Much Ado About Nothing 2 Essay, Research Paper
The plot of Much Ado About Nothing is an elaborate network of schemes and tricks. This statement is confirmed throughout Much Ado About Nothing. The play contains many examples of tricks and schemes that are used to manipulate the thoughts and feelings of characters. The major examples of such manipulation include- Don Pedro, Claudio and Leonato tricking Benedick into believing that Beatrice loves him, Hero and Ursula trick Beatrice into thinking Benedick is in love with her. The relationship between Claudio and Hero also endures much manipulation. For instance Don John and Borachio trick Claudio and the Prince into believing Hero is unfaithful. As in the tradition of Shakespeare, the Friar deceives everybody into thinking Hero is dead.
An instance of trickery involves Benedick being manipulated to believe Beatrice is in love with him. This trickery is carried out playfully by Don Pedro, Leonato and Claudio. They realise Benedick’s stubbornness in Act II Scene iii, when he states man is a fool when he dedicates his behaviours to love. Due to this stubbornness Don Pedro, Leonato and Claudio must devise a way of attaining the love amid Benedick and Beatrice. In Act II Scene iii the men accomplish this by way of waiting for Benedick to be within ears reach, then raising the topic of Leonato’s niece Beatrice. Don Pedro s reference about your niece Beatrice was in love with Signor Benedick. helps to accomplish such manipulation. This scheme is completed when this is overheard by Benedick, and due to his insecurity about love he falls for their trick, thus loving Beatrice.
Another example of manipulation that is closely related to the one involving Benedick but Beatrice becomes the focus of the scheme. Like Benedick, Beatrice’s feelings about love are strong and opposing. When she states “Not till God make men of some other mettle than earth” she assumes that her desired partner does not exist. Hero and Ursula believe that Benedick would make a good husband for Beatrice and as a result of this, they plan a scheme to bring about love between Beatrice and Benedick. Hero and Ursula accomplish their scheme in Act III Scene i. Their scheme is concluded by means of discussing that they have heard that Benedick loves Beatrice greatly. Beatrice overhears this and thinks the combination of her and Benedick s wit and intelligence would make a successful match. Beatrice displays her free will when making this decision.
The most significant trick employed during the play is carried out in Act IV Scene i; this trick is crucial because it adds the uncertainty and action to fulfil the requirements of a romantic comedy. Don John and Borachio manipulate Claudio and the Prince into believing that Hero is unfaithful the night before she is to be wed. Don John and Borachio achieve this via Borachio setting up a meeting of himself and Margaret in Hero’s room, thus Margaret portrays herself unknowingly as Hero. Don John then proceeds to convince Don Pedro and Claudio that he has received word of Hero’s unfaithfulness. Claudio is without complications convinced, due to his insecure and influential nature. Don Pedro is also easily convinced because he feels loyalty between his brother and himself. This trick culminates on Claudio and Hero’s wedding day when Claudio accuses and disgraces Hero.
Additional manipulation succeeds the deceit of Claudio by Don John. In Act IV Scene i, after Hero is accused of being unfaithful, the Friar decides that she should just play dead until she is proven innocent. As in the tradition of Shakespeare, the Friar deceives everyone into believing that Hero died from the humiliation and shock of being disgraced on her wedding day. The deception carried out by the Friar is vital to the happy ending of the romantic comedy. It leads to another trick where Claudio is lead to believe that he is marrying Hero s cousin but ends up marrying Hero herself.
The plot of Much Ado About Nothing is an elaborate network of schemes and tricks. This statement is confirmed throughout the play as in the examples previously discussed. The play is based around these tricks and schemes and is crucial for the plot development and for Much Ado About Nothing to fit into the genre of a romantic comedy. Therefore the plot of Much Ado About Nothing is an elaborate network of schemes and tricks.
An exploration of Shakespeare’s presentation of trickery and deception in his play ‘Much Ado about Nothing.’
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.
These instances are as follows: Don Pedro wooing hero for Claudio, Don Pedro wooing hero for himself, Claudio pretending to be Benedick to find out information from Don John and Borachio, Don John and Borachio both know that Claudio is not Benedick but trick Claudio into thinking that they believe that Claudio is in fact Benedick, Benedick pretending to be somebody else whilst talking to Beatrice, Beatrice pretending to believe that she is in fact talking to Benedick, Beatrice having romantic feelings for Benedick, Benedick having romantic feelings for Beatrice, Beatrice not having romantic feelings for Benedick, Benedick not having romantic feelings for Beatrice, Hero is unfaithful with Borachio, Hero is dead, and Antonio having another daughter.
Don John plays an essential role for nearly all of the trickery and deception in this play. He acts like a catalyst and an instigator for trouble, whose sole aim is to marmalize the love and happiness between Claudio and Hero. Shakespeare uses foreshadowing of Don John’s villainy to display the trickery and deception:
’It better fits my blood to be distained of all
than to fashion a carriage to rob love from any, in this,
though I cannot be said to be a flattering honest man, it
must not be denied but I am a plain-dealing villain. I am
trusted with a muzzle and enfranchized with a clog:
therefore I have decreed not to sing in my cage. If I had
my mouth, I would bite, if I had my liberty, I would do
my liking. In the meantime, let me be that I am, and
seek not to alter me.’
- Don John.
o (Act I, Scene III: Lines: 22-30).
The first instance of trickery and deception is when Don Pedro tells Claudio that he will woo Hero for Claudio to marry her in Act I Scene I. Tricking her to believe that Don Pedro himself has feelings for Hero:
‘I will assume thy part in disguise,
and tell fair Hero that I am Claudio,
and in her bosom I’ll unclasp my heart,
and take her hearing prisoner with the force
and strong encounter of my amorous tale.
Then after, to her father will I break:
and the conclusion is, she shall be thine.’
- Don Pedro.
o (Act I, Scene I: Lines 276 - 282).
It is reported to Don John by Borachio that “…The Prince should woo Hero for himself, and having obtained her, give her to Count Claudio.” After hearing this, Don John proceeds in saying:
‘…If I can cross him in any way, I bless myself
in every way. You are both sure, and will assist me?’
- Don John.
o (Act I Scene III: Lines 54-55).
After this scene, both Don John and Borachio deceive Claudio into believing that Don Pedro himself is in love with Hero and that he is wooing her for himself “my brother is amorous on Hero”. Borachio and Don John more or less lead Claudio to attempt to deceive them by pretending to be Signoir Benedick in order to find out more information, although Borachio and Don John are deceiving him again since they in fact know that he isn’t Signior Benedick:
‘And that is Claudio, I know him by his bearing.’
o (Act II scene I: Line 136).
‘Are not you Signoir Benedick?’
- Don John.
o (Act II, Scene I: Line 137).
‘You know me well: I am he.’
o (Act II scene I: Line 138).
Claudio proceeds in asking Don John “How know you he loves her?” then Don John lies to Claudio again by saying that he heard “him swear his affection”.
Another conspiracy is that of Benedick trying to deceive Beatrice into thinking that he is somebody else, so she talks to him differently in Act II scene I. It is debatable whether Beatrice knows that Benedick is the stranger behind the mask but if she does happen to know this then she is deceiving him to make a fool out of him.
Of all of deception and trickery that runs through ‘Much Ado ’ one of the most prominent is the love affair between Beatrice. It starts of with ‘a merry war’, goes into both Benedick and Beatrice denying the fact that they have romantic feelings towards each other, and then after they are deceived by: Hero, Ursula, Don Pedro, Claudio and Leonato start to show their true feelings towards each other in their own soliloquies.
Another conspiracy which, again, involves Don John and Borachio trying to sabotage Claudio and Hero’s relationship is in Act II Scene II, when Borachio suggests to Don John that they should convince Claudio and Don Pedro that Hero is no longer a maiden and has been unfaithful to Claudio with Borachio, vexing Claudio whilst also “misusing the prince, to undo Hero, and kill Leonato”.
Don John approves of this idea and offers to pay Borachio for his part in the plan. Borachio tells Don John that Hero is in love with Borachio. “Tell them that you know that Hero loves me”. Don John then informs Borachio of his payment for his part in the plan “a thousands ducats”.
Don John leads Don Pedro and Claudio to under Hero’s window where they find Borachio and Margaret are having Sexual intercourse at the window of Hero’s bedroom. However, Don Pedro and Claudio are led to believe that the woman is in fact Hero.
This plan is carried out in Act III Scene II, when Don John approaches Don Pedro and Claudio saying:
‘You may think I love you not. Let that
appear hereafter, and aim better at me by that I now will
manifest. For my brother, I think he holds you well, and
in dearness of heart hath holp to effect your ensuing
marriage – surely suit ill spent, and labour ill bestowed!’
- Don John.
o (Act III, Scene II: Lines 81-85).
Don John then goes on to say ‘the lady is disloyal’ and refers to her as a whore by saying ‘Even she – Leonarto’s Hero, your Hero: every man’s Hero.’ He then advises Claudio to not disagree with his view before the ‘evidence’ is presented to him, and also advised that:
‘If you dare not trust what you see, confess not that you
know. If you will follow me, I will show you enough.
And when you have seen more and heard more,
- Don John.
o (Act III, Scene II: Lines 103-106).
This deception overlaps into Act IV Scene I (the wedding scene) where Count Claudio and Don Pedro proceed in shaming Hero for supposedly not being a virgin, causing Leonarto to be ashamed of his daughter and enraged by the situation.
Claudio starts to shame Hero during the wedding scene in Act IV Scene I by asking Leonarto if he is sure that Hero is actually a virgin:
‘Will you free an unconstrainèd soul,
Give me this maid, your daughter?’
o (Act IV Scene I: Lines 21-22).
As Leonarto still believes that his daughter is a maid and unconstrained ‘As freely, son, as God did give her me’ he tries to defend her by asking Claudio ‘what do you mean, my lord?’ This shows the reader how confused Leonato is at this point in the play.
Claudio and Don Pedro continue to shame Hero in front of all her family and all of their friends:
‘Not to be married,
Not to knit my soul to an approvèd wanton.’
o Act IV, Scene I (Lines 40 and 41).
Everybody at the congregation is deeply shocked by this revelation. Benedick shows that he is uncertain about the whole affair:
‘Two of them have very bent of honour,
And if their wisdoms be misled in this,
The practice of it lives in John the Bastard,
Whose spirits toil in frame of villainies.’
o Act IV, Scene I: (Lines 182-185).
It is later revealed that Don John and Borachio were solely responsible for the conspiracy that Hero had been adulterous with Borachio when she hadn’t by Dogberry and his watchmen in act III scene III, when Borachio was bragging about being paid by Don John for his part of dishonouring Hero to Conrade:
‘… But know that I have tonight, wooed
Margaret the Lady Hero’s gentlewoman, by the name of
Hero. She leans me out at her mistress’ chamber-
window, bids me a thousand times goodnight- I tell this
tale vilely – I should first tell thee how the Prince,
Claudio, and my master, planted, and placed, and
possessed, by my master Don John, saw afar off in the
orchard this amiable encounter.
o Act III, Scene III: (Lines: 129- 136).
Conrade helps the watchmen to find out more about this plot by unknowingly, by asking Borachio if ‘thought they Margaret was Hero?’ Borachio makes a grave error when he replies with in ear shot of the watchmen with:
‘Two of them did, the Prince and Claudio – but the devil
My master knew she was Margaret. And partly by his
oaths, which first possessed them, partly by the dark
night, which did deceive them, but chiefly by my
villainy, which did confirm any slander that Don John
had made, away went Claudio enraged: swore he
would meet her, as he was appointed, next morning at
the temple, and there, before the whole congregation,
shame her with what he saw o’ernight, and send her
home again without a husband.’
o Act III, Scene III: (Lines: 138-147).
After hearing this, the watchmen leap out from their hiding place, arrest both Borachio and Conrade:
(coming forward) ‘We charge you, in the Prince’s name,
- Watchman 1.
o Act III, Scene III: (Lines 148-149).
Borachio and Conrade are then led off to prison by the watch, where they confess everything about the plot to destroy the relationship between Claudio and Hero to
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Custom In Much Ado about Nothing.
In Much Ado Nothing, is a romantic comedy written by William Shakespeare. He beautifully engages words to display the prose in a poetic manner. Shakespeare uses the power of words in the comedy to appeal to his audience, deceive, destroy and restore honor to various characters in the play. According to Shakespeare, the problems experienced in the society relate to male reputation, women mistreatment and social structures. The play exposes the mistreatment and injustice faced by women. It reveals how prideful men hide behind the veil of reputation and abuse the norms of society to wrongfully mistreat women in the society. William Shakespeare portrays when in a variety of characters, roles and responsibilities In Much Ado About Nothing comedy. Hero is revealed as a submissive and loyal woman in society. She adheres to the norms of the society such as submission to her father. In addition, she is willing to completely submit to her husband. She represents the character & behavior that the society expected from a woman in her times. Even though she was accused wrongfully of unfaithfulness, her honor as woman is restored when vindicated (McKewin & Carol 297).
On the other hand, Shakespeare portrays Beatrice as witty and intelligent woman. She is revealed as fearless and a woman who speaks her mind regardless of the circumstances. She is argumentative and quick to answer anyone who questions her. Her inclusion in the play is intended to persuade the society that some women can exercise power or authority over men through use of language. Also Shakespeare is making a statement that some women are more intelligent, assertive & clever than men.
Finally, according to Shakespeare, each gender display varied expectation of the relating. The men expect women to be unfaithful, nagging and deceiving. Where areas on the other hand, the women are expected to put up with men’s deceptions and unfaithfulness.
Hero and Claudio's relationship is turbulent and key in the plot play. Hero is wrongfully accused of unfaithfulness and humiliated publicly on her wedding day in Act IV scene 1. Hero is deeply heart by Claudio response to the situation; she pretends to die in order to gain back his love. Eventually liars are exposed and ashamed and they marry happily. Hence, restoring honor and dignity upon Hero.
On the other hand, throughout the play, Benedick and Beatrice are portrayed as having a turbulent relationship.Benedick is a sarcastic bachelor who had sworn never to marry. He is portrayed as a war man no wonder Beatrice poses a fight challenge to prove his masculinity. It seems that Benedick and Beatrice are in love with each other even though they hold different ideologies of sexism in the society. However, in the declaration of love scene, Benedick declares his love for Beatrice in a crisis moment. Beatrice responds to him by providing a ridiculous challenge for him to prove his masculinity which he willingly responds to in order to win his heart. Beatrice knows that Benedick can not kill Claudio according to request but she does it to defend Hero a fellow woman who had just been accused falsely of unfaithfulness (Dusinberre & Juliet 244).
According to the Annotated Bibliography by Ruggiero & Guido, they expose the primary source of liberation in the society, and then they allow destruction of the same and finally restores the honor at the end. This is similar to Much Ado About Noting, where Shakespeare restores the honor of the Women after destroying it initially.
In conclusion, despite the varied characters portrayed in the play for women, and occasional conflict among women, women have strong relationships throughout the play. They willingly support and defend one another when need arise. For instance, Beatrice strongly defended Hero when accused of unfaithfulness even though she did not have any evidence but she doubted the validity of accusation alleged against fellow woman.
Consequently, throughout the play, Benedick and Beatrice are portrayed as having a turbulent relationship. It seems that Benedick and Beatrice are in love with each other even though they hold different ideologies of sexism in the society. However, in the declaration of love scene, Benedick declares his love for Beatrice in a crisis moment. Beatrice responds to him by providing a ridiculous challenge for him to prove his masculinity which he willingly responds to in order to win his heart. Subsequently, although Hero and Claudio's relationship is turbulent and key in the plot play, eventually liars are exposed and ashamed and they marry happily. Hence, restoring honor and dignity upon Hero. Shakespeare portrays a variety of women personalities and status in society hence creating understanding and easy of relating to different characters, formed in the play. He truthfully exposes how women can use words and language intelligently to rule and have control over men.
Finally, the problems experienced in the society relate to male reputation, women mistreatment and social structures. The men expect women to be unfaithful, nagging and deceiving. Where areas on the other hand, the women are expected to put up with men’s deceptions and unfaithfulness. The play exposes the mistreatment and injustice faced by women. It reveals how prideful men hide behind the veil of reputation and abuse the norms of society to wrongfully mistreat women in the society.Custom In Much Ado about Nothing.
Much Ado About Nothing 4 Essay, Research Paper
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 first example of deception we see is with the characters of Beatrice and Benedick. These two characters provide the humor throughout Shakespeare’s comedy; their repartees and soliloquies tend to leave the reader smiling and anxious for more dialogue between them. Beatrice and Benedick have had a relationship prior to their battles of wit to which she alludes to in Act 2: Marry, once before he won it for me with false dice; / Therefore your grace may well say I have lost it (2.1.265-7). We see that at one time in the past they had a relationship that somewhere went wrong. The deception of Beatrice and Benedick comes courtesy of Don Pedro in Act 2. In this scene, Don Pedro, out of pure amusement, asks Leonato, the governor of Messina, and Claudio, a lord attending on Don Pedro, for help to bring these two together: If we can do this, Cupid is no / longer an archer; his glory shall be ours (2.1.363-4). In Act 2.3, Claudio, Pedro, and Leonato, see Benedick in the garden and decide that that is the right moment for them to try and trick Benedick into falling for Beatrice. The three men talk of Beatrice s false affections towards Benedick, and in his eavesdropping he falls for the bait. Benedick, shows us his true feelings in his soliloquy: This can be no trick / I will be horribly in love with her (2.3.210,223). Benedick, decides that he will allow himself to fall in love with Beatrice.
The second example of deception is seen in Act 3.1. Hero and Ursula do their parts to trick Beatrice into falling in love with Benedick. They speak highly of Benedick and praise him more than ever man did merit (3.3.19). In her eavesdropping and overhearing she falls for the bait, as did Benedick. In Beatrice s soliloquy she discloses her thoughts of Benedick s false affectations towards her. She is willing to tame her heart so that Benedick and she can be together. Beatrice s submissiveness shows her subconscious yearnings to be in love, as well as Benedick even though She and Benedick aren t willing to admit it.
The most heinous act of deception in Much Ado About Nothing is committed against Hero, the daughter of Leonato, and Claudio. These two characters, unlike Beatrice and Benedick, fall in love after seeing each other for the first time Shakespeare s classic case of love at first sight. The deception starts after Borachio overhears Don Pedro s plan to assume thy part in some disguise (1.1.305) in order to woo Hero for Claudio. At the masquerade party, while Don Pedro is dancing with Hero in hopes of wooing her for Claudio, Borachio and Don John encounter Claudio and try to convince him that Don Pedro is only wooing Hero for himself: Signor, you are very near my brother in his love. / He is enamored on Hero (2.1.155-6). After Borachio and Don John s diabolical scheme seems to work, Claudio soliloquizes the audience with maxims of truth. He talks about friendship always being constant (2.1.167) except when it comes to love. After Don Pedro finishes dancing with Hero, he comes to tell Claudio the good news that he has wooed Hero and she will accept his hand in marriage; he is ecstatic and is nearly left speechless. It is here that Don John s plan goes awry and his contingency plan comes into play. Don John devises a plan to trick Don Pedro and Claudio into seeing Borachio and Margaret pretending to be Hero and her secret lover at Hero s window. This infuriates Claudio and he prepares to make an example out of Hero at their wedding. At the church, Claudio verbally attacks Hero: She knows the heart of a luxurious bed; / Her blush is guiltiness, not modesty (4.1.40-1). This postpones the wedding and creates confusion among every one around. Claudio shows no sense of trust in Hero and neither does her father Leonato. Right away he says that the only forgiveness for such a sin would be death, even though the rumor of her infidelity hasn t been confirmed:
O Fate, take not away thy heavy hand!
Death is the fairest cover for her shame
That may be wished for.
Finally, it s eavesdropping and overhearing that brings justice to a chaotic state when Borachio is confessing to Conrad what Don John and he have done to Hero And Claudio. Borachio tells Conrad the details of their deception of Hero and Claudio. While he is telling his story like a true drunkard, (3.3.104) two watchmen overhear him and arrest him immediately in the prince s name.
Much Ado About Nothing is full of deception whether the motives are good or bad misconstruing, hearsay and disloyalty among the characters; it is also these themes that bring the world at peace at the end of the play. Shakespeare s comedy shows that trust in others is a high quality and if one sees trust in another, it can be used to manipulate the actions and thoughts of another be it for good reasons or not.
Lies and cheating is ever-present in Much Ado About Nothing. but the characters never expect it. This is one gullible crew.
Deception appears as the tool of villains to spread chaos and unhappiness. However, it’s also a device used by friends to improve each other’s lives. Everyone from scoundrels to nice daddy’s girls to clergymen use deviousness—so deception doesn’t come with a value judgment, it’s neither absolutely good or absolutely bad. Whether deception is okay or not depends on the intentions of the deceivers—if the intention is to promote happiness, then the deceiver is a good friend, but if the deceiver intends harm, then he’s a nasty jerk.Questions About Lies and Deceit
Try on an opinion or two, start a debate, or play the devil’s advocate.
Deception is not to blame for the mishaps in the play. All of the major plots are actually set in motion by the characters’ susceptibility to suggestion. They only see what they want to, and they are no more misled than they allow themselves to be.
Deception is inherently bad. It is used in this play to sometimes bring out positive results, but those outcomes are actually artificial, and easily undone.
SOURCE: Henze, Richard. “Deception in Much Ado About Nothing. ” Studies in English Literature 1500-1900 11, no. 2 (spring 1971): 187-201.
In the following essay, Henze offers an analysis of Claudio's character that focuses on the threat Claudio poses to social harmony.
Two major difficulties in Much Ado About Nothing, the question of unity and the character of Claudio, periodically reappear to be resolved or unresolved by the critics. On the first problem, critical opinion has been divided. While some critics feel that there is an inartistic disharmony in the combination of Hero and Claudio with Benedick and Beatrice, 1 that the play's serious and comic plots are involved with each other rather than integrated, 2 that there is an “inconsistency of purpose,” 3 or that the play as we have it represents a less than perfect revision of an earlier play, 4 other critics see instead considerable.
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Much Ado About Nothing: Just A Comedy?
“This play we must call a comedy, tho’ ;some of the incidents and discourses are more in a tragic strain ;and that of the accusation of Hero is too shocking.
Each of the main characters in Much Ado About Nothing is the victim of deception, and it is because they are deceived that they act in the ways that they do. Although the central deception is directed against Claudio in an attempt to destroy his relationship with Hero, it is the deceptions involving Beatrice and Benedick which provides the play's dramatic focus.
Nearly every character in the play at some point has to make inferences from what he or she
Comedy Should Be Used For Serious Social Comment.
Comedy may be used for serious social comment. Discuss this statement with reference to Much Ado About Nothing. Much Ado About Nothing is a humorous Shakespearean play, following the.
sees, has been told or overhears. Likewise, nearly every character in the play at some point plays a part of consciously pretending to be what they are not. The idea of acting and the illusion it creates is rarely far from the surface - Don Pedro acts to Hero, Don John acts the part of an honest friend, concerned for his brother's and Claudio's honour ;Leonato and his family act as if Hero were dead, encouraged to this deception by,
Analysis Of Much Ado About Nothing
Much Ado about Nothing Title Much Ado About Nothing illustrates a kind of deliberately puzzling title that seems to have been popular in the late 1590s (ex “As You Like.
of all people, the Friar who feels that deception may be the way to get at truth ;and all the main characters in the plot pretend to Benedick and Beatrice so convincingly that they reverse their normal attitudes to each other.
In I.1 Don Pedro offers to play Claudio and win Hero for him. This plan is overheard, and misreported to Antonio. His excited retailing of the false news of Don Pedro's love for Hero to Leonato is, however,
Much Ado About Nothing
Much Ado about Nothing Title Much Ado About Nothing illustrates a kind of deliberately puzzling title that seems to have been popular in the late 1590s (ex "As You Like.
not without some caution: the news will be good as 'the event stamps them ;but the have a good cover, they show well outward' (I.2.6). Leonato shows a sense here that he could well do with later in the play: 'Hath the fellow any wit that told you this?'. 'we will hold it as a dream'. 'peradventure this be true'. Admittedly he does not question the 'good sharp fellow' who overheard, any more than
Analysis of Much Ado About Nothing
Much Ado about Nothing Title Much Ado About Nothing illustrates a kind of deliberately puzzling title that seems to have been popular in the late 1590s (ex “As You.
he examines Dogberry's prisoners as he should, but the caution of the two older men about what would be only too delightful for them to believe is in sharp contrast to the readiness with which they believe in Hero's disgrace.
The first introduction of the motif of overhearing is more important than it might seem at first sight. Eavesdropping is almost a full-time occupation in Messina: virtually everybody does it. Don Pedro and Claudio eavesdrop on the conversation between the
The Merchant Of Venice
The Merchant Of Venice When William Shakespear wrote, The merchant Of Venice, he made a female character that has a huge influence on the play.
supposed Hero and Borachio and draw the inferences that Don John's lie prejudiced them to draw. Benedick and Beatrice think they are eavesdropping on their friends' conversation, not realising that it is being held deliberately to deceive them. Beatrice is trapped into listening to Ursula and Hero by Hero's making Margaret pretend she has overheard a conversation about her (III.1.6).
The importance of the introduction of the idea of eavesdropping and mishearing in I.2 is stressed by the scenes that immediately follow. In I.3 the theme of deceit is again signalled. Don John reveals his true nature as an unscrupulous schemer, and his malevolence towards his brother - hidden under an apparent reconciliation, which all but his cronies have to accept at face value. Antonio's man was not the only one to overhear Don Pedro and Claudio: Borachio reports correctly what Don Pedro's plan is. Don John's love of vindictive mischief breaks out in the twisting of the ">true<-"> ;report to the ">false<-"> ;one that Antonio gave Leonato. After the masked dance, in which people tacitly (by disguise) or openly deny their identity - 'At a word, I am not' (II.1.101) - he completely convinces Claudio that the man he has every reason to trust as his lord and patron has betrayed him. Seeing Claudio, Benedick is taken in too - because he trusts Claudio, his comrade in arms, as a sensible man ;and the matter is only straightened out by Don Pedro himself and the public betrothal of Hero to Claudio. This, the first of Don John's attempts at mischief, is easily got over ;but it puts down a marker for Don John's second, much more serious, attack on the equilibrium of the world of Messina. In a parallel case, Don Pedro's
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Much Ado About Nothing
Sample essay topic, essay writing: Much Ado About Nothing - 861 words
Much Ado About Nothing, by William Shakespeare emphasizes the three major themes of marriage, deception and gender power. There are two visions of marriage in the play: the first one, characterized by Hero and Claudio, is a positive vision: Although their story is supposed to be the main plot of the play, they are two passive characters in love, ready to get married to one another without any misunderstanding. Benedick and Beatrice characterize the second aspect the matrimonial institution takes. Their relationship is a lot more complex since they both have very strong personalities and they both fear marriage will trap their identities. Beatrice would "rather hear my dog bark at a crow than a man swear he loves me"(I,1.123); and Benedick "will not be sworn but love may transform me to an oyster" (II, 3. 22,23).
Benedick and Beatrice's use of words is extremely clever and witty, which makes the reader take part of their story a lot more than Hero and Claudio's. The climax of the play can be described as "broken nuptials" (Neely Carol), when Claudio puts an end to the wedding, the day of the ceremony, transgressing the holiness of the institution. The theme of honor is strongly linked with the one of marriage. Claudio is a man of honor and he is humiliated when he thinks he sees Hero in a compromising situation with Borachio. He had wooed her in public therefore he had to take a public revenge to save his honor
Hero has been humiliated and unjustly accused. She is being reported as dead as a drastic measure to save her honor, and Claudio will repent and mourn Hero by accepting a substitute bride. Like in most comedies, the theme of deception is very present in the play. At the beginning of the play the ball scene is an introductory scene to the future deceptions happening in the text. The masks everyone are wearing help establish confusion, and the theme of deception of appearances is introduced.
The theme of deception in the play is beneficiary both for the comedy and for the tragedy. In the case of Don Pedro's attempt to unite Beatrice and Benedick, the effect is definitely comical. They are both being tricked the same way overhearing a set up conversation in the garden. This scene emphasizes the romantic setting, when Benedick says; "sigh no more, ladies sigh no more" which adds grace to the scene. The ridicule situation, which both Benedick and Beatrice find themselves thrown into, is no longer the result of an act of treason but more of a harmless farce.
The cruel deceptive scene plotted by Don John, however, feeds the tragic element of the play, disturbing the equilibrium of all the characters: Hero, Claudio, Leonato, but also Benedick and Beatrice when he later asks her lover to "kill Claudio" (IV,1. 285). The reader is tempted to believe that the comedy is turning into a tragedy. In the film, Don John's malevolent plans to disturb the harmony around him are always set at night, in a sort of dim and humid underground place. The use of deception as a tragic element is not only used by the bad characters though, the friar's idea to pretend hero as dead, is throwing Claudio in a state of grief that is changing his mind and making him realize his fault.
It is interesting to read, how Benedick takes part of the secret although he is one of the Prince's soldiers, and would be expected to believe the honorable Prince. Not only does he disagree with the Prince but also he is also ready to meet Claudio and kill him. The role of both men and women in the play is very paradoxal. We are dealing with a good number of contrasted characters. First of all, the characters of Hero and Beatrice: they are cousins but Beatrice is an orphan and therefore has no parental authority, which makes her a lot more independent in action as in spirit. Her witty prose makes her sound more interesting than Hero's versified speech.
Hero represents the submissive woman "daughter, remember what I told you. If the Prince do solicit you in that kind, you know your answer" (II, 1. 58-59-60), when Beatrice represents the educated lady who can stand for herself and who will do whatever pleases her, and when the Prince asks her if she would have him, she answers: "No, my lord, unless I might have another for working-days: your grace is too costly to wear everyday" (II, 1. 302-303-204-205). The men show their power when it comes to the wedding scene, showing no respect to Hero and not even allowing her a response to the accusations held against her.
However, in the rest of the play, the weaknesses of the male characters are contributing to the comical aspect of the play. Claudio is the character who according to Beatrice ' he that hath no beard is less than a man' (II, 1. 31-32), he is very gullible, na"ive and romantic. The character of the Prince seems to be the only one that represents masculinity, and wisdom, although he is the only unmarried character.
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23 February 2014. Author: Criticism