contents
- Frontmatter
- The Problem Plays, 1920–1970: A Retrospect
- ‘Sons and Daughters of the Game’: An Essay on Shakespeare’s ‘Troilus and Cressida’
- The Options of the Audience: Theory and Practice in Peter Brook’s ‘Measure for Measure’
- Man’s Need and God’s Plan in ‘Measure for Measure’ and Mark iv
- The Design of ‘All’s Well That Ends Well’
- Directing Problem Plays: John Barton Talks to Gareth Lloyd Evans
- The Queen Mab Speech in ‘Romeo and Juliet’
- ‘Time’s Deformed Hand’: Sequence, Consequence, and Inconsequence in ‘The Comedy of Errors’
- Faith and Fashion in ‘Much Ado About Nothing’
- ‘The Merry Wives of Windsor’ as a Hallowe’en Play
- ‘The Tempest’ at the Turn of the Century: Cross-Currents in Production
- Variations Within A Source: From Isaiah XXIX To ‘The Tempest’
- The Life of George Wilkins
- A Neurotic Portia
- Of an Age and for All Time: Shakespeare at Stratford
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Textual Studies
- Index
- Plate section
Man’s Need and God’s Plan in ‘Measure for Measure’ and Mark iv
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- The Problem Plays, 1920–1970: A Retrospect
- ‘Sons and Daughters of the Game’: An Essay on Shakespeare’s ‘Troilus and Cressida’
- The Options of the Audience: Theory and Practice in Peter Brook’s ‘Measure for Measure’
- Man’s Need and God’s Plan in ‘Measure for Measure’ and Mark iv
- The Design of ‘All’s Well That Ends Well’
- Directing Problem Plays: John Barton Talks to Gareth Lloyd Evans
- The Queen Mab Speech in ‘Romeo and Juliet’
- ‘Time’s Deformed Hand’: Sequence, Consequence, and Inconsequence in ‘The Comedy of Errors’
- Faith and Fashion in ‘Much Ado About Nothing’
- ‘The Merry Wives of Windsor’ as a Hallowe’en Play
- ‘The Tempest’ at the Turn of the Century: Cross-Currents in Production
- Variations Within A Source: From Isaiah XXIX To ‘The Tempest’
- The Life of George Wilkins
- A Neurotic Portia
- Of an Age and for All Time: Shakespeare at Stratford
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Textual Studies
- Index
- Plate section
Summary
Shakespeare might have taken the title of Measure for Measure from any one of the three synoptic gospels “For with what iudgement yee iudge, ye shall be iudged, and with what measure ye mete, it shall bee measured to you againe” (Matthew vii 2); “With what measure ye mete, it shall bee measured vnto you” (Mark iv 24); “For with what measure ye mete with the same shal men mete to you again” (Luke vi 38). Few Shakespeare editions consider a source for the title and those that do generally give 3 Henry VI or Matthew vii without arguing the point, and apparently without having examined the contexts in the three gospels. A. D. Nuttall, however, has suggested that Shakespeare was probably thinking of Mark iv as he wrote because the Duke’s lines, ‘Heaven doth with us as we with torches do, / Not light them for themselves’ (i, i, 32–3) are a restatement of Mark iv 21: ‘Is the candle lighted to be put vnder a bushell, or vnder the table, and not to be put on a candlesticke?’ An examination of Mark iv reveals other striking analogues to the language of Measure for Measure and – beyond language – to the characterization and theme of the play; it can be argued that Mark iv was the focus of Shakespeare’s biblical background for the play, though elements from all three evangelists are woven into its fabric.
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- Information
- Shakespeare Survey , pp. 37 - 44Publisher: Cambridge University PressPrint publication year: 1972
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