Comparing Act 2 Scene 3 and Act 3 Scene 1 of Much Ado About Nothing by William Shakespeare
In Act 2 Scene 3 and Act 3 Scene 1 Beatrice and Benedick are both
separately being tricked into falling in love with each other by their
friends. To compare the two scenes we must first consider the symmetry
between them; the initial thing we notice as an audience is that all
of the characters in Act 2 Scene 3 are male, and that all of the
characters in Act 3 Scene 1 are female; this gives the effect of the
two sexes battling. Both scenes are riddled with deceit and trickery,
and the lengths too are also similar. As we know both parties have the
same purpose and after reading the play we know that there is a
similar outcome from both groups. The two scenes are theatrically
similar, and they both offer phenomenal opportunities for a creative
director.
In Act 2 Scene 1 Don Pedro is discussing marriage with Beatrice; we
already have learnt at this point that both Benedick and Beatrice are
contemptuous of love, although it is obvious from the moment Beatrice
walks on stage that secretly she does want a husband. It becomes known
that Beatrice's forte is covering her inner feelings. Beatrice turns
down Don Pedro's mockable marriage proposal, and so he promises to
find her a husband "Lady Beatrice, I will get you one", Hero also
wants to help and although Beatrice protests the game begins. The two
scenes both have the same purpose and involve a lot of deceit, in the
first Leonato, Don Pedro, Claudio and Balthasar are tricking Benedick
into believing that Beatrice loves him; and in the second Hero and
Ursula are tricking Beatrice into believe Benedick...
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really described at all. When Beatrice hears the women talking about
her she is portrayed in a very feminine way, she is even hiding in a
more feminine way than Benedick. Benedick is high in the tree tops
above everyone, and Beatrice is close to the ground scuttling about.
The women are also more catty about Beatrice's capricious attitude
towards men "if fair-faced she would swear the gentleman should be her
sister". A harsher tone was used with Beatrice than Benedick received
from Leonato, Hero was more spiteful but only because she knew this
would have the desired effect on Beatrice.
In each case the plotters work in a similar way, one criticized and
the other praises. This is to promote emotion in Beatrice and
Benedick. The two scenes are on the whole very similar; they only
differ in tactics and language.
Much Ado About Nothing. The Riverside Shakespeare, 2nd ed. Boston: Houghton Mifflin Co., 1997. 366-398.
William Shakespeare is known for his use of dramatic irony and complicated story lines. In Much Ado About Nothing, he also adds in the element of disguise to what the characters know, or what they think they know. There are multiple characters trying to ensnare others in different facades, whether it be for better or for worse. The deception and illusion in the play can either assist the characters or completely shatter the situation, but in both cases, Shakespeare advises us to infer about what we hear or see before we jump to conclusions.
Shakespeare’s introduction of the other couple in question is in stark contrast to the way in which Beatrice and Benedick were introduced. Claudio and Hero are amorously receptive to one and other from the very start. Upon laying eyes on Hero, Claudio remarks of her to Benedict “is she not a modest young lady?” (1.1.125). Clearly, by having Claudio express his fondness of Hero to Benedick, the playwright directly compares the older and more cynical to the more young and naive, allowing the reader to see the contrasting personas of the two men. This is reinforced by Benedick, who after finishing listening to Claudio’s rhetoric on the charms of the young Hero (“in m...
Barton, Anne. Introduction. Much Ado About Nothing. The Riverside Shakespeare, 2nd ed. Boston: Houghton Mifflin Co., 1997. 361-365.
Shakespeare, William; Much Ado About Nothing; Washington Square Press; New York, NY; New Folger Edition May 1995
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 ...
Shakespeare, William; Much Ado About Nothing; Washington Square Press; New York, NY; New Folger Edition May 1995
opinions in Act 1, Scene 2. The aim of this is to build the suspense
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.
Much Ado About Nothing. The Riverside Shakespeare, 2nd ed. Boston: Houghton Mifflin Co., 1997. 366-398. Ranald, Margaret Loftus.
Shakespeare, William. Much Ado about Nothing. Ed. Paul Werstine, Barbara A. Mowat, and Gail Kern. Paster. New York: Simon &ump; Schuster Paperbacks, 1995. Print.
Rossiter, A.P. “Much Ado About Nothing.” William Shakespeare Comedies & Romances. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986.
Act 1 Scene 1 is the opening scene to the play, it starts with a
Misunderstandings generate conflict and drive stories forward. William Shakespeare’s Much Ado About Nothing is a play filled to the brim with misunderstandings and comedic situations. The constable of Messina, Dogberry, contributes to many such comedic situations with his twisted speech and juxtaposing sobriety. In this essay, Dogberry’s reality, character, and wrongly-used phrases are to be compared to actual reality.
In Act 3 Scene 3 (the scene following on from the one in question) the