Measure for Measure: Satire 4 key examples

In Shakespeare’s day, it was expected that most Christians would “say grace,” or in other words, recite a short prayer, before every meal. Lucio’s claim to have never heard anyone say grace before suggests to the audience that he is a deeply irreligious figure, who does not observe Christian practices. Further, the Second Gentleman contradicts Lucio, insisting that he must have heard it “a dozen times at least.” Though the Second Gentleman defensively argues that Vienna is more pious than Lucio claims, his incredibly low estimate—merely twelve times!—works against his argument, further underscoring the religious apathy of the Vienna of the play.

In this scene, then, Shakespeare satirizes the lack of genuine Christian belief within this seemingly Catholic city for the entertainment of his own predominantly Protestant audience in London. For his English audience, this comedic satire would confirm their negative assumptions regarding Vienna, a city at odds with England both politically and religiously.

When Escalus asks him for news from abroad, the Duke responds that the “fever” or lack of goodness in the world is so “great” that nothing other than the “dissolution” or destruction of the world itself could solve the problem. Further, he suggests that the value of “novelty” or newness has replaced “goodness” in the world, and that to act in an ordinary manner is now “dangerous” in this novelty-craving world. The Duke’s exaggerated pessimism is a response to the unpleasant truths that he has discovered while disguised among the common people of his city. He has seen the harsh and merciless reign of his chosen successor, Angelo, and he has heard himself slandered by the citizens of Vienna, most notably by Lucio, who claimed that the old Duke was a womanizer. The disillusioned Duke therefore rails against the evils of the world in an exaggerated, emotional manner. 

Lucio plays on Pompey’s name, which he shares with Pompey the Great, a Roman Statesman who was first an ally and then enemy of Julius Caesar. As Pompey Bum is being led through town by the officers in chains, Lucio imagines him as his namesake and alludes to the Roman tradition of parading conquered rivals through the streets of Rome in “triumphs” or military parades. Lucio’s allusion is satirical, emphasizing the contrast between Pompey Bum, a lowly criminal, and Pompey the Great, a major figure in history. 

Next, Lucio alludes to the figure of Pygmalion. In the works of Roman poet Ovid, Pygmalion is a sculptor who spurns all women and instead falls in love with one of his own sculptures, which is brought to life by Aphrodite. In alluding to the Pygmalion myth here, Lucio suggests that Pompey Bum, as a pimp, in some way “makes” the women whom he employs as prostitutes, giving them new names and appearances. 

He speaks here of “two usuries” as if they were people. The first and “merriest” is sex work; the other, and “worser,” is lending money on interest. Pompey personifies these two professions as individuals who receive very different treatment by the state; prostitution, despite being in his opinion a beneficial form of trade that makes people happy,  is “put down” or executed, whereas money-lending is not only permitted but even encouraged by the law. Money-lending, he imagines, receives a “furred gown to keep him warm” from the government, a luxurious and expensive gift that is “furred with fox and lambskins too.” Through this personification, Pompey satirizes the priorities of the state. He suggests that minor vices involving sex are punished harshly, while actual problems, such as financial exploitation, are often not only legal but are promoted by the government.