Volu m e II - Purdue University Calumet

Angelo’s thoughts when he realizes that he desires Isabella sexually. Here Angelo realizes that in comparison
he is not any better than Claudio, whom he has condemned to die. Angelo realizes that unless he carries out
what he has decreed by Claudio’s death sentence, he will appear weak and yet he struggles over the
thought. "Which had you rather: the most just law now took your brother's life; or, to redeem him, give up your body to
such sweet uncleanness as she that he hath stained?" (Measure for Measure 37). If Isabella agrees, to give her
virginity to Angelo, he suggests or at least implies, that Claudio could hypothetically be set free. Isabella
gets angered and suggests that now she will blackmail him if he doesn’t set Claudio free. Angelo replies, in
essence, “that nobody will believe her”. While all this is transpiring we, know that the Duke is playing a
“pseudo omniscient role” in the affairs and lives of almost every single character, and influencing an
outcome to preserve Claudio’s life.
Dollimore asserts, the Duke’s “subjects public recognition of his own integrity is important in the Duke’s
attempt to reposition them in obedience. Yet the play can be read to disclose integrity as a strategy of authority rather
than the disinterested virtue of the leader” (Dollimore 186). Dollinore’s view slightly differs from Krontiris’
spin on the Duke’s role. She submits that the Duke’s “real purpose from the beginning was to create an
opportunity for himself to act out the role of the all-powerful, omniscient, sovereign, who is ultimate judge”(Krontiris
300). I would have to disagree with both critics in these respective positions. I do not believe that the Duke
has intended from the plays beginning to reinforce in the absence of a “God-less” society the presence and
authority of “God” personified by his position as ruler of the city. I believe the Duke has grown fond of his
new found liberties to address the problems of some of Vienna inhabitants, without out losing public favor.
But there is no evidence to me to suggest this is what he set out to do initially. Dollimore insists that the
Duke’s main intention, as Vienna has sunken to moral depravation, has been “to reposition them into
obedience”. Dollimore articulates that the Duke does this while also using the characters experiences and his
unknown interactions with them to create the role he desires — to be “God-like” in the presence of
authoritarian repression.
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