There are many aspects that go into writing a fabulous play. Shakespeare was not only a genius at writing plays, but he was also an artist. He was a master of his time and focused on using these important aspects as much as possible! One of the most important things that Shakespeare used in his tremendous play writing was plot development! Matt Teel states “Most good stories start with a fundamental list of ingredients: the initial situation, conflict, complication, climax, suspense, denouement, and conclusion.” It is really important to make the plot development as badass as possible to get the audience’s attention. Without a good plot development, Shakespeare’s plays would not be as remarkable as they are. Shakespeare uses similar plot developments in both of his plays, King Lear and Much Ado About Nothing.
Shakespeare used a very clever plot to introduce the characters in the beginning of King Lear. He starts by telling about Lear, the aging king of Britain, decides to step down from the throne and divide his kingdom evenly among his three daughters. First, however, he tests them asking each to tell him how much she loves him. Goneril and Regan, Lear’s oldest daughters, give their father flattering answers. However, Cordelia, Lear’s youngest and favorite daughter explains how she does not love her father any more than a girl should. “Unhappy that I am, I cannot heave my heart into my mouth. I love your majesty according to my bond; no more nor less.” (1.1.90-92) The King flies into a rage and disowns Cordelia. Chuck Rose explains, “King Lear mocks many stage conventions. It adds another entire plot; it explains few of the central motivations that drive the play; its treatment of time is out of joint; things that should lead ...
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...n his tremendous play writing was plot development! Without a good plot development, Shakespeare’s plays would not be as remarkable as they are.
Works Cited
Atwood, Brian. "King Lear and Much Ado About Nothing." Help Me. N.p., 2014. Web. 19 Jan. 2014. .
Jamieson, Lee. "Major Themes in Much Ado About Nothing." About. About, 2009. Web. 19 Jan. 2014. .
- - -. "Plot Development of Much Ado About Nothing." About. About, 2013. Web. 19 Jan. 2014. .
Rose, Chuck. "King Lear: Engaging with the Play." PBS. N.p., 2006. Web. 19 Jan. 2014. .
Teel, Matt. "Plot Analysis of King Lear." Shmoop. N.p., 2008. Web. 19 Jan. 2014.
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.
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.
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 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
Barton, Anne. Introduction. Much Ado About Nothing. The Riverside Shakespeare, 2nd ed. Boston: Houghton Mifflin Co., 1997. 361-365.
Barton, Anne. Introduction. Much Ado About Nothing. The Riverside Shakespeare, 2nd ed. Boston: Houghton Mifflin Co., 1997. 361-365.
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 ...
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.
Bevington, David, "Introduction to King Lear." The Complete Works of William Shakespeare. New York: HarperCollins, 1992.
Much Ado About Nothing. The Riverside Shakespeare, 2nd ed. Boston: Houghton Mifflin Co., 1997. 366-398. Ranald, Margaret Loftus.
In conclusion, Shakespeare's play "Much Ado about Nothing" intertwines two love stories in Renaissance Italy. Through its characters, it portrays the political and household lifestyles of the Renaissance times.
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.
Magill, Frank N., ed. "Much Ado About Nothing." Masterplots Vol. VII. Englewood Cliffs, New Jersey: Salem Press, 1949.
Lear's vision is marred by lack of direction in life, poor foresight and his inability to predict the consequences of his actions. He cannot look far enough into the future to see the consequences of his actions. This, in addition to his lack of insight into other people, condemns his relationship with his most beloved daughter, Cordelia. When Lear asks his daughters, who loves him most, he already thinks that Cordelia has the most love for him. However, when Cordelia says: "I love your Majesty according to my bond, no more nor less." (I, i, 94-95) Lear cannot see what these words really mean. Goneril and Regan are only putting on an act. They do not truly love Lear as much as they should. When Cordelia says these words, she has seen her sister's facade, and she does not want to associate her true love with their false love. Lear, however, is fooled by Goneril and Regan into thinking that they love him, while Cordelia does not. This is when Lear first shows a sign of becoming blind to those around him. He snaps and disowns her: