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Dogberry: A Foolish Nobleman Much Ado About Nothing by William Shakespeare is a comedy that possesses tragedy characteristics. All the characters have certain roles they uphold throughout this story that contribute to a bigger picture. While the play had many serious moments, Dogberry and his clan were designed to be the entertaining comic relief that took away from the evil plot that was going on with Don John. During this essay, Dogberry’s character will be analyzed three ways. Dogberry character sets a different tone in the play through his personality by being an asinine leader. He is in charge of the watch, which is the local police force in Messina. He took his position of being in charge of the watch very seriously. Besides the fact that he is the comic relief, he is very sincere in how he wants his message to come off. Even though he means well it isn’t received the same way, he would like. He has a very bad habit of using malapropisms in his dialogue. An example of this is his first encounter with Leonato, “Marry, sir, I would have some confidence with you that decerns you nearly.” …show more content…
It is the use of semantic that drives much of the conflict in the play to it’s climax. Dogberry character is the foil that reflects the excesses of the other characters wit and he is fundamental to the action of the play. He is view as the comic relief. His malapropisms put an interesting twist to the play. The fact that Dogberry has been given special incite on a plan that will destroy Claudio and Hero’s union, he remains the star in the play, a nobleman indeed of the mid-1800. Throughout the play we notice that Dogberry’s role as nobleman is dismissed for a foolish man. His foolishness is funny and uplifted the dark, evil, and dull moments within the
Much Ado About Nothing, though a critically acclaimed play, seems to be truly a fuss of trivial details and sexist thinking. The title fits the play itself, in the sense that it is a case of a great amount of nothing, which perhaps can be assumed to be a mistake on William Shakespeare's part.
The production of Honky is a satirical comedy, following the lives of five people and the language of racism. While it focuses on the plot of 5 characters, the storyline was well thought out and intriguing. One actor in specific, Gerard Joseph, who played Thomas, did an exceptionally well job at conveying emotion and projecting to the audience, in my opinion. The overall directing, from the actors to the soundtrack and lightning, seem to be presented with excellent detail. Overall, this production was well done.
William Shakespeare's Much Ado About Nothing is a play involving by deception, disloyalty, trickery, eavesdropping, and hearsay. The play contains numerous examples of schemes that are used to manipulate the thoughts of other characters; it is the major theme that resonates throughout the play. Ironically, it is one of these themes that bring serenity to the chaos that encompasses most of the play.
The play “A Raisin in the Sun” by Lorraine Hansberry has many interesting characters. In my opinion, the most fascinating character is Ruth because of her many emotions and captivating personality. She goes through extreme emotions in the play such as happiness, sadness, anger, stress, and confusion. Ruth is very independent, firm, kind, witty, and loving.
The modernization of nearly outdated and cliché settings typically used for Shakespearian plays such as Much Ado helps enforce Whedon's attempt to make the film and play familiar, as well as creates accessibility for the audience regardless of how well they may understand Shakespeare's language. Both the ensemble and individual cast members assist in achieving Whedon's vision by creating an atmosphere that seems familiar if only that it could be our own family and friends throwing that same banter back and forth between each other. Their playful and occasionally raw performances combine with a spectacular setting to help make Whedon's Much Ado About Nothing a stellar film that is a nearly perfect modern translation of a classic, centuries old
Shakespeare's comedies A Midsummers Night's Dream and Much Ado About Nothing have many parallels while Measure for Measure is a problem play with a completely different tone. Comparing and contrasting these three plays provides insights into the views of Shakespeare concerning comedy.
With its entangled double plots and eloquent use of words, Much Ado About Nothing is a story that has the ability to entertain the masses both young and old. Shakespeare’s use of figurative language along with situation creates such vivid imagery for which carries the drama from beginning to end. For example, when we look at Act 1 Scene 1 of the play ...
Lately, it would be difficult to find a person who speaks in the elaborate way that nearly all of Shakespeare’s characters do; we do not describe “fortune” as “outrageous” or describe our obstacles as “slings and arrows,” neither in an outward soliloquy or even in our heads. Lately, people do not declare their goals in the grandiose fashion that members of royal family of Thebes proclaim their opposing intentions: Antigone’s to honor her brother and Kreon’s to uphold his decree. Lately, people do not all speak in one unified dialect, especially not one that belongs specifically to the British upper class; Jack and Algernon’s dialogue is virtually identical, excepting content. Unlike the indistinguishably grandiose, elaborate, fancy way characters speak in Shakespeare’s plays, Antigone, The Importance of Being Earnest, and other plays written before the turn of the twentieth century, more recently written plays contain dialogue that is more unique to its speaker. This unique dialogue indicates a change in the sort of characters which drama focuses on which came with a newly developed openness to those who are different from us. Moving away from recounting tales of nobility, royalty or deities brought the lives of a common, heterogeneous populace to the stage and, with these everyday stories, more varied speech patterns.
In William Shakespeare’s play ‘Much Ado about Nothing’, there are many instances of trickery and deception, which seem to surround the whole of the play.
“Language is frequently used to stir up & manipulate emotions.” - Mary Hamer. The words that people say can appear brutal or detrimental. These violent words take up many forms such as lying, insulting, etc. Along with its’ comedic formula, William Shakespeare's, Much Ado About Nothing is enhanced with humorous mockery and intertwined dialogues. In the play, the soldiers have just returned from a successful war. Love is traveling through the village; however the “language of war” appears rooted in the language. Numerous times do the characters joke around in cruel dialects. The mockery, however, is not considered to be as harsh due to the presence of comedy within the play. William Shakespeare’s intricate use of language in his play, Much Ado About Nothing, allows immense aggressive language to thrive in the characters yet is able to use this to alleviate the violence.
It shouldn't be forgotten that in the body of the play those who are masters of a language of extraordinary wit and polish - language that seems to guarantee rationality and good judgement - get things almost completely wrong. The resolution of the play comes via the agency of the people whose discourse is an assault on language, who are dismissed - by Leonato - as 'tedious' when they should be patiently listened to. But, as Borachio says 'what your wisdoms could not discover, these shallow fools have brought to light' (V.1.221-222). And even more disturbing, that resolution comes by mere accident: by the chance overhearing of a conversation.
“And when I lived, I was your other wife, And when you loved, you were my other husband(Shakespeare 60).” In the beginning of the play it was overwhelming, steeped in love at first sight between Hero and Claudio, until Don John’s evil-manner took a role in ruining the love between them. And because of this a conflict developed between them, but was resolved when their vigorous love for one another overcame the conflict. In Much Ado About Nothing by William Shakespeare, Hero serves as the foil character of Claudio because of Hero’s dignified, well-mannered, eminent reputation is illuminated through Claudio’s insecure, accusing, and doubtful weakness; thereby, interminably influencing the conflict in the plot.
Much Ado About Nothing. The Riverside Shakespeare, 2nd ed. Boston: Houghton Mifflin Co., 1997. 366-398. Ranald, Margaret Loftus.
Transformations inherently contain traces of the author’s social and cultural context. Much of the same can be applied to “Much ado about nothing”. It incorporates comical features, yet retains the sense of tragedy which is attached to almost all of Shakespeare’s plays. Brain Percival’s role as a director, was determining, understanding and distinguishing the social norms and the social structure of the society, and how the themes represented in the play can be transformed into a modern text. The Elizabethan society was typically a patriarchal society. Percival has used as well as transformed certain themes and textual features to ensure, that the film is more appealing and assessable to the critical modern audience.
Throughout The Two Gentlemen of Verona, scenes featuring Lance and his dog, Crab are juxtaposed with (and perhaps reference) interactions between the friends and lovers central to the plot. The primarily comic scenes in which Lance and Crab are present often illuminate problems in the relationships between the other characters in the play. Although Crab never speaks and is in fact a dog, his interactions with Lance as Lance explains them, mock the celebrated love between male friends and the much afflicting Petrarchan love that threatens it.