Effective Use of the Foil in Much Ado About Nothing
In The Marriage of Heaven and Hell, the famous British poet William Blake wrote that "without contraries there is no progression - Attraction and repulsion, reason and imagination, and love and hate are all necessary for human existence" (Blake 122). As Blake noted, the world is full of opposites. But, more importantly, these opposites allow the people of the world to see themselves and their thoughts more clearly. For, as Blake asserts, without attraction, one cannot understand repulsion, and without imagination, one cannot understand reason. In Much Ado About Nothing (MAAN), William Shakespeare uses this idea of the power of opposites to show the differences in two types of love. Using the relationship, language, and actions of Hero and Claudio as a foil against those of Beatrice and Benedick, Shakespeare has painted a world in which the ideas of courtly love only serve to illuminate those of true love.
In an essay on Chaucer's Canterbury Tales, William Kittredge defined the idea of courtly love that is illustrated in MAAN. Kittredge said that courtly love must involve a love that is extremely idealized and superficial, with the vassal or servant-like suitor, who is often a valiant knight, devoting himself completely to an ideal woman who is often the daughter of a powerful man (Kittredge 528-529). When this definition is applied to the relationship between Hero and Claudio in MAAN, one is able to recognize a perfect match. For example, Claudio, a young lord of Florence, is a valiant soldier as is shown in the first scene of the play with the comments made by the Messenger: "[Claudio] hath borne himself beyond the promise of his age, doing ...
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...hat is truly Much Ado About Nothing, becomes a commentary on the idea of love. True love becomes illuminated through its reflection in its own foil - the ideals of courtly love. The true relationship of Beatrice and Benedick compared to the relationship of Claudio and Hero, gives the reader not only a better understanding of the power of the literary foil, but also a foil into which that reader can reflect and better understand himself.
Works Cited
"Blake, William." The Columbia Dictionary of Quotations. CD-ROM. New York: Columbia UP, 1998.
Kittredge, George. "The Marriage Group." The Canterbury Tales: A Norton Critical Edition. Ed. V.A. Kolve.
New York: W.W. Norton & Co., 1989. 523-530.
Shakespeare, William. "Much Ado About Nothing." The Norton Shakespeare. Ed. Stephen Greenblatt.
New York: W.W. Norton & Co., 1997. 1389-1443.
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.
...ut Nothing is an extremely fast paced and witty play, Shakespeare very much has love as his central theme. There are two very different, yet equally compelling relationships that are explored in depth. They run through the play concurrently, allowing the reader to compare and contrast the different facets and complexities between the two. The playwright’s rich understanding of relationships, and particularly his understanding of the fact that love is not always as formulaic as many a writer would have us believe, makes for a fascinating read. In fact, by directly comparing a realistic couple, full of real world self doubt and a fear of rejection with a very stereotypical love-at-first-sight type of relationship, Shakespeare is possibly making the point that love and relationships have more depth than is often given credit.
Forbes, Shannon. "'To Alisoun Now Wol I Tellen Al My Love-Longing': Chaucer's Treatment of the Courtly Love Discourse in the Miller's Tale." Women's Studies 36.1 (2007): 1-14. Academic Search Premier. Web. 16 May 2013
With its entangled 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 that carries the drama from beginning to end. For example, when we look at Act 1 Scene 1 of the play, we are quickly introduced to the sharp tongued Beatrice as she verbally annihilates her unseen co-star Benedick.... ... middle of paper ... ...
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Beatrice is an extremely crucial character in ‘Much Ado About Nothing’. She is one of the reasons that many plans and schemes fall into place to provide us with the outcome that the play finally reaches. Shakespeare depicts Beatrice as a very strong character who knows what she wants and how she wants to achieve it. Her characteristics of sharp wit and her ability to be acutely opinionated allow her to be a notable contrast from the other women in the play, whether this be in a positive or a negative way.
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I have read several articles recently on the negative effects of discipline, particularly spanking. Refraining from spanking children has become the new "normal" for many households. In the past three years of working in childcare, I have seen many different children from many types of homes. Interestingly enough, after spending about fifteen minutes with a child one is able to tell whether or not they were spanked. In my own experience, children who have been "spared the rod" tend to have more
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