Discuss The Importance Of Noting In Much Ado About Nothing Noting, or observing, is central to many of the ideas in Much Ado About Nothing. The word nothing was pronounced as noting in Elizabethan times, and it seems reasonable to presume that the pun was intended by Shakespeare to signal the importance of observation, spying and eavesdropping in the play. As a plot device, these occurrences propel the action and create humour and tension. The perils of noting incorrectly are portrayed and this leads naturally to the investigation of another major theme, the discrepancy between appearance and reality. Shakespeare uses the problems of illusion, deception and subjectivity of perception to examine the Elizabethan patriarchy, and he shows how adhering to convention can distort the views of society’s leaders.
Now we will explore the world of one of Beckett’s most famous play from the “Theater of the Absurd”, Waiting for Godot. The play is seen by many as meaningless and irrational, however it contains inner symbols and ideas that Beckett had on life and religion. First, we take a look at two of the protagonist, Vladimir and Estragon have a very comical and nonsense relationship, completely opposites, they however compliment one another perfectly and offset the lonesomeness and personality of each one another. Vladimir for example is good at recollecting things and events, constantly he reminds Estragon of events past or of things such as the gospels in the Bible, whereas Estragon keeps forgetting things and sometimes cannot remember... ... middle of paper ... ...s will never come to terms with the fact that Godot will never come and they will stay there forever (Beckett Act II). The statement, “Vladimir represents the intellectual and Estragon the body, both of whom cannot exist without the other” is trying to explain the need the mind has to the body and the body to the mind.
The title therefore may have had some bearing on the actual plot or characters. The secondary title 'What You Will', suggests that the play has something of interest for everyone and it also reflects the theme of excess. This title is appropriate, as this theme is apparent in some of the characters, particularly in terms of their longings and desires. 'Twelfth Night' was the last of Shakespeare's 'mature comedies', the other two being 'Much Ado About Nothing' and 'As you like it'. Like most of Shakespeare's other plays, this play does not have an original plot.
I understand part of the play as the words rail at me from the page as vehemently as Lear rails at the heavens. Yet there is an aura of ambiguity that leaves the faintest trace of the text's essential truth, one that is alternately shrouded and then unveiled in the play's language. Despite my interpretive performance anxiety, reading the play is not futile. Meaning can be derived from Shakespeare's text, but it means looking past the obvious. When King Lear's characters say "nothing" over and over, neither they nor Shakespeare himself really mean nothing, for in King Lear, every word drips with significance.
Certainly, The Tempest would never be confused with a modern television comedy - the art of comedy has evolved too far. The main plot of the play - the plot involving Prospero regaining his rightful position as the Duke of Milan - seem to be overly serious for a comedy. The scenes containing Trinculo and Stephano, however are the exceptions here - their scenes are much closer to the modern interpretation of comedy than the majority of the rest of the play. Trinculo and Stephano are introduced in act II, scene II. This scene is almost pure farce - the events are totally unrealistic but are, however, quite funny: A good description of modern comedy, in fact.
The essential "joke" of the play is "wouldn't it be funny if two of the existential tramps present in many modern plays have to try and come to terms with the reality of being in another, more famous play". What we get is a collision of the old and the new, masterfully executed and spiced with Stoppard's own editorial views about what the art of theater is all about.
“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 ... ... middle of paper ... ...n his tremendous play writing was plot development! Without a good plot development, Shakespeare’s plays would not be as remarkable as they are.
Hamlet Drama Exam 1)Shakespeare’s revenge tragedy, “Hamlet,” critiques the society of Denmark using powerful mononlogues and dramatic action. On the other hand, Wilde’s comic drama pokes fun at the high morality of Victorian Society. One serious theme that I noticed in “The Importance of being Ernest” was the consistent act of deception throughout the entire play. However this lack of honesty was not lonesome for insightful comedy and a visible foreshadowing of upcoming events accompanied it. Meaning that the play was cleverly written with humor and provided us with an obvious chain of facts that would lead up to us unraveling the end of the play.
Deception makes things seem other than they are, and in the plot, lack of sober judgement and inexperienced noting of matters is what causes some moments of enormity in the play. The title of the play is deceiving in that the actual play involves many happenings; the plot is filled with action, albeit as a new act of deception, a battle in the merry war between Benedick and Beatrice or a song and dance. Deception is the key to excitement and captivation in a play, as Shakespeare evidently appreciated.
Through speech and the development of archetypes, Shakespeare is able to create a more complete picture of his characters. The most developed and fascinating characters in Shakespearean histories and comedies are usually the villains, while they often lack an apparent motivation (beyond their immediate needs for either amusement or power). These characters reveal little to those around them and only uncover their schemes when alone or accompanied by their henchmen. Speech, for these villains, is usually very short with choppy phrases interjected into t... ... middle of paper ... ...d. Harold Bloom. New York: Chelsea House Publishers, 1986.