Measure for Measure: The Duke as King James
Measure for Measure, generally considered one of Shakespeare’s problem plays, was likely written in 1603 or 1604, following the death of Queen Elizabeth I and the coronation of King James I. Critical tradition has often compared the play’s central authority figure, Duke Vincentio, to James I.
The plot, in brief: with the Duke away, his deputy Angelo must deal with the case of young Claudio, who consummated his marriage with Juliet before they were legally betrothed, an offense punishable by law. Angelo orders the death penalty, but offers Claudio’s sister Isabella the chance to save her brother: she must sleep with Angelo. The Duke, however, hasn’t really left Vienna. Disguised as a friar in the court, he advises Isabella not to sleep with Angelo and tricks him into sleeping with his own fiancé instead.
This intervention from the Duke is our point of departure for comparison to James I. From scholarly accounts of James’ courts, we know that he used sermons and religious hierarchy to promote political ends. Contemporary accounts say that James sometimes engaged in political and religious conversations as another voice in the debate rather than as king. Some scholars argue that the Duke’s disguise as a friar to shape outcomes represents these two important characteristics of James I: the Duke deals with Isabella’s and Claudio’s woes as a religious authority and as an ordinary member of the court.
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The Holy Bible, conteyning the Old Testament, and the New: newly translated out of the originall tongues. London, 1611.
First printed in 1611, the King James Bible is one of the most direct manifestations of the legacy of James I. James took issue with prior English editions, particularly with marginalia in the Geneva Bible that seemed to disrespect civil authority. This printing, authorized by the king, is a primary example of using religious authority as a complement to temporal authority.
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Shakespeare, William. Measure for Measure. Henley Shakespeare. Edinburgh, [1901].
Not unlike King James, the Duke positions himself as a friar to earn religious sway in temporal matters. In a reading where the Duke is linked with the king, solving legal problems by “playing friar” could be seen either as compliment or a jab at the king’s religious influence.
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Aikin, Lucy. Memoirs of the Court of King James the First. Boston, 1822.
Memoirs tells the history of the court of James I through excerpts from primary sources, tied together by the author’s commentary and narration. Here volume 1 is open to the scene of an execution much like the one in Measure for Measure. Two alleged conspirators in a plot to kill James are about to be hanged, despite public outcry about the lack of evidence for their involvement. Just as the Duke shows up at the last moment to save Claudio in Shakespeare’s play, King James arrives at the last moment to provide clemency for the accused. James’ intervention was so dramatic and well received that some thought it choreographed to increase the king’s popularity. As James won the love of his people, so the Duke wins the love of Isabella when he reveals himself and spares her brother.
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Kemble, John Philip. Shakespeare’s Measure for Measure: A Comedy, revised by J.P. Kemble and now first published as it is acted at the Theater Royal in Covent Garden. London, 1803.
John Philip Kemble, famous actor-manager at the Theatre Royal, Drury Lane, in the late 18th century, is one of the more notable actors to take on the role of the Duke. Through his stage directions (See Kemble facsimile, below.) and a rewrite of the last lines of the play, Kemble suggests an explanation for the Duke’s disguise: the Duke is interested in Isabella from the first time he sees her, and his attempts to save her and her brother are a matter of his romantic interest. Kemble’s last nine lines of the play are completely different from Shakespeare’s, altered to heighten the importance of the Duke’s love for Isabella.
For a comparison of Shakespeare’s original last lines and Kemble’s revision, see the two texts, below, the first from the 1632 2nd folio of Shakespeare's works, and the second from a facsimile of a Kemble promptbook for Measure for Measure.
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Shakespeare, William. Mr. William Shakespeares comedies, histories, & tragedies: published according to the true original copies. London, 1632. (Second Folio)
Shakespeare’s original lines:
Forgive him, Angelo, that brought you home
The head of Ragozine for Claudio's:
The offence pardons itself. Dear Isabel,
I have a motion much imports your good;
Whereto if you'll a willing ear incline,
What's mine is yours and what is yours is mine.
So, bring us to our palace; where we'll show
What's yet behind, that's meet you all should know.
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Kemble, John Philip. John Philip Kemble Promptbooks. Edited by Charles H. Shattuck. Charlottesville, Virginia, 1974.
Kemble’s revised lines:
For thee sweet saint, if, for a brother sav’d,
From that most holy shrine thou wert devote to,
Thou deign it to spare some portion of thy love,
Thy Duke, thy friar, tempts thee from thy vow;
In its right orb let thy true spirit shine,
Blessing both prince, and people:--thus we’ll reign,
Rich in possession of their hearts, and, warn’d,
By the abuse of delegated trust,
Engrave this royal maxim on the mind,
To rule ourselves, before we rule mankind.
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Two engravings of Mrs. Sarah Siddons (née Kemble) as Isabella.
From 1794 to 1812, at Drury Lane and Covent Garden theatres, John Philip Kemble played the Duke in Measure for Measure, and Mrs. Siddons played Isabella.