In the words of the nineteenth-century critic FS Boas, “Measure for Measure” is undeniably a “problematic” play, in the sense that it is a work focused on certain moral values ​​or philosophical questions. However, beyond being simply a play about problems, “Measure for Measure” is a problem in itself: it is neither a real tragedy nor a comedy, and one cannot isolate a single “problem”, or issue, that the game tries to solve. Rather, the play contains a number of contrasting moral and philosophical themes, many of which Shakespeare introduces to us in the first act of the play. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The most obvious theme is that of symmetry and antithesis; the idea of ​​balance and counterbalance. The name “Measure for Measure” alludes to this in no uncertain terms, alluding to the tones of balance and equivalence that heavily characterize the work, and evoking the image of the “scales of justice,” a common image of the law. These scales represent a balance between mercy and punishment, a balance between the crime and the response it elicits. It is often suggested that the name Escalus – that of the play's elderly and wise character – is intended to imply this image of the “scales of justice”. This title is an apt summary of the main theme and ethos of the work, namely the idea of ​​"an eye for an eye, a tooth for a tooth". An early example of this in the first act is Angelo's overly severe punishment of Claudio – sentencing him to death for "debauchery", a crime and punishment that are clearly not in balance with each other (a fact that Lucio expresses with the question “is lust so cured?”). The character of Angelo fits perfectly into the image of an apparent balance which is actually imbalance: his soul "seems good", yet he resorts to "tyranny" and the abuse of power; he seems to be a man of "stenosis" and "firm abstinence", but who (we will discover later) has an illegitimate son. In fact, we often see references to coins and money in reference to Angel (an Angel is a type of coin), such as the idea of ​​a “figure” being “imprinted” on its “metal”. A coin is an apt metaphor for the character of Angelo, and indeed for the work as a whole: although it seems like a simple thing, a coin has two distinctly different sides. Angelo's misunderstanding of the Duke's reference to “mortality” is very similar to this; the Duke takes this to mean “life,” while Angelo sees “the other side of the coin” and interprets this statement as a proclamation that he has the power to condemn his people to death. The themes of appearance and power within “Measure for Measure” are summarized by the Duke, with his decree that “we will see if power changes its purpose what our apparent will be”. The theme of substitution is linked to that of appearance, and is also introduced in the first act. Substitution becomes a key aspect of “Measure for Measure” – such as Mariana's substitution for Isabella. We also see Angelo take the Duke's place, and the Duke take the Friar's place. These substitutions harken back to the play's central ethos: the idea of ​​"measure for measure" as alternatives that seem balanced often rely on replacing one person with another. The idea of ​​fraud or substitution fits well with the morally corrupt society in which the play is set – a society in which brothels and sexual diseases are common and in which even the most seemingly pious people have immoral secrets to hide. sexuality and sexually transmitted diseases permeate the entire “Measure for Measure.” The show is full of questions of.