Shakespearian Marriage Politics

Well, I didn't get as many responses to my Facebook or blog/forum posts as I had hoped, but I did get some helpful ideas from my former-English-professor grandfather in response to my Facebook message that helped me better hone my search. Imagine that! I didn't expect him to be one who communicates through Facebook, so that was fun.

In the course of my research, I found an article which references a painting by Jon van Eyck which reflects the tradition of "common consent" marriage practices I'm discussing in my analysis. Although I'm not currently planning on using the picture in my paper, I thought it would be interesting to include it here for reference. And maybe it will even be useful for one of you...?

(Interesting note: although only the couple is present, the mirror reflects four people, perhaps representing God and the painter--or observer of the painting--as witnesses of their marital vows.)

Now, normally I wouldn't be any more willing to let people read my draft at this point than I would be to let them rifle through my sock-and-underwear drawer, but... here are the first few pages of my draft in all its odious roughness:

Brinn Bullough

English 382

Marriage Politics in Measure for Measure

“For with what judgment ye judge, ye shall be judged: and with what measure ye mete, it shall be measured to you again” (Matt. 7:2).

In his play, Measure for Measure, Shakespeare contrasts unforgiving Mosaic Law with the merciful teachings of the New Testament to question the enforcement of of newly imposed “letter of the law” Puritan marriage regulations over traditionally accepted marriage practices. Interestingly, his most truly pious character, Isabella, is also his most forgiving towards the offences of repentant others, while Antonio, his most Pharisaic character, is the most hypocritical and relentless in his demand for absolute justice. In her attitude towards marriage, Isabella is willing to recognize traditionally accepted marriage practices as valid, while preferring the publicly formalized sanction of the Church in establishing a legal marriage contract. Antonio, on the other hand, denies the validity of any marriage not officially sanctioned by religious authority; effectively rejecting the long-practiced tradition of marriage by common verbal and physical consent between the married parties.

The belief of Claudio and Juliet that they are “husband” and “wife,” at least in practice, reflects a prevalent attitude regarding what constituted a valid marriage in their time. In an article regarding British marital customs, scholar Christopher Lasch explains that, “According to the canon law of the Middle Ages, engagements to marry, especially if they were followed by sexual intercourse were as binding as marriage itself” (Lasch 90). Viewed in this light, Claudio’s assertion that “upon a true contract/ I got possession of Julietta’s bed;/ You know the lady, she is fast my wife” (Measure for Measure 1.3.29-31), becomes more accessible.  Although this attitude may seem unusual by modern Western marriage standards, Professor Lasch clarifies that it is consistent with views held during Shakespeare’s day that “an exchange of binding promises and physical union were the essential elements of marriage, not the publication of banns, parental consent, clerical intervention, or even, indeed the presence of witnesses” (Lasch 90). Since Claudio and Juliet’s union was not publicly or clerically sanctioned, Claudio acknowledges his remissness in that aspect, saying that privately they are married in all respects, “Save that we do the denunciation lack/ Of outward order” (Measure for Measure 1.3.32-33), which would have made their marriage publically concrete. In Claudio and Juliet’s eyes then, it was the clandestine nature of their union, and not the consummation itself, which constituted their sin.

As a representative of the law, however, Antonio is less willing to forgive their oversight, in spite of its being so commonly practiced among the people at large. In fact, it is his desire to quell this practice that leads to his harsh ruling against Claudio’s life as punishment for his offence, as Antonio hopes, by this means, to frighten the people into adherence with the newly-enforced marriage legalities that they might otherwise ignore. As Lucio tells Isabella, Antonio hopes “to give fear to use and liberty,” and in condemning her brother to death, Antonio “follows close the rigor of the statute/ to make him an example” (Measure for Measure 1.5.67-68). Antonio’s behavior is perhaps reflective of British legislation which may have caused similar conflict during Shakespeare’s time. In her article, Ceremony versus Consent: Courtship, Illegitimacy, and Reputation in Northwest England, 1560-1610, author Jennifer McNabb explains this transition between informal to legalized marriage practices, saying:

“Despite the validity of marriages made by consent alone, the church in England attempted to introduce a more formalized means of matrimony, requiring three readings of the banns (or a marriage license) and a public reading in a parish church officiated by a minister between partners over the age of consent” (McNabb 61).

Antonio’s use of Claudio as a public example, although an attempt in the name of justice to encourage strict obedience to newly-enforced marriage practices, is unjust in its enforcement, regardless of the law, as the offence has gone unpunished in thousands of other instances, and Claudio openly expresses his intentions to publically formalize his marriage to Juliet. Pompey mocks Antonio’s harshness, asking, “Does your worship mean to geld and splay all the youth of the city?” (Measure for Measure 2.1.210-211). Referring to the widespread nature of the “common consent” marriage practice, he suggests, “If you head and hang all that offend that way but for ten year together, you’ll be glad to give out a commission for more heads” (Measure for Measure 2.1.218-220). Ironically, Antonio himself is bound up in the same type of valid but “irregular” marriage through the physical consummation of his betrothal to Mariana in the course of the play.