[Frye uses the title of Measure for Measure to organize his essay around some fundamental components of the play: characterization, theme, and genre. He demonstrates, for example, how the play measures one character against another (such as Angelo versus Claudio) and one theme against another (such as justice versus mercy, or "a justice that includes equity and a justice that's a narrow legalism"). Frye also looks at the Duke's role as stage manager in the drama that occurs between Isabella, Angelo, and Mariana, and concludes by remarking on the ways in which Measure for Measure "proceeds upward" from potential tragedy to fulfill the requirements of comedy through marriage, forgiveness, and reconciliation.]
Most critics link the title of this play with a verse from the Sermon on the Mount: "Judge not, that ye be not judged: for with what judgment ye judge, ye shall be judged; and with what measure ye mete, it shall be measured to you again." The phrase is a common one, and was used by Shakespeare in an earlier play, but the link with this quoted passage seems to be clearly there, and suggests that this play is concerned, like much of The Merchant of Venice, with the contrast between justice and mercy. Only it doesn't talk about Christians and Jews; it talks about the contrast between large-minded and small-minded authority, between a justice that includes equity and a justice that's a narrow legalism. The title also suggests the figure of the scales or balance that's the traditional emblem of justice. The play seems to me very closely related to the late romances, and that's why I'm dealing with it here, although it's earlier than King Lear and Antony and Cleopatra.
The story used in the play has many variants, but the kernel of it is a situation where a woman comes to a judge to plead for the life of a man close to her, husband or brother, who's been condemned to death. The judge tells her that he'll spare the man's life at the price of her sexual surrender to him. In some versions she agrees and the judge double-crosses her, having the man executed anyway. She then appeals to a higher judge, king or emperor, who (in stories where it's a husband she'd pleaded for) orders the judge to marry her and then has him executed. All these elements of the story are in Shakespeare's play, but he's redistributed them with his usual infallible instinct for what fits where.
The versions closest to his play are a long (two-part), crowded, rather cumbersome play called Promos and Cassandra, by George Whetstone, which goes back to 1578, and a story in a collection by an Italian writer who used the name Cinthio, a collection that also seems to have provided, whether in the original or in a French translation, the source of Othello. Shakespeare used such collections of stories a good deal: one reason, and we'll see in a moment why it is a reason, is that a lot of the stories are very close to being folk tales; in fact a lot of them are folk tales that the author has picked up somewhere and written out. This play, as most critics recognize, has three well-known folk-tale themes in it: the disguised ruler, the corrupt judge and the bed trick.
If we look at the first of these themes, the disguised ruler, we run into a difficulty that's central to this play. The Duke of Vienna, Vincentio, feels that his town is getting morally out of hand, especially in its sexual permissiveness, so he disappears, leaving a subordinate named Angelo to administer a law very strictly providing the death penalty for adultery. Our reactions to this may be very unfavourable to the Duke. Surely he's being a coward when he runs away from his responsibilities, leaving someone else to administer an unpopular and perhaps sick law because he's afraid of spoiling his nice-guy image (at least, that's more or less the explanation he gives); he's being incompetent in putting Angelo in charge instead of his more conscientious and humane colleague Escalus; and he's a sneak to come back...
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