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VCE ENGLISH:
MEASURE FOR
MEASURE
Barry Carozzi
Series Consultant: Anne Mitchell
Contributor: Denise Kirton
CONTENTS
PREFACE
iv
ACKNOWLEDGEMENTS
1
CHARACTER SUMMARIES
2
2
RELIGIOUS
5
CITIZENS
ISSUES, THEMES AND LIKELY QUESTION TOPICS
Possible topics
GET REVISING
Revising for your exams
The nature of English
About the exam papers
How you will be assessed
Impressing the examiner
Practise, practise, practise
Top tips for success in Section A
A note of advice
Now you’re prepared …
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Planning a response
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THE GOVERNMENT: THE RULING CLASS OF VIENNA
MODEL ESSAY 1
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MARK IT!
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Deconstruct the question
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The poet Dryden (who was born about the time that Shakespeare died) dismissed Measure for
Measure as being ‘grounded on impossibilities … the comedy neither caused your mirth, nor the
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serious part your concernment ’. To what extent do you agree with his judgement?
Mark it!
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Marker’s comments
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MODEL ESSAY 2
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Deconstruct the question
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The Duke’s parting words to Friar Thomas are: ‘Hence shall we see, / If power change purpose, what
our seemers be’. This confusion between what seems to be the case and what is in fact the case is a
recurring theme in Measure for Measure. Discuss, with particular reference to the character of Angelo.
Mark it!
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Marker’s comments
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MODEL ESSAY 3
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Deconstruct the question
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‘By the end of Measure for Measure, the Duke establishes an appropriate balance between
crime and punishment: each of the characters receives their just deserts.’ Discuss.
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Mark it!
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Marker’s comments
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WHAT HAVE YOU LEARNED?
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USEFUL VOCABULARY
GLOSSARY
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VCE English: Measure for Measure
PREFACE
Measure for Measure has been regarded as one of Shakespeare’s more controversial plays since it was
first performed in 1604, with some of Shakespeare’s contemporaries critical in the extreme. The poet
Dryden dismissed the play as being ‘grounded on impossibilities … the comedy neither caused your
mirth, nor the serious part your concernment’. Dr Johnson thought ‘the light or comick part … natural and
to be ‘the most painful of all Shakespeare’s works’.
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pleasing’ but found the ‘grave part’ laborious and inelegant, while Coleridge judged Measure for Measure
Given Shakespeare’s reputation as perhaps the greatest writer in the English language, how are we to
explain such negative commentary? Was he having an off day when he wrote Measure for Measure?
Was he more interested in having the play performed than in ensuring that it was up to standard? Or
does the fault lie with his detractors? Were the critics blind to the many positive attributes of the play?
On the positive side of the ledger, Measure for Measure contains a number of Shakespeare’s most
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memorable speeches. There is the Duke’s counsel to Claudio concerning death:
‘Be absolute for death: either death or life.
Shall thereby be the sweeter. Reason thus with life …’ act 3, scene 1
In counterpoint to the Duke’s counsel that Claudio accept Death with equanimity and calm, there is
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Claudio’s despairing speech:
‘Ay, but to die, and go we know not where
To lie in cold obstruction and to rot,
This sensible warm motion to become
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A kneaded clod …’ act 3, scene 1
The ‘comick parts’ that Dr Johnson praised are worthy of examination. In the 1770s, the playwright
Richard Sheridan created the character Mrs Malaprop, who often misused words. She would say things
such as ‘Illiterate him quite from your memory’ when she meant ‘obliterate’ and ‘She’s as headstrong
as an allegory’, using ‘allegory’ instead of ‘alligator’. The name of Sheridan’s character gave rise to the
term ‘malapropism’ which continues to be used today, but credit for this form of humour must belong to
Shakespeare. His character, the zealous but illiterate Elbow, a police constable of limited intelligence but
a source of great comic lines, was a ‘master’ of the malaprop.
For example, when Elbow arrives at the Duke’s palace with Pompey, he tells Angelo:
‘[My] name is Elbow: I do lean upon justice, sir, and do bring in here before your good honour two
notorious benefactors.’ [He means ‘malefactors’.] act 2, scene 1
Much of the criticism of Measure for Measure relates to ambiguities in the characterisation and the
reliance on subterfuge and manipulation. At the opening of the play, the Duke seems to be a wise
and much-loved ruler, one in need of a break from the heavy demands of his role. He lets it be known
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VCE English: Measure for Measure
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CHARACTER
SUMMARIES
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THE GOVERNMENT: THE
RULING CLASS OF VIENNA
THE DUKE, VINCENTIO
At the beginning of the play, the Duke of Vienna takes leave of absence and hands over the reins of
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government to Angelo, his deputy, along with Escalus. The Duke leaves in haste, and without any public
display of affection. He explains to Angelo and Escalus that he has important business to attend to:
‘I love the people
But do not like to stage me to their eyes:
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Though it do well, I do not relish well
Their loud applause and aves vehement’ act 1, scene 1
It seems, from these comments, that the Duke has grown weary of public approbation. He explains his
intentions to one man alone: Friar Thomas. The Duke tells him that, over a 14-year period, permissiveness
has become rife in Vienna and that the law has lost its bite. In addition, he feels helpless to reverse this
trend—hence the appointment of Angelo. However, it is the Duke’s intention not to leave at all, but to
remain in Vienna in disguise. He will disguise himself as a friar, and asks Friar Thomas to instruct him in
how he might ‘bear’ himself ‘as a true friar’. His conversation with Thomas ends, though, with the Duke
expressing some doubt about Angelo:
‘Hence shall we see
If power change purpose, what our seemers be.’ act 1, scene 4
Throughout the play, until the very end, it is only Friar Thomas and the audience who are in on the
subterfuge. Hence, the Duke—in the guise of a friar—intervenes in all of the key events in the play.
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Character summaries
KEY QUOTES
‘In our remove be thou at full ourself: / Mortality and mercy in Vienna / Live in thy tongue and heart.’
act 1, scene 1
‘Believe not that the dribbling dart of love / Can pierce a complete bosom.’ act 1, scene 4
‘Hence shall we see, / If power change purpose, what our seemers be.’ act 1, scene 4
Shall thereby be the sweeter. Reason thus with life:
If I do lose thee, I do lose a thing
That none but fools would keep.’ act 3, scene 1
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‘Be absolute for death: either death or life
‘Sir, your company is fairer than honest. Rest you well.’ act 4, scene 3
‘What’s mine is yours, and what is yours is mine.’ act 5, scene 1
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‘Thou art the first knave that e’er mad’st a Duke.’ act 5, scene 1
Prior to appointing Angelo, his deputy, as his replacement, the Duke discusses his intentions with his
other deputy, the older and more experienced Escalus. Escalus is in no doubt that the Duke has made an
excellent choice. Angelo’s reputation is unstained. The Duke describes him as follows:
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‘Lord Angelo is precise,
Stands at a guard with envy, scarce confesses
That his blood flows, or that his appetite
Is more to bread than stone.’ act 1, scene 4
The Duke passes on all of his powers to Angelo and charges him:
‘In our remove be thou at full ourself:
Mortality and mercy in Vienna
Live in thy tongue and heart.’ act 1, scene 1
At first, Angelo seems overwhelmed, and entreats the Duke:
‘Let there be some more test made of my mettle,
Before so noble and so great a figure
Be stamped upon it.’ act 1, scene 1
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Issues, themes and likely question topics
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ISSUES, THEMES
AND LIKELY
QUESTION TOPICS
Measure for Measure explores a wide range of human issues. This is one of the things about literary
texts: they set so many different ideas abuzz in our minds. From the point of view of a general reader,
this is all to the good. It gives us so much to think about. For you as a VCE student, it means the
examiners have a wide range of possible topics they could set you. This may seem daunting, but as long
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as you are really familiar with the text you will be able to react and respond appropriately.
Figure 1 is a map of possible themes that you may be asked to analyse. It is by no means exhaustive—if
you think of another branch, add it.
RESPONSIBILITY
V
AVOIDANCE
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CHASTITY
V
INDULGENCE
The
BALANCE
of OPPOSITES
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FREEDOM
V
RESTRAINT
SEEMING
and
BEING
PUNISHMENT
V MERCY
The Role and Nature of
GOVERNMENT
The SCALES of JUSTICE
The Duke / the Friar
Angelo
Claudio
CHARACTERS
Isabella
MEASURE
FOR
MEASURE
Escalus
Lucio
IDEAS and THEMES
Pompey
DEATH
ATTITUDES
TO
The place of HUMOUR
CHASTITY
Puns
ASPECTS of
SHAKESPEARE'S
LANGUAGE
Innuendo
Iambic pentameter
Imagery
Figure 1 A map of the key elements of Measure for Measure. Can you add any more branches to this
diagram?
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VCE English: Measure for Measure
POSSIBLE TOPICS
While you are revising for your exam, consider the points listed below. How would you handle them if they
were presented to you as an exam question? What evidence from the text would you use to support
your argument?
If you have considered in advance a wide range of perspectives and ideas relating to the text, you
notes on:
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what your position is in relation to the statement or quote. Do you agree? Disagree? Can you see both
sides?
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are more likely to be able to think on your feet on the day. Read through the points below and make
evidence from the play that supports your position.
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THE BALANCING OF OPPOSITES
In Measure for Measure, Shakespeare explores the tension between restraint and liberty in society.
Discuss.
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The central concern of Shakespeare’s Measure for Measure is the difficulty of finding the appropriate
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balance between the rule of law and the expression of mercy and compassion. Discuss.
What is the significance of the title Measure for Measure? In what ways is this title appropriate to the
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play?
THE ROLE AND NATURE OF
GOVERNMENT
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‘Of government the properties to unfold … ’ What does Measure for Measure suggest about the nature
of government and how does it do this?
CHARACTERS
THE DUKE/FRIAR
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‘The old fantastical duke of dark corners.’ To what extent is this a fair description of the Duke in
Measure for Measure?
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VCE English: Measure for Measure
GET REVISING
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REVISING FOR YOUR EXAMS
The VCE English course introduces you to a wealth of stimulating, exciting literature, and will open your
eyes to new ways of viewing the world around you. Hopefully, you will enjoy reading the books and
discussing the characters and the ideas they explore. Come the end of the year, though, there are the
exams to contend with. Preparing for any exam can be stressful, whether you like the subject or find it
difficult. Most students undertake five VCE subjects in Year 12, and preparing for five exams is a big task.
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There are many demands on your time.
You therefore need to be sure that you’re using your time wisely and being as effective as you can in your
revision. Good organisation is the key. Being organised enables you to prepare well for the exams.
There are several things you can do to make sure you feel confident when it’s time for the exam, and to
help you to achieve your full potential. One of the first things you should do is to familiarise yourself with
the structure of the VCE English examination papers. Knowing what to expect in the exam is the first
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step towards knowing how to prepare.
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THE NATURE OF ENGLISH
Before we look more closely at what the exams require, it’s important to consider the difference between
English and other subjects. Some people find English a difficult subject to study because it does not
centre on a set of facts or content to be learned, and the exam does not rely on how well you recall
information. While the tasks set for VCE English will draw on your knowledge of texts, you cannot predict
what the topics will be, and you will need to be able to think on your feet. The exam will expect you to
demonstrate your capacity to write clearly, fluently, insightfully, coherently and in an organised manner in
response to a topic that you have not seen before.
NO RIGHT ANSWER?
There is no single right answer for the kinds of questions asked in Section A of a VCE English
examination. VCE English is about thinking, and about the interpretation of texts. It is about reading
and responding to texts, thinking about ideas and developing an interpretation—or exploring possible
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Get revising
C Analysing argument
This section of the English exam paper is the part that requires
the most reading. Usually there will be both written and visual
texts. Read through the material. As soon as you are told that
you can start writing, quickly annotate the material in this section;
identify the main contention, tone, key arguments, persuasive
DECONSTRUCTING THE TASK
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strategies, rhetorical devices and appeals of various kinds.
You will be asked to demonstrate a wide variety of skills by
responding to the prescribed texts in different ways. Below is
a discussion of some of the verbs commonly used in Section A
Analytical response to text, with explanations of what each
is asking you to do. This list is designed to help you quickly
comprehend how the question wants you to respond, so that
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you can get straight down to composing a response that
demonstrates what you know. By interpreting these topics
correctly, you can be confident that you’re answering the
question appropriately and giving the examiner what they are
Discuss
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looking for.
TOPIC VERBS
You may undertake the
tasks in whichever order
you choose. Finishing
each section of the
exam is vital to scoring
well. This means that
you must stick to the
timing plan. Poor time
management is one
of the biggest factors
affecting student success,
so make sure you do
plenty of practice under
exam conditions.
This means that you need to identify an issue or issues and then provide supporting evidence in favour
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of your view of the issue.
Of the verbs used in framing essay questions in VCE English examinations, ‘discuss’ is the most common.
Of the 40 Text response questions in the 2015 English examination, 29 questions required students
to ‘discuss’ an idea or statement. Below is an example of a ‘discuss’ task. Notice that it calls for a wideranging consideration (i.e. discussion) of the themes and issues raised in the quote. It is an invitation to
explore your knowledge, understanding and interpretation of the novel, focusing on the ideas included in
the prompt.
In Measure for Measure, Shakespeare explores the tension between restraint and liberty in society.
Discuss.
The central theme or issue raised in this topic is the question of finding a balance between the restraint
that law seeks to impose and liberty: the freedom of citizens to do as they choose. You will first need to
establish some clarity concerning these two key terms: ‘restraint’ and ‘liberty’. You will then need to draw
on the text, and identify examples of restraint and liberty in the text. It is likely that the discussion that
this topic evokes can be quite wide-ranging. You might consider the following ideas:
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VCE English: Measure for Measure
PRACTISE, PRACTISE, PRACTISE
The best way to be prepared for all the question types is to practise, practise, practise! Regular practice
of your skills in responding to questions under exam-style conditions is the best possible preparation
for the VCE English examination. If you commit to a regular
routine of practice each week, you will give yourself the very best
thoroughly prepared to achieve your full potential.
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chance of walking into your English exam feeling confident and
Here are four things you can start doing immediately to get
yourself into a routine of regular revision and practice:
1.
Know the rubrics and the exam expectations for each
section of the paper.
2.
Collect and work through a set of practice questions for
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each section.
Practise writing essays
under timed conditions
to get your planning and
drafting down to a fine
art. The list of possible
topics on pages 16–17
will help get you started.
Organise a study timetable that allocates a specific time or
times each week between now and your exam to complete
exam practice under timed conditions.
4.
Find a suitable space to do your exam practice. This may be a quiet room at home, at school, at a
local library, or anywhere where you can be confident that you are not likely to be disturbed for the
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duration of the allocated writing time. Give the practice question your full concentration; that’s what
you will have to do in the exam itself. Reduce the number of potential distractions—turn off your
phone and don’t be tempted to listen to music while you are writing a practice exam answer.
Once you have completed these four steps, you are ready to start practising. Why not do it right now?
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There’s no time like the present! Did we mention how important it is to PRACTISE, PRACTISE, PRACTISE?
TOP TIPS FOR SUCCESS IN SECTION A
PRIOR TO THE EXAM
1.
It’s important that you have a clear understanding of the rubric for each section of the exam
paper. You should be referring to the wording of the rubrics, as well as synonyms of these words,
in your response. This will indicate to the marker that you are engaging fully with the question,
demonstrating knowledge of the concept, and using language appropriate to the audience and
purpose. In other words, you will be speaking the language of your examiner!
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MARK IT!
In this section you’ll find model essays answering Section A exam-style
1.
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questions on Measure for Measure. For each essay you will:
See how to deconstruct the question, and read the tips on getting
started with a response.
Read the model essay and answer questions based around the
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2.
marking criteria. Essentially you are being the examiner! Mark
the essay by writing in the spaces provided or by highlighting/
underlining the essay as required.
Read the marker’s comments and compare them with your own
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3.
marking.
When you’ve finished you could try your hand at writing your own
response to the questions.
These three essays encompass the much broader range of aspects
of writing that teachers and examiners use when assessing your
writing. The MARK IT! exercise will help you get to grips with what your
examiners are looking for, see what makes a strong essay response
and, most importantly, understand how to really make your mark
when it comes to your exam.
Model essay 1
MODEL ESSAY 1
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DECONSTRUCT THE
QUESTION
Note that this question is carefully worded and you must look at each part. The inclusion of this
particular element raises an additional point for you to consider. Is Measure for Measure ‘of its time’,
audience Shakespeare wrote it for?
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meaning that by the time Dryden came to experience it, his reading was different from that of the
The poet Dryden (who
h was b
born about
b t th
the ti
time
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that Shakespeare died) dismissed Measure for
Measure as being ‘grounded on impossibilities … the
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comedy neither caused your mirth, nor the serious part
your concernment’. To what extent do you agree
with his judgement?
Dryden’s criticism of the
When you are asked ‘to what extent’, you
are being asked to evaluate how accurate
accurat or
true the statement is in relation to the text.
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You need to make a judgement based upon
up
criteria that you must establish yourself.
play focuses on three areas:
it is far-fetched, unfunny,
and its serious parts don’t
Evaluating Dryden’s judgement will involve analysing
cause enough concern.
the plot of the play, the characterisation, the
Your response will need to
comedic elements and the more serious themes
address all three of Dryden’s
that the play raises in order for you to decide how
criticisms.
far they work or don’t work.
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VCE English: Measure for Measure
GETTING STARTED
Make sure you have read the ‘Planning a response’ section on p. 16. Now that you’re ready to start, you
may find it helpful to ask yourself these questions:
To what extent do you agree with Dryden?
Do you think the play is ‘grounded on impossibilities’?
Do you find the comedy amusing?
Do you find yourself engaged by the characters and wanting things to turn out well for them, or are
you unmoved by the serious themes of the play?
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Let’s see how the model essay tackles the question. As you read, make notes or highlight/underline
elements of the essay that demonstrate strong writing technique or salient points. The questions
alongside the essay should get you thinking about how the essay addresses the topic and follows the
MARK IT!
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rubric.
The poet Dryden (who was born about the time that Shakespeare died)
dismissed Measure for Measure as being ‘grounded on impossibilities … the
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comedy neither caused your mirth, nor the serious part your concernment ’.
To what extent do you agree with his judgement?
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John Dryden clearly found little to
commend Shakespeare’s Measure for Measure.
His criticisms were damning, finding
the play ‘grounded on impossibilities’.
Perhaps he found the characters
stereotypical and the plot unbelievable.
To quote Shakespeare’s Julius Caesar,
perhaps it was Dryden’s opinion that ‘if
it were so, it were a grievous fault’.
Closer analysis does reveal certain flaws,
yet readers and theatre-goers understand
that the play is not presenting realism,
but rather characters and situations
designed to raise deeper issues, as well
as enjoyment. The responder understands
that, to properly engage, they must
suspend their disbelief.
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1.
In this essay, the student takes two
paragraphs to develop their thesis and
write their introduction. What aspect
of the question is dealt with in the first
paragraph?
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Useful vocabulary
USEFUL VOCABULARY
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CONJUNCTIVE ADVERBS
AND TRANSITIONAL PHRASES
The primary purpose of any essay is to convince the reader of the validity of the writer’s argument.
To do this successfully, the reader must be able to move easily from one point to another. This is why
making use of conjunctive adverbs and transitional phrases is so important! These parts of speech
allow you to create complex relationships between ideas so that you can produce a clear, coherent and
cohesive argument.
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As you write your practice essays, be sure to pick appropriate conjunctive adverbs and transitional
phrases to connect your ideas together. This way you end up successfully walking the marker through
your argument.
Purpose
To sequence ideas or evidence
To compare texts, characters or
situations
To contrast texts, characters or
situations
To introduce evidence
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Furthermore
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Similarly
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By contrast
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For example
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To add to/strengthen your argument
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Conjunctive adverbs/transitional phrases
Additionally
Also
Particularly
This is furthered
In a similar way
Likewise
Conversely
However
For instance
This is established in
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•
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Moreover
•
•
•
Similar to
•
•
•
•
•
•
In addition
Notably
In particular
Subsequently
Like
This is analogous to
Contrastingly
On the other hand
Nonetheless
The example of
First
This is evident in
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