Key Quotations (AQA A-Level English Literature A): Revision Notes
Key Quotations
Understanding key quotations from Measure for Measure is essential for your A-Level exam success. This revision note organises important quotes by act, providing you with context, analysis of literary techniques, and connections to major themes. Use these quotations to support your essay arguments and demonstrate your knowledge of Shakespeare's language and dramatic methods.
Act 1
Angelo questions his worthiness
Now, good my lord, Let there be some more test made of my metal, Before so noble and so great a figure Be stamp'd upon it.
Speaker: Angelo, Act 1, Scene 1
Angelo expresses doubt about his suitability for the responsibility the Duke wishes to place upon him. He requests that his character be tested further before such significant power is entrusted to him. This moment reveals Angelo's initial humility, though this will prove deeply ironic as the play develops.
Language analysis: The quotation employs a clever metaphor comparing Angelo to a coin, using "metal" (punning on "mettle" meaning character) and "stamp'd" to suggest the Duke's authority being impressed upon him. This metalworking imagery emphasises both Angelo's hesitation and the weight of responsibility he's about to assume. The metaphor also foreshadows how power will test and potentially corrupt Angelo's character.
The pun on "metal/mettle" is one of Shakespeare's most significant wordplays in the drama. Angelo unknowingly requests the very test that will reveal his moral weakness - his true "mettle" will indeed be tested when he encounters Isabella.
Key themes: Authority, responsibility, humility
Duke Vincentio reflects on neglected governance
We have strict statutes and most biting laws, The needful bits and curbs to headstrong steeds, Which for this nineteen years we have let slip; Even like an o'ergrown lion in a cave That goes not out to prey.
Speaker: Duke Vincentio, Act 1, Scene 3
The Duke acknowledges that Vienna's laws have been poorly enforced for nearly two decades. He recognises that his lax governance has allowed moral corruption to flourish in the city. This admission establishes the political context for the entire play and explains why the Duke has decided to delegate authority to Angelo.
Language analysis: Shakespeare uses both simile and metaphor to illustrate the consequences of weak governance. The "headstrong steeds" simile compares unruly citizens to wild horses that need "bits and curbs" (restraints) to control them. The extended metaphor of the "o'ergrown lion in a cave" powerfully depicts how laws that remain unenforced lose their power and authority, becoming as ineffective as a predator that never hunts.
This quotation is crucial for understanding the Duke's motivations throughout the play. His acknowledgment of "nineteen years" of neglect suggests long-term systemic failure in governance, making his subsequent actions more comprehensible - he cannot suddenly enforce laws himself without appearing hypocritical.
Key themes: Law, governance, neglect
Claudio critiques arbitrary authority
Thus can the demigod, Authority, Make us pay down for our offense by weight The words of heaven: on whom it will, it will; On whom it will not, so; yet still 'tis just.
Speaker: Claudio, Act 1, Scene 2
Claudio comments bitterly on the arbitrary nature of how authority and justice are applied. He observes that those in power can enforce laws capriciously, deciding whom to punish and whom to spare, yet this selective enforcement is still deemed "just". This reveals Claudio's growing awareness of the unfairness within the justice system.
Language analysis: The personification of "Authority" as a "demigod" elevates those in power to an almost divine status, suggesting they wield godlike control over people's lives. The metaphor "pay down for our offense by weight" implies that justice is measured and calculated, yet the following lines undermine this by showing how arbitrary and unpredictable its application can be. The repetition emphasises the capricious nature of power.
Key themes: Authority, justice, power
Duke Vincentio condemns Lucio's immorality
Thy bones are hollow; impiety has made a feast of thee.
Speaker: Duke Vincentio, Act 1, Scene 2
The Duke criticises Lucio for his immoral behaviour, suggesting that sin has consumed him from within. This condemnation reveals the Duke's concern about the moral decay he perceives in Viennese society and his determination to address it.
Language analysis: The metaphor describing "bones are hollow" creates a vivid image of someone consumed from within by vice. The personification of "impiety" as something that can "make a feast" suggests that immorality has devoured Lucio's moral substance, leaving him empty. This visceral imagery emphasises the physical and spiritual consequences of moral corruption.
Key themes: Morality, corruption, consequences
Act 2
Angelo defends harsh justice
Condemn the fault, and not the actor of it? Why, every fault's condemned ere it be done: Mine were the very cipher of a function, To fine the faults whose fine stands in record, And let go by the actor.
Speaker: Angelo, Act 2, Scene 2
Angelo argues against Isabella's plea for mercy, asserting that justice must condemn the criminal act itself, not merely acknowledge the wrongdoing whilst pardoning the person who committed it. He contends that if he failed to punish offenders, he would be merely a symbol of authority without substance, someone who records crimes but takes no action against criminals.
Language analysis: The rhetorical questions challenge Isabella's argument and establish Angelo's rigid position. The metaphor of being "the very cipher of a function" (a zero, a nothing) powerfully expresses Angelo's fear that showing mercy would render him ineffective and meaningless in his role. The repetition of "fault" and wordplay with "fine" (both as a verb meaning to punish and a noun meaning a penalty) demonstrates Angelo's legalistic thinking.
Angelo's use of mathematical imagery ("cipher") reveals his attempt to reduce justice to pure calculation, stripping away the human element. This is the same character who earlier used the metaphor of being "stamped" like a coin - his language consistently suggests he views justice as mechanical and impersonal.
Key themes: Justice, accountability, morality
Angelo maintains strict law enforcement
The law hath not been dead, though it hath slept: Those many had not dared to do that evil If the first that did the edict infringe Had answered for his deed: now 'tis awake.
Speaker: Angelo, Act 2, Scene 2
Angelo defends his decision to enforce laws strictly, arguing that previous failures to punish offenders have encouraged others to break the law. He contends that if the first lawbreaker had faced consequences, subsequent crimes would have been prevented. He declares that the law, though dormant, is now actively being enforced again.
Language analysis: The metaphor of the law as a sleeping entity that can be awakened personifies legal authority as something with its own life force. This suggests that laws possess inherent power that exists independently of those who enforce them. The contrast between "dead" and "slept" is significant – Angelo insists the law was never truly dead, merely inactive, reinforcing his view that legal principles remain constant regardless of enforcement patterns.
Key themes: Law, justice, enforcement
Isabella warns against abusing power
O, it is excellent To have a giant's strength, but it is tyrannous To use it like a giant.
Speaker: Isabella, Act 2, Scene 2
Isabella pleads with Angelo to exercise mercy, warning him against the tyrannical abuse of power. She acknowledges that possessing great authority is valuable, but argues that wielding it without restraint or compassion transforms strength into tyranny. This is one of the play's most memorable statements about the responsible use of power.
Language analysis: The simile comparing authority to "a giant's strength" creates a vivid image of overwhelming power. The juxtaposition between "excellent" and "tyrannous" highlights the critical difference between possessing power and how one chooses to use it. The repetition of "giant" reinforces the contrast between power used wisely and power used oppressively, making Isabella's moral argument particularly memorable and forceful.
This quotation is essential for exam essays on power and justice. Isabella's argument that possessing power differs fundamentally from how one exercises it challenges Angelo's rigid approach and introduces the play's central moral question: should those with authority temper justice with mercy?
Key themes: Mercy, power, authority
Angelo claims impartiality in justice
It is the law, not I, condemn your brother; Were he my kinsman, brother, or my son, It should be thus with him: he must die tomorrow.
Speaker: Angelo, Act 2, Scene 2
Angelo insists to Isabella that he bears no personal responsibility for Claudio's execution – he is merely enforcing the law. He claims that even if Claudio were his own relative, the same harsh sentence would apply, presenting himself as completely impartial and bound by legal duty rather than personal feeling.
Language analysis: By placing "the law" as the subject of the sentence rather than himself, Angelo linguistically distances himself from responsibility for the death sentence. The hypothetical examples of "kinsman, brother, or my son" escalate in intimacy, supposedly demonstrating his unwavering commitment to impartial justice. However, this claim to complete objectivity reveals Angelo's refusal to acknowledge the human element in dispensing justice.
Key themes: Law, justice, impartiality
Act 3
Claudio contemplates death with despair
The miserable have no other medicine, But only hope: I've hope to live, and am prepared to die.
Speaker: Claudio, Act 3, Scene 1
Claudio reflects on his desperate situation as a condemned man. He acknowledges that hope is the only comfort available to those in misery, yet he recognises the paradox of his position – hoping for life whilst simultaneously preparing himself for death. This statement captures the psychological torment of awaiting execution.
Language analysis: The juxtaposition of "hope to live" and "prepared to die" creates a powerful antithesis that conveys Claudio's conflicting emotions. The use of "medicine" as a metaphor for hope suggests that optimism serves a healing function for those suffering, yet the phrase "only hope" emphasises how little comfort is actually available. This creates a poignant sense of Claudio's isolation and vulnerability.
Key themes: Hope, despair, mortality
Claudio embraces death bravely
If I must die, I will encounter darkness as a bride, And hug it in mine arms.
Speaker: Claudio, Act 3, Scene 1
Claudio expresses his resolve to face death courageously if execution cannot be avoided. Rather than fleeing from death in fear, he declares he will embrace it willingly, like a bridegroom welcoming his bride. This shows Claudio attempting to find dignity and acceptance in his fate.
Language analysis: The striking metaphor comparing death to "a bride" transforms something feared into something welcomed and embraced. The verb "hug" adds physical intimacy to this image, suggesting complete acceptance rather than mere resignation. This unusual romantic imagery for death creates a complex emotional response, mixing beauty with the macabre and demonstrating Claudio's attempt to reframe his fear into acceptance.
The juxtaposition of death and marriage imagery recurs throughout Shakespeare's works. Here, it creates a deeply poignant moment as Claudio tries to find beauty and meaning in his impending execution. However, his resolve will shortly crumble when faced with the reality of imminent death.
Key themes: Death, acceptance, bravery
Duke Vincentio advises acceptance of fate
Be absolute for death; either death or life Shall thereby be the sweeter.
Speaker: Duke Vincentio, Act 3, Scene 1
The Duke, disguised as a friar, counsels Claudio to accept death with complete resolution. He argues that this absolute acceptance will make whichever outcome occurs – death or life – more bearable and meaningful. This philosophical advice suggests that acceptance of mortality can paradoxically enhance one's appreciation of life.
Language analysis: The use of paradox in this statement creates a thought-provoking philosophical position. The imperative "Be absolute for death" demands complete commitment, whilst the subsequent explanation reveals the unexpected benefit of this acceptance. The antithesis between "death or life" emphasises the two possible outcomes, whilst the word "sweeter" provides an unexpectedly positive, almost pleasant quality to both possibilities, suggesting that peace comes from acceptance rather than resistance.
This quotation embodies the play's Stoic philosophy - the idea that accepting the worst possible outcome frees one from fear and anxiety. The Duke's advice reflects Renaissance philosophical debates about how to face mortality with dignity and courage.
Key themes: Acceptance, death, resolution
Barnardine refuses execution
I will not consent to die this day, that's certain.
Speaker: Barnardine, Act 3, Scene 2
Barnardine, a prisoner scheduled for execution, bluntly refuses to cooperate with his own death. His direct, matter-of-fact language reveals his defiance and the absurdity of a situation where a condemned man must "consent" to his execution. This moment provides dark comedy whilst also questioning the nature of authority and compliance.
Language analysis: The straightforward, declarative language and the certainty expressed in "that's certain" create a darkly comic effect. Barnardine's refusal to "consent" treats execution as something requiring his agreement, exposing the absurdity of legal processes that depend on cooperation from those being punished. The simplicity of the statement contrasts sharply with the complex philosophical discussions about death elsewhere in the play.
Key themes: Defiance, absurdity, death
Act 4
Duke Vincentio praises Mariana's virtue
The hand that hath made you fair hath made you good: the goodness that is cheap in beauty makes beauty brief in goodness; but grace, being the soul of your complexion, should keep the body of it ever fair.
Speaker: Duke Vincentio, Act 4, Scene 1
The Duke blesses Mariana, praising both her physical beauty and moral goodness. He argues that when beauty and virtue exist together, as they do in Mariana, they reinforce each other – her moral grace sustains her physical beauty, creating a lasting loveliness that goes beyond mere appearance.
Language analysis: This quotation uses complex metaphor and antithesis to explore the relationship between physical and moral beauty. The personification of "grace" as "the soul of your complexion" creates a layered image where inner virtue animates outer appearance. The contrast between "cheap" and lasting beauty distinguishes superficial attractiveness from true virtue. The parallel structure of "hand that hath made you fair hath made you good" suggests divine creation and the unity of physical and moral qualities.
Key themes: Beauty, virtue, grace
Duke Vincentio blesses the provost
The best and wholesomest spirits of the night envelope you, good provost! Who call'd here of late?
Speaker: Duke Vincentio, Act 4, Scene 3
The Duke, still disguised as a friar, offers a blessing to the provost as he arrives during the night hours. His invocation of protective "spirits of the night" creates an atmosphere of spiritual guardianship whilst maintaining his religious disguise.
Language analysis: The metaphor of beneficial spirits that "envelope" someone creates imagery of protection and comfort, like being wrapped in a protective covering. The personification of night spirits as having qualities of wholesomeness adds a spiritual dimension. This blessing language reinforces the Duke's assumed role as a friar whilst also genuinely expressing goodwill towards the provost, who has shown himself to be sympathetic to mercy.
Key themes: Protection, blessing, calm
Duke Vincentio observes human duality
O, what may man within him hide, Though angel on the outward side!
Speaker: Duke Vincentio, Act 4, Scene 3
The Duke reflects on the contradiction between Angelo's virtuous public appearance and his corrupt private behaviour. This observation about human nature questions how inner corruption can exist beneath an outwardly moral exterior, addressing one of the play's central concerns about appearance versus reality.
Language analysis: The exclamatory form expresses the Duke's shock and dismay at discovering this duality. The metaphor comparing outer appearance to an "angel" whilst acknowledging hidden darkness within creates a powerful juxtaposition. The positioning of "within" and "outward" emphasises the spatial contrast between hidden interior and visible exterior. This rhyming couplet gives the observation a memorable, almost proverbial quality, elevating it to a general truth about human nature.
This is arguably the play's most significant statement about its central theme. The Duke's discovery of Angelo's hypocrisy - appearing as an "angel" while hiding corruption within - crystallizes the play's exploration of appearance versus reality and questions whether true virtue can ever be known from outward behaviour alone.
Key themes: Duality, appearance vs. reality, human nature
Mariana appeals for justice
Justice, O royal Duke! Vail your regard Upon a wrong'd, I would fain have said, a maid!
Speaker: Mariana, Act 4, Scene 1
Mariana calls upon the Duke to provide justice for the wrongs done to her. Her apostrophe to "Justice" and her interrupted statement reveal both her urgency and the complexity of her situation – she has been wronged but is no longer technically a maid due to the bed trick, creating a painful ambiguity in how she can describe herself.
Language analysis: The apostrophe "Justice, O royal Duke!" directly addresses both the abstract concept and its embodiment in the Duke's person. The interrupted statement "I would fain have said, a maid!" reveals Mariana's painful awareness of her compromised status. The use of "Vail your regard" (lower or direct your gaze) is a formal, almost ceremonial phrase that emphasises the seriousness of her petition and the gravity of the injustice she has suffered.
Key themes: Justice, plea, urgency
Act 5
Duke Vincentio speaks of reciprocal justice
Haste still pays haste, and leisure answers leisure; Like doth quit like, and measure still for measure.
Speaker: Duke Vincentio, Act 5, Scene 1
The Duke articulates a philosophy of poetic justice where consequences match actions. He argues for a balanced, reciprocal system where each person receives treatment proportional to what they have given others. This statement provides the play's title and encapsulates its exploration of justice, mercy and equivalence.
Language analysis: The antithesis between "haste" and "leisure" establishes a pattern of reciprocity, whilst the repetition reinforces the concept of balance and equivalence. The phrase "Like doth quit like" means "like repays like", emphasising the principle of proportional response. The final clause "measure still for measure" gives the play its title and creates a memorable summation of the Duke's vision of justice. The repetition and parallelism throughout create a rhythmic, almost legalistic quality befitting a statement about justice.
This quotation reveals the Old Testament principle of justice that the Duke appears to endorse - an eye for an eye, or "measure for measure". However, the play ultimately questions whether such strict reciprocity truly serves justice, or whether mercy and forgiveness might offer a better path.
Key themes: Justice, balance, reciprocity
Duke Vincentio promises equal punishment
An Angelo for Claudio, death for death! Haste still pays haste, and leisure answers leisure; Like doth quit like, and measure still for measure.
Speaker: Duke Vincentio, Act 5, Scene 1
The Duke declares that Angelo must face the same sentence he imposed on Claudio – execution. This pronouncement demonstrates the principle of equivalent justice, where the punishment mirrors the crime. The Duke appears to be enforcing the very law Angelo applied so strictly, creating dramatic irony as Angelo becomes subject to his own harsh interpretation of justice.
Language analysis: The exclamatory parallel structure "An Angelo for Claudio, death for death!" creates a stark equation of lives, emphasising the severity of the proposed punishment. The repetition of the justice principle through parallelism and antithesis reinforces the idea that Angelo will now experience the merciless system he administered to others. This demonstrates how the play's central question about mercy versus strict justice reaches its climax.
Key themes: Justice, retribution, fairness
Mariana argues for redemption through imperfection
They say best men are molded out of faults; And, for the most, become much more the better For being a little bad: so may my husband.
Speaker: Mariana, Act 5, Scene 1
Mariana pleads for Angelo's life by suggesting that good people can emerge from flawed beginnings. She proposes that making mistakes and learning from them can actually improve a person's character, making them better than they would have been without those experiences. Her hope is that Angelo might similarly benefit from recognising and repenting his faults.
Language analysis: The paradox that "best men are molded out of faults" challenges conventional moral thinking by suggesting that imperfection can lead to improvement. The oxymoronic phrase "much more the better / For being a little bad" uses antithesis to explore how minor failings can contribute to personal growth and moral development. Mariana's application of this general principle to her "husband" reveals her continued loyalty to Angelo despite his betrayal, adding emotional depth to her philosophical argument.
Mariana's argument introduces the Christian concept of redemption through grace into the play's justice debate. Her belief that faults can improve character offers a hopeful counterpoint to Angelo's harsh legalism and suggests that mercy, forgiveness, and second chances might produce better outcomes than strict punishment.
Key themes: Redemption, growth, imperfection
Duke Vincentio proposes marriage to Isabella
What's mine is yours, and what is yours is mine.
Speaker: Duke Vincentio, Act 5, Scene 1
The Duke proposes to Isabella, expressing a desire to share their lives and possessions completely. This simple statement of partnership suggests unity and mutual possession, presenting marriage as a joining of two people into one shared existence. The parallelism creates a sense of balance and equality between the partners.
Language analysis: The parallelism and chiasmus (reversed structure) in this line create a sense of perfect reciprocity and balance. The repetition of "mine" and "yours" being interchangeable suggests complete unity and the dissolution of boundaries between the two individuals. The simplicity of the language contrasts with the complexity of the proposal itself, given Isabella's earlier commitment to joining a convent and the Duke's use of deception throughout the play.
Key themes: Unity, partnership, sincerity
Key Points to Remember:
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Authority and its burdens: Angelo's "metal/mettle" metaphor in Act 1 establishes the play's concern with testing character through power and responsibility.
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Justice versus mercy: The central tension appears repeatedly – Angelo's strict enforcement contrasts with Isabella's plea that using power "like a giant" becomes tyrannous. The title phrase "measure still for measure" encapsulates the debate about proportional justice.
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Appearance versus reality: The Duke's observation "O, what may man within him hide, Though angel on the outward side!" highlights how outer virtue can conceal inner corruption, particularly relevant to Angelo's character arc.
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Death and acceptance: Claudio's shifting attitude towards death – from embracing it "as a bride" to desperate fear – demonstrates the human struggle with mortality, whilst the Duke's counsel to "Be absolute for death" offers a philosophical approach to facing one's fate.
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Redemption and growth: Mariana's argument that "best men are molded out of faults" introduces the possibility that mistakes can lead to improvement, offering hope for Angelo's redemption and suggesting that imperfection is part of human development.