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SHAKESPEARE'S Measure for Measure has been a source of critical contention for centuries. Rosalind Miles, for example, claims that the play "holds today an unassailable position as chief 'problem" among Shakespeare's plays that have been labeled as such.1 David Lloyd Stevenson argues that part of the complexity and the discomfort of the play derives from Shakespeare's "forcing us to adjust to a level of apprehension of motives for human actions which lie far deeper than we are usually willing to go."2 While all of the protagonists are psychologically intricate, it is the enigmatic Duke Vincentio whose motives require and yet seem to defy the deepest probing and who, consequently, has contributed to earning Measure for Measure the unenviable designation as the most outstanding problem play of Shakespeare. Don D. Moore claims that Duke Vincentio is "probably the most controversial Duke in all of Shakespeare." 3 His governmental decisions and administration of justice evoke critical debate and consternation. But what is equally disturbing for critics is his sexual nature and the sexual nuances of his actions, which have resisted critical explanation.
Although critics have long seen Measure for Measure as focusing on the relationship between mercy and justice in effective rule, the play has also been shown to be about sexuality. In fact, some critics argue that it is the predominant concern of the play. Marilyn French, for example, argues that "it is not just authority (justice) which is tried in Measure for Measure: it is sexuality itself that is on trial."4 Eric Partridge calls Measure for Measure, along with Othello, "Shakespeare's most sexual, most bawdy plays."5 Derek Traversi notes that the play shows a "preoccupation with the flesh"; Robert Rogers concurs by claiming that the play is "well stoked with libidinal fire." 6
To help us probe the sexual motives of his psychologically complex protagonists-Angelo, Isabella, and the Duke-Shakespeare parallels them, creating what critics have called a "triumvirate," who share striking similarities.7 They can be evaluated by "measuring" one against the other. Angelo and the Duke, in fact, betray so many similarities that they have been viewed as doubles.8 All three, for example, live religiously austere, almost reclusive lives, devoted to cerebral and meditative pursuits; they find sexual vices abhorrent and believe the perpetrators of...