Strictly speaking, this is not a poem, it is dramatic verse but I am nudged into publishing it for several reasons. 'Deogolwulf', the merciless host of The Joy of Curmudgeonry, has, with Hannibal Lector-like relish, taken his scalpel to modern poetry in a post entitled 'Poppycock-Poetry'. This reminded me that over recent months I have been tardy in offering you some of my favourite verse. By co-incidence, just recently, a young actor of my acquaintance facing auditions for Drama School sought my advice on how to analyse Shakespearean iambic pentameters. One of his possible audition pieces was, by chance, one of my favourite Shakespearean soliloquies, that spoken by Angelo in Measure for Measure. For those not familiar with the play, Lord Angelo, a lawyer, a puritan and an enthusiastic persecutor of sin and sinners, has power of life or death over a young man whose sister comes to him to plead on his behalf. She is a nun! At some point, in a long scene of intense, intellectual debate between the two of them on the subject of the law versus Christian mercy, this cold, implacable man suddenly ceases to look at her as just another legal supplicant, and instead, looks at her as a woman. Irritatingly, as I found out when I directed the play, Shakespeare, in his usual oblique, enigmatic way, gives very few clues as to exactly when 'sex rears its ugly head', he leaves it to actors and directors to work it out. The interview ends with Isabella, the nun, exiting and leaving the shaken Angelo to speak his thoughts, thus: (NB: for some reason due to copying and pasting from 'Word' with which 'Typepad' does not agree, some lines came out underlined and I simply do not know how to remove them, and also, some of the spacing has gone wonky. Sorry!)
ISABELLA: 'Save your honour. (Exit)
ANGELO: From thee, even from thy virtue!
What's this? What's this? Is this her fault or mine?
The tempter or the tempted, who sins most?
Ha!
Not she: nor doth she tempt: but it is I
That, lying by the violet in the sun,
Do as the carrion does, not as the flower,
Corrupt with virtuous season. Can it be
That modesty may more betray our sense
Than woman's lightness? Having waste ground enough,
Shall we desire to raze the sanctuary
And pitch our evils there? O, fie, fie, fie!
What dost thou, or what art thou, Angelo?
Dost thou desire her foully for those things
That make her good? O, let her brother live!
Thieves for their robbery have authority
When judges steal themselves. What, do I love her,
That I desire to hear her speak again,
And feast upon her eyes? What is't I dream on?
O cunning enemy, that, to catch a saint,
With saints dost bait thy hook! Most dangerous
Is that temptation that doth goad us on
To sin in loving virtue: never could the strumpet,
With all her double vigour, art and nature,
Once stir my temper; but this virtuous maid
Subdues me quite. Ever till now,
When men were fond, I smiled and wonder'd how.
There you have, 300 years prior to Freud, an exact description of the psychological pathology of a man whose sexuality is only aroused by female purity and whose only desire is to desecrate it. Angelo's only, very slight, saving grace, is his analytical skill and honesty in looking into his soul and acknowledging the corruption that is there. Reading that passage, I am reminded yet again of the truth of the saying that Shakespeare is a man about whom we know very little but who seems to know everything about us! For those of a thespian bent, I have attached a breakdown of the soliloquy that I sent my young actor friend, with my notes included. I am not suggesting that these notes constitute the 'right' way to deliver the lines, only 'my' way. Differing interpretations, of course, being what makes theatre so fascinating:
('Save your honour!)
This is Isabella’s exit line and in view of what follows, it is deeply ironic.
From thee, even from thy virtue!
Elide ‘even’ to ‘e’en’ and the line scans with the half-line above. Angelo says it to himself as she exits.
What's this, what's this? Is this her fault or mine?
The tempter or the tempted, who sins most?
Ha!
You have to deal with the strange ‘Ha!’ in the short line. It works if you imagine Angelo working himself into a fury at the abyss that has suddenly opened before him so that at the word ‘most’ and the explosion of the ‘Ha!’you are left breathing heavily so that you can take the long pause indicated by the ultra short line as you get a grip of yourself. It is important to show that this hitherto cold, implacable man is capable of great gusts of passion.
Not she: nor doth she tempt: but it is I
That, lying by the violet in the sun,
Do as the carrion does, not as the flower,
Corrupt with virtuous season.
Now he is calm again and has a sudden flash of self-knowledge tinged with disgust at himself. You should try the last line with a curl of the lip – he has looked into his own warped soul.
Can it be
That modesty may more betray our sense
Than woman's lightness? Having waste ground enough,
Shall we desire to raze the sanctuary
And pitch our evils there? O, fie, fie, fie!
In the very brief pause before the first half-line, perhaps a quick shake of the head, almost clearing your mind for this next insight, and as the awfulness of it dawns on you through the lines you are almost crying with despair on the ‘Oh, Fie, fie, fie!’ And don’t be afraid to milk that ‘Oh’, it is almost a wail of despair, stretch it and then hit the short words like a hammer.
What dost thou, or what art thou, Angelo?
Dost thou desire her foully for those things
That make her good? O, let her brother live!
Thieves for their robbery have authority
When judges steal themselves.
After that bit of passion, the mood changes back to introspection as he tries to work out what these forces are that are working on him. Take it reasonably slowly, show the audience you are thinking the thoughts.
What, do I love her,
That I desire to hear her speak again,
And feast upon her eyes? What is't I dream on?
Then, in the brief pause, a startling (to him) thought, ‘What do I love her?’ Then a gathering yearning, almost Romeo-like, and the last line, stretch the ‘is’t’ and the ‘dreeeam’ to help get the intensity of his feeling across.
O cunning enemy, that, to catch a saint,
With saints dost bait thy hook! Most dangerous
Is that temptation that doth goad us on
To sin in loving virtue: never could the strumpet,
With all her double vigour, art and nature,
Once stir my temper; but this virtuous maid
Another, almost disbelieving shake of the head as he comes out of his romantic reverie and realises he has been snared. Build up the power of the passage right to the climax at the end, and then …..
Subdues me quite. Ever till now,
When men were fond, I smiled and wonder'd how.
Note that the first line is deliberately short!!!!! Take the pause at the beginning (if you have earned it by building up the tension in the preceding passage!) and change the mood completely. He has lost, surrendered and in the last line and a half he indicates his rueful acknowledgement that he, too, is human.
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