I learned this quarter you don’t have to travel to the ends of the earth to find Shakespeare. "How fearful and dizzy ‘tis to cast one’s eyes so low!" Works Cited Bloom, Harold. Shakespeare: The Invention of the Human. New York: Riverhead Books, 1998.
April 20th –30th, 1999 Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare’s Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994.
N.p., n.d. Web. 20 Apr. 2014. Shakespeare, William, and G. Blakemore Evans.
Kaufmann continues his essay by saying that Shakespeare, unlike many modern artists, "turned the challenge of a boorish, lecherous, and vulgar audience to advantage and increased the richness and the subtlety of drama." (Kaufmann 3) Perhaps the best example of Shakespeare's use of the fool (and certainly the best in any Shakespearean play that I have read) is Falstaff in I Henry IV. In "The Fortunes of Falstaff," Wilson claims that Falstaff is the embodiment of the vice of Vanity: he is cowardly in battle, proud and pretentious, dishonest, conniving, lacks respect for the property of others, and is concerned only with wine, tavern wenches, and comfort. It would be easy for a reader (or play-watcher) unfamiliar with Shakespeare to conclude, in our own time, that Falstaff has been included in the drama solely to provide entertainment value. However, Falstaff is also essential to the play in many ways.
I will be comparing Don John to other characters in the play as well as to other villains in Shakespeare's works. While Don John does not spend a great deal of time on the stage in Much Ado About Nothing, he still plays a vital role in the plot of the play. The plan that he sets in motion is one of the two main stories within the play (the battle of wit between Beatrice and Benedict being the other). Don John, as I mentioned before, is the bastard brother of Don Pedro. His illegitimacy is one of the factors that makes him altogether vile and hateful.