The Role of Deception in Much Ado About Nothing

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.

Hamlet implies that any fool with money can gain entran... ... middle of paper ... ...nteractions with the Gravedigger. Although this character has a relatively small role, he has an enormous impact on the course of the play. Comedic relief plays a vital role in any tragedy or suspenseful play: It serves as a stark contrast to the harsh reality being presented throughout the story. In the tragedy Hamlet by William Shakespeare, comedy is utilized to distract the audience from the dramatic course of events. The theatrical plot also progresses with the comedic relief inserted in the play.

The theme of Appearance Vs. Reality is used throughout the play to mislead and confuse so things may not always be what they seem. Shakespeare uses deception to enhance the unfolding drama and involve his audience more fully in the play – the audience are party to deceptions which the characters themselves are unaware of. Prejudice was common and the word “Jew” applied to hardhearted unscrupulous moneylenders. An Elizabethan audience would have been happy to see a Jew, Spaniard or a Moor deceived and Shakespeare clearly tried to give his audience what it wanted.

Different Forms of Disguise and Deception in Twelfth Night Twelfth Night is said to be Shakespeare's most complete comedy. As in most comedies, Twelfth Night celebrates different forms of disguise and deception in order to make the play more entertaining. ”There's something in it that is deceivable”(ActIV, ScIII), indeed the crux of the play is based on disguise and deception. The most significant deception would definitely be Viola’s disguise as Orsino’s page, Cesario, which makes the story remarkably intriguing. In addition to Viola’s disguise, the deceptions of some characters further intensify the amusement of the play.

Hamlet is yet a tragedy but Shakespeare successfully brings humor through the grim walls of a tragedy and allows the reader to manipulate the scene any way he or she wishes. Humor can be manipulated as well with double meanings and different viewpoints upon what is “funny'; and what is not.

An Understanding Evil Several of William Shakespeare’s plays focus on the presence of a characters public appearance in the eyes of spectatorship and observation, and the problems that result from misunderstandings. Although it is dark at times, Much Ado About Nothing is a comedy that exemplifies this theme. As spectatorship is an action characters engage in, it becomes a challenge to keep up with the motives and truthful appearances of identities throughout the play. Due to Claudio’s ability to be easily manipulated, his motives behind rejecting Hero are masked by Don John’s evil attempt to destroy him and his marriage. In Much Ado About Nothing, Claudio is viewed as a victim of spectatorship and Don John as the perpetrator.

But I have that within which passeth show, These but the trappings and the suits of woe.” (76-86) Hamlet answers her question of why he takes exception to her by berating her for insinuating his character is lacking. In society today I see white and black. White representing happiness, goodness,... ... middle of paper ... ...h you can fret me, yet you cannot play upon me.”(29-38) Hamlet is insulting Rosencrantz and Guildenstern by comparing the deceitfulness to an instrument and saying they aren’t equipped enough to trick him. Deception seems to be flowing in every direction when it comes to Claudius and multiple foil characters. Truth and deception can be described in several ways but I only see one meaning for when it comes to the play.

He deceives his best friend Banquo, King Duncan, as well as his public. “Fair is Foul and Foul is Fair” Macbeths fair appearances hide foul realities, adding to the deception of his friends and acquaintances. Shakespeare uses these particular words and this phase as it strongly relates to the story line of Macbeth. This phase is used more than once in the play, and sets a mood of curiosity for the audience. Shakespeare uses this phase to remind the audience that though events, things and people may seem good or bad.

In Twelfth Night, Shakespeare portrays several characters in a controversial way. Some witty characters are portrayed as foolish, and some foolish characters are portrayed as witty. In the beginning of the play, Sir Andrew and Malvolio are presented as smart people; however, as the play progresses, the audience is exposed to their foolish sides. On the other hand, Sir Toby and Feste are portrayed as fools, but as the plot develops the audience acknowledges their wisdom. Malvolio and Sir Andrew’s foolish sides are exposed because of their gullible nature, while Feste and Sir Toby’s wisdom is revealed through their insightful remarks and brilliant prank ideas.

Much can be said about the figure of the Fool in Shakespeare’s plays. The role that this type of character shows an interesting dynamic, particularly in the sense that the inclusion of the figure of a clown is always fitting and appropriate, regardless of the genre of the play. Shakespearean fools are privileged laugh provokers, who usually don’t have any real part in the play but their presence is significant. Many were wise enough to know how to offer profound truth and wisdom in the guise of humor. The fool is often the only source of humor in tragedies and is needed to lighten the otherwise dark, and depressing mood of the play.