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Love in much ado about nothing
The presentation of love in much ado about nothing
Essay on the character of claudio in much ado
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The Character of Claudio in William Shakespeare's Much Ado About Nothing
"Much Ado about Nothing" is not unlike other Shakespearean comedies.
These stories usually deal with the main idea of young people who are
in love with each other. They encounter difficulties which they have
to deal with so that they can both live together, happily ever after.
In "Much Ado about Nothing", Claudio and Hero are the young characters
in the play, who along with other characters struggle through their
difficulties to make their lives better. Claudio, the main figure in
"Much Ado about Nothing" is more of a romantic hero in the play. He,
like other heroes in Shakespearian comedies, has a fault in his
character. This fault leads to an error on his part in which he has to
suffer through the consequences before being regenerated, forgiven and
deemed worthy of true love. However Claudio is a less than perfect
romantic hero. Notably, he constantly changes his character throughout
the play. In Act1 Scene1, Leonato is reading from a letter sent to him
by Don Pedro who "bestowed much honour on the young Florentine called
Claudio", also the messenger in Act1 Scene1describes Claudio as the
"noble Claudio" these sentences tells the reader that Don Pedro and
the community obviously thought well of "young" Claudio who performed
very well during the battle. Hence, Claudio arrives on stage in a high
mood similar to that of one who has just won a battle. This just goes
to show that he is experienced and prosperous in battle but the public
still think of him as too young to have won those battles.
Furthermore, Don John's insulting description of Claudio in Act1
Scene3 ...
... middle of paper ...
...uty. He does not sound
very much interested in their inner qualities such as character and
personality.
Then again, Claudio is sincerely amazed and happy at the discovery
that hero was alive where he exclaimed in Act5 Scene4 "Another Hero!"
In conclusion, at the end of the play, Claudio has transformed to have
many different personalities, some noble, others loathing. Still, he
is very much the romantic hero that he was at the first instance of
the play. Readers would assume that Claudio has been matured by the
experiences he had endured; they would feel that he is now more
capable than he was at the beginning to know the entity of love.
Finally, Claudio's actions have a very religious factor where he sins
against Hero and her family, he asks for forgiveness, he is forgiven
and life becomes blissful ever after.
The main problem is young Count Claudio. He is immature when it comes to matters of love, and it shows when he hints of his growing feelings for Hero when he asks Benedick what he thinks of her (I.i.161). Claudio cannot come out and just say that he has feelings for Hero, he has to seek approval from his male counterparts first. While talking to both Benedick and Don Pedro, Claudio describes his feelings as passion first (I.i.219-220), and then he says, “That I love her, I feel” (I.i.228), indicating that he knows he feels something for Hero, but he is unsure of exactly what his feeling...
The next time we meet Don John in the play in is Act I scene III. We
Whedon's production of Much Ado About Nothing is a modern, black and white retelling of the famous Shakespeare play of the same name which tells the story of love and deceit between two couples: Hero and Claudio, and Beatrice and Benedick. While Hero and Claudio court and prepare to marry each other, Beatrice and Benedick steal the show away with their wit, humor, and constant bickering. Though they both insist that they hate each other, the flashback presented at the start of the film suggests that there is far more to the story than meets the eye. While the style of the film certainly enhances the story being told, making it a timeless classic entangled with modern society, it is the ensemble cast that work both individually and as a unit which make the film a true masterpiece, as well as the genius idea of a change in scenery that propels a sense of realism not often found in your average Shakespeare adaptation.
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When Aunt Alexandra first arrived at the Finch house, she took over as if she had been living there her whole life. When arriving home, Jem and Scout found her, “sitting in a rocking chair exactly as if she had sat there every day of her life.”(p. 168). From the very beginning, Aunt Alexandra felt she should be completely in charge. The first thing she said was, “‘Put my bag in the front bedroom, Calpurnia,’” (p. 169). Aunt Alexandra treated Calpurnia as if Calpurnia was her servant. Aunt Alexandra was a strong influence within the Finches home, from the beginning. It did not do much of anything in the end, yet Jem and Scout saw a different side of their father, Atticus. “Atticus suddenly grew serious. In his lawyer’s voice, without a shade of affection, he said: ‘Your aunt has asked me to try and impress upon [Jem] and Jean Louise that you are not from run-of-the-mill people, that you are the product of several generations’ gentle breeding−’”(p. 177). This may have been one of the first times that the children...
At the beginning of To Kill a Mockingbird, Jem and Scout are typical and carefree children who haven’t seen the world outside of Maycomb. Unfortunately, they are exposed to evil much too early in their lives due to their father’s profession as a lawyer. Scout, the younger and more ou...
Shakespeare's Othello is not simply a play which embodies the conflict between insider and outsider. The paradigm of otherness presented in this play is more complicated than the conclusion, "Othello is different; therefore, he is bad." Othello's character is to be revered. He is a champion among warriors; an advisor among councilmen; a Moor among Venetians. Yes, Othello is a Moor, but within the initial configuration of the play, this fact is almost irrelevant. His difference is not constructed as “otherness.” Othello, by his nature, is not an “otherized” character. Besides being the dark-skinned Moor, Othello varies in no real way from the other characters in the play. Further, Othello and Iago can be seen as two sides of the same destructive coin. With Iago as a foil and subversive adversary, Othello is not faulted for the indiscretions he commits. It is the invention and projection of otherness by various characters in the play, especially Iago, which set the stage for the tragedy of dissimilarity which is to ensue.
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The Development of the Character of Othello as Shown by his Use of Language and Imagery in William Shakespeare's Play
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