Abstract
In the plays similar to the topical one (thesis play) Shakespeare applies the methods of the tradition of religious and philosophical exegesis. It is characterized by heterogeneous markers (verbal, visual, synthetic), which indicate the archetype/ source and the semantic vector. The study of such indicators, previously discovered by scholars and identified by the author, made it possible to consider the ideological and figurative structure of Shakespeare’s Measure for Measure in the triple New Testament optics: using conventionally designated “line of Parables,” “line of Acts” and “line of Epistles” that complement and explain one another. The parable structure is based on the parable of the talents (Matt. 25), which forms the main plot, and the parable of the unforgiving servant (Matt. 18) clarifying the image of Angelo. The images of the maids are explained by the parable of the wise virgins, and the Barnardine subplot — by the parable of the lost sheep. The second biblical branch is set by the figure of St. Stephen (Acts 6–7) and presents variations on this plot personified in the characters of Angelo (false angel), Isabella (maid with a beautiful face) and Lucio (true blasphemer). Finally, the Duke sending out letters surrounded and being by Roman warriors takes us to the third semantic level — the Epistle to the Romans with its appeal not to judge others by “doing the same.” The hypothesis is confirmed by the impressive amount of references to the apostolic epistle. All the three biblical branches of the play are held together by themes of mercy and forgiveness.
References
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