In the first essay, written by Jean Howard, the main idea or thesis seems to focus on the antitheatrical aspects of the play. The actual thesis would be Shakespeare employs antitheatrical discourse in a way that advantages certain social groups without calling attention to the fact that it does that. Howard takes a Marxist approach to the play. She looks at how the conflict intertwines itself and makes a constant reference to the social aspects of each of the characters in the play. Howard starts by giving general ideas where she gives a brief summary of the main plot of the story that involves Don John, Don Pedro, and Claudio. She reads the play in relationship to antitheatrical tracts. This makes the political dimensions more apparent in the work. The play itself speaks to several different senses of social class. Although Much Ado about Nothing is a play, it mirrors the world as it was. It deals with the power being put in the hands of the "status quo" and it makes mention of the social order, especially the fear of women who want the same power as men.
Howard also mentions that the play seems to emphasize the consequences of sin, in this case, telling lies. She goes into the scene where Don John gets Margaret, Hero's servant, to play Hero as so to deceive Claudio. This would make Hero appear to be "easy" and make Claudio not want to marry her. Before all of this goes on, Don Pedro impersonates Claudio at the ball, to get in Hero's good graces. This is another lie. Even though Don Pedro's "trick" does more good than harm, the audience and readers are now given the job to cope with the morality of each situation. Most of Howard's reading of the play deals with the two impersonators (Don John and Don Pedro) and their sense of moral duty during this time. It also speaks to the social consequences of their practices. Howard suggests that Don John provides a moral reading because he is the chief antagonist in the play. She seems to say that in essence, he is evil and readers can identify and justify his actions because he is evil. Does that make it right? She also says that since he is the bastard brother of Don Pedro, his evil acts are ideologically significant because they identify the social disorder of those who have and those who have not.
“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.
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
Much Ado About Nothing many events dealing with gossip, perplexion, and rumors. In the 1993 film version, mainly emphasizes on the confusion that the characters have. In Shakespeare’s day, the “nothing” would have been pronounced as “noting” meaning gossiping.
“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.
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.
Picture this- William Harold Shakespeare, the most coveted playwriter in the history of the world, sitting at his desk, perspicaciously pondering over what shall become his most prominant and delicated tragedy of yet. Of course, given what little is known about Shakespeere displays, such deepseated imagery cannot simply be accomplished without first the propriety of haste and vinction.And yet, his very own rhetorical vibe displays allows such a vague pictoration to be concieved. Throughout the whole of Othello, the great Shakespeare remarks through an astounding displays show of pronouns, allitteration, and cacophonous diction his own resentment of both the King of Italy and the poor conditions of the said novelist.
Much Ado About Nothing is one of William Shakespeare’s best comedies and love stories. What is not to like about a play that is hilarious, romantic, and has a happy ending? In this play the foremost and most intriguing character is Benedick, a man who is a devout bachelor and who does not believe he will ever find the perfect woman; --because perfect is exactly what he must have. This may seem to be a harsh and pessimistic outlook on life, but the way Shakespeare brings this character to life portrays Benedick as a funny and caring man who really is not that certain about what he wants for the future. Benedick’s counterpart in the play is Beatrice who is an independent woman with a quick tongue. Benedick and Beatrice despise and cannot stand each other because it is seemingly impossible for them to have a conversation without arguing and angering each other. The two of them provide some of the more amusing scenes of the play with their word play and mocking of each other. In reality though, they have much in common that they have yet to realize. Both of them despise marriage, are witty, and are each their own persons. These however are not the reasons why they come together. They are brought together by their respective companions who conspire to tell each of them that the one loves the other as the two misdirected lovers listen in. In his speech directly after this, Benedick is swayed to a life that he previously would have avoided at all costs. In hearing of Beatrice’s supposed affection he immediately changes his entire outlook on perpetual bachelorhood and pronounces a love that is not real or his own, but comes secondhand from trickery.
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 ...
The common thread of jealousy ties together the main plots in Much Ado About Nothing, Othello, and The Winter's Tale. In each of these plays, the main conflict is centered around some form of jealousy. While jealousy is the mutual, most prominent cause for turmoil in these plays, its effects on the characters, and ultimately the plots, is different in each case. This difference has much to do with the way in which the concept of jealousy is woven into each play, and what it is intended to accomplish.
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.
"Much Ado About Nothing" is a play categorised as a comedy, and written by the dramatist William Shakespeare. A comic play is usually accepted to be a light-hearted play with a happy conclusion. A play classed as a tragedy is serious and sad, usually ending with the death of the main character. A tragicomedy is a play consisting of both tragic and comic elements. Much Ado is of the comedy genre as it contains humorous scenes and ends happily, however the play also includes serious incidents, which contributes to a tragic element in the play.
Shakespeare’s Much Ado about Nothing is, on the surface, a typical romantic comedy with a love-plot that ends in reconciliation and marriage. This surface level conformity to the conventions of the genre, however, conceals a deeper difference that sets Much Ado apart. Unlike Shakespeare’s other romantic comedies, Much Ado about Nothing does not mask class divisions by incorporating them into an idealized community. Instead of concealing or obscuring the problem of social status, the play brings it up explicitly through a minor but important character, Margaret, Hero’s “waiting gentlewoman.” Shakespeare suggests that Margaret is an embodiment of the realistic nature of social class. Despite her ambition, she is unable to move up in hierarchy due to her identity as a maid. Her status, foiling Hero’s rich, protected upbringing, reveals that characters in the play, as well as global citizens, are ultimately oppressed by social relations and social norms despite any ambition to get out.
Tragedies and Comedies are two type of genres Shakespeare used to shape his many of his plays. Although these two may seem entirely different in their ideas and plots, they share similar emotions. Even though emotions can be depicted differently by the plot, they ultimately are the same when stripped and broken down into their core meanings. Jealousy is an emotion when broken down, can be seen as a representation of something that is negative and only brings hypocrisy along with destruction. Jealousy is an emotion that plays a crucial role in the two plays Othello and Much Ado about Nothing. In the plays Othello and Much Ado about Nothing, Shakespeare constructs a negative tone towards the ideas of jealousy by using protagonists decisions
William Shakespeare said: “Women may fall when there's no strength in men” (Romeo and Juliet). Throughout history gender role have been a big, whether someone is a feminist or someone believes there is no equality between males and females; everyone has different opinions when it comes to the matter of gender roles. The same thing can be said about William Shakespeare who was a feminist (Shakespeare of Stratford). This ideology can be seen in his play Much Ado about Nothing. In this comedy Shakespeare focuses on two pairs of lovers named Claudio and Hero who are set to be married in a week but before their marriage day, they plan to conspire with Don Pedro, the prince of Aragon to trick their friends Beatrice and Benedick to admit their love for each other. Don John, the brother of Don Pedro, meanwhile plots to prevent marriage of Claudio and Hero by accusing Hero of being unfaithful. Don John initially succeeds in his plan as Hero is accused and ashamed at the marriage ceremony, but at the end Claudio and Hero are united and marry each other. Also, Beatrice and Benedick finally declare their love for each and dance at the end of the play. Shakespeare uses a lot of sources for this comedy and one of them is “Orlando Furioso” written in 1591, which gave Shakespeare the idea of Hero and Claudio’s marriage and Don John’s plot to prevent it. Another source Shakespeare used to write the play is the courtier written in 1588, which gave him the idea of the romance between Beatrice and Benedick. And also “La Prima de la Novelle” written in 1554 by Matteo Bandello gave Shakespeare the idea of putting the setting in Messina, Italy (Shakespeare in quarto). Because Shakespeare was a feminist, some of the women appear as supporting and central...
Much Ado About Nothing by William Shakespeare focuses on the enormous gap between the power of men and where women stand. Women were expected to be obedient and dependent on men, innocent, and were also expected to be good wives. Shakespeare wanted women to see how the roles are changing for the better. In this play, there is difference between the traditional roles of women back then, and the ones that stand out from the rest. He depicts this through two characters. In the opening scene, where characters and their personalities, and roles are established; Hero has only one line, which is seven words. Even said that, these lines are just a comment on Beatrice. Hero is the daughter and the property of her father, Leonato. Her helplessness comes from her being overprotected by her father, and the need to obey him. Beatrice, by contrast, does not have a father, she lives on her witty personality and her intelligence. Beatrice has a dream to spend her life “where the bachelors sit, and there live we, as merry as the day is long” (2.1.40-46) When Leonato tells Hero, “Daughter, remember what I told you: if the prince do solicit you in that kind, you know your answer,” (2.1.60-63) she just stands there, silently obeying her father. Hero’s looks are her only advantage as a women, as they are what attracts Claudio. He falls in love with her at first sight in the first act, based only on her appearance.