There are certain features that distinguish a comedy and set it apart from a tragedy. No matter how many faults are there in a comedy, the ending is always a classical happy ending. The other notable thing about a comedy is the plot of the story. The plot of any comedy is weaved in a way that the audience will have a sense of compassion mixed with affection for all the characters because every character has a unique essence which may be flawed to some extent. The audience finds it easier to relate to the characters due to their transformational nature.
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There are two different types of comedies. This categorization of the comedies is based on the plot of the comedies. There is the comedy of action and a comedy of identity. One of the best examples of the comedy of identity is the play titled Much Ado about Nothing by William Shakespeare. One of the features of comedy of identity is the existent of a plot that is based on dialogue and not actions. The play titled much ado about nothing has this characteristic because its plot has very few tangible actions. The plot is weaved around the dialogue of characters. One of the main things that make this play to be without actions is the themes that it explores. Most of the themes in this play can easily be expressed through speech and that is why it has very many characters doing little and saying much.
One of the major themes in this play is mistaken identity. This is one theme that can be expressed well through the dialogue of characters especially the place where there is dramatic irony. In this play, the lady hero is thought to be dead. Claudio, who was supposed to marry the hero, is now set to marry the cousin to the hero (Shakespeare 16). In actual fact, the hero is not dead and she is the one playing the role of the cousin that is supposed to marry Claudio.
The other theme that enhances dialogue in this play is the battle of the sexes where there is more talk than action. In this book, the battle of the sexes takes place between Beatrice and Benedict and it is their constant bickering that enhances the dialogue that is used within the plot of the play. The only actions that come out in this battle of the sexes are the fights between the two antagonistic characters (Hall 51). The physical fights are however overshadowed by the verbal fights which dominate a larger part of the plot of this book. The verbal exchanges between the two also create a battle of wits that adds humor and quality to the dialogic plot of this play.
The other feature of a comedy of identity that is evident in the play Much Ado about Nothing is the ability of the characters to transform due to self revelation. In the mistaken identity that is the core of this play, there are character transformations that takes place and this transformation leads to self revelation. The best instance of this transformation and self revelation takes place when the lady hero decides to disguise herself. In this attempt to disguise herself, people think that she is dead, yet she is the one that has become the fictional cousin that is chosen to marry Claudio now that she (the hero) is dead.
No one knows her plans until everything is revealed as the play ends and this happens when the said cousin removes the veil during the wedding. In this case, the transformations that had taken place are revealed and the comedic part in this whole debacle is that Claudio marries the person he was supposed to marry in the first place though in his mind, he was marrying someone else.
The other transformation that takes place in Much Ado about Nothing is caused by characters that are quick to jump into conclusions. For example, Benedict blames Claudio for the death of the lady hero while in the real sense, the death is faked. Benedict makes those conclusions, but he does not base them on real facts (Kass 90). Claudio may be at fault in the entire debacle but he seems to be very helpless because there were some circumstances that were unavoidable. This is a reflection of the impatience of human beings and Benedict is put to shame during the wedding when it turns out that the lady hero had transformed herself into another person.
Conclusion
The Shakespearean play, Much Ado about Nothing ends on a high note. The revelation that the lady hero is still alive creates one of the happiest endings ever in Shakespearean history. There is no other comedy that carries more features of a general comedy more than much ado about nothing. Its dialogic nature also makes it stand out from the rest.
Works Cited
Hall, Kim F., ed. A critique of Shakespeare. Boston: Bedford/St. Martin’s, 2007.
Kass, Sarah. “Much ado about nothing.” Journal of Education 176.1 (1994): 85-101.
Shakespeare, William. Much ado about nothing: New York: Norton Books. 1978.
Much ado about nothing is a romantic intriguing comedy written by William Shakespeare. By focusing on relationships, the author of the play highlights the impact of deception to unity, love and happiness. Deceitfulness is the device the characters use to either destroy or improve each other’s lives. The love relationships are either build or destroyed due to tricks, envy or mere bad luck.
Similarly, some of the characters find joy in lying or playing tricks to their friends or lovers in order to achieve their personal selfish ambitions. Surprisingly, the aspect of self-deceitfulness arises among a few characters. Succinctly, the theme of deceit revolves around love relationships in the play.
Therefore, the elusive bonds created between different characters are weak mainly because they are build on the foundation of deceitfulness as expounded in the next discussion.
According to Shakespeare, a love relationship is like fate and therefore, only a self-deceptive person can separate two people who have a common interest. Set in a royal environment, Claudio announces his intention of courting and eventually, marrying Hero who has royal blood. Luckily, Don Pedro the Spanish prince encourages Claudio to go ahead with his plans.
Although Benedick is against Claudio’s intentions of dating Hero, Claudio puts him off by saying “in mine eye she is the sweetest lady that ever I looked on” (Shakespeare Act I scene I 135-137). Benedick deceives himself when he thinks that he can change Claudio’s mind/intentions not to date Hero. For instance, he says, “God forbid it should be so” (Shakespeare Act I scene I 140).
During his conversation with Don Pedro, Benedick’s announces that he does not intend to marry either. However, he does not know what lies ahead (fate carries). Therefore, Benedick’s compact mind or inability to accept other people’s opinions or intentions motivates him to lie continuously to himself. Benedick’s fights to change Claudio’s intentions to marry Hero but he does not succeed.
Similarly, Beatrice practices self-deceit, when she also proclaims that she is better of single than married. For example in Act II she says “Just if he sends me no husband; for the, which blessing I am upon my knees every morning and evening” (Shakespeare Scene I 137-140). Although Beatrice’s prayer is to remain single, she ironically goes against her wish and finally marries Benedick.
Thus, her prayer/wish is a proof of self-deceit among characters. Eventually, due to fate, Claudio and Hero embark on a love Journey and Benedick’s and Beatrice find themselves in a love relationship. Therefore, Shakespeare shows self-deceit is a behavior, which may encourage people to live in a denial, as it is the case with Benedick and Beatrice.
In addition, self-deceit can be the only the channel people can use to build strong bonds. More over, through focusing on self-deceit Shakespeare discourages people in the contemporary society against undermining their potential or God’s intention.
Another case of deceitfulness in the story arises when Don Pedro assigns himself the duty of wooing Hero for Claudio. However, Claudio does not trust Don Pedro mainly because of his earlier elusive interaction with Don John. Although Don John is Don Pedro’s brother, he lies to Claudio that his brother loves Hero. Eventually, a disagreement ensues between Don Pedro and Claudio.
Due to the constant practice of deceit among the characters, Claudio believes that Don Pedro is wooing Hero for himself. The constant practices of self-deceit among the characters push them to view all other people as deceitful. Nevertheless, Claudio’s relationship with Hero begins. Therefore, Shakespeare enlightens the contemporary society that deceit can lead to disunity, family break up and fights.
Furthermore, some people use the element of deceit to revenge or fulfill their self-ambitions, as it is the case with Don John. When Claudio starts dating Hero, it is a lesson to the audience or reader that people should not be quick to judge, believe or trust any negative thoughts/ words from friends, family members and partners.
People should not deny themselves happiness because of mere allegations from third parties. Therefore, sometimes deceit can be a form of encouragement to the affected parties and thus, people should use that chance to achieve their personal ambitions.
According to Shakespeare, deceit can be the only way to solve social problems. For instance, through lies/deception Don John achieves his intention of breaking the relationship or wedding between Claudio and Hero. Claudio humiliates Hero at the wedding when he realizes or believes that she is unfaithful (through deception).
Don Pedro and Claudio also unite in the public humiliation of Hero while Margret the proprietor of the break up shamelessly watches the fall of Hero especially when she faints during the wedding. However, Leonato and the Friar fake Hero’s death in order to ascertain the truth. Through sympathy, Claudio accepts to marry Leonato’s niece (who actually is Hero).
Due to deception and its eventual impact, Claudio accepts to marry a stranger. Surprisingly, the congregation (women) appears in masks and Claudio has to wear a mask during the wedding. This form of deception is beneficial to both Claudio and Hero who end up establishing a solid relationship. During the wedding, Claudio asks, “Which is the lady I must seize upon” (Shakespeare Act V scene IV 53)?
This shows that Claudio is ready to marry any woman even if he does not love her. Consequently, the author shows that deceit is the only way, which can assist in solving challenging situations especially, which comes about due to deceit. Therefore, according to Shakespeare marriage is a social institution that may not necessarily be build on love.
Claudio’s decision to marry a stranger is to enable him socially fit in the society. Thus, guilt or remorseful may not necessarily be the main motivation behind his act.
Thus, deceit creates illusion that eventually, benefits both parties. In addition, the author also proves that most relationships especially marriages are broke or build based on deceit. However, the manner in, which an individual handles the lies/deceits may build or destroy his or her future.
In brief, the main theme highlighted in the play is deceit. Most of the relationships are either build or destroyed because of deceitfulness. However, behind any form of lie or deceit always a lasting solution to a conflict or problem emerges. When Shakespeare focuses on the element of self-deceit among his characters especially Beatrice and Benedick, he discourages the audience against living in self-denial.
Both Beatrice and Benedick do not believe in love or marriage relationship but eventually they end up marrying each other. Secondly, Shakespeare shows that through deceit individuals can solve their social problems especially regarding love relationships, as it is the case with Claudio and Hero.
Therefore, deceit is part of the society. However, people should learn to solve positively a problem build on basis of deceit. Finally, although deceit creates tension in the play, the relationship build on lies end up stronger.
Works Cited
Shakespeare, William. Much Ado about Nothing. New York: Penguin press, 1998. Print
Hero, of William Shakespeare’s Much Ado About Nothing, is perhaps just as good a woman as Ruth of the “Book of Ruth”, but one would have to think twice or more before one could even half-heartedly begin to concede that she might be half as great a character as Ruth. The difference between the two women appears to be that while Ruth is an active maker and creator of her destiny, Hero more passively suffers her misfortunes and allows other people to devise schemes that fortunately, ultimately succeed in clearing her name and winning back her somewhat unstable fiancé. While both Ruth and Hero significantly outshine their male counterparts, Ruth’s second husband appears far more worthy of respect than the Claudio who needs a second marriage ceremony to consecrate his union with the only woman he ever contracts to marry (at least within the space and time of the play).
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Hero in Much Ado About Nothing does indeed strike every one as “a modest young lady” as Claudio first speaks of her, but the first words spoken of her are those that her father uses in his rather unwholesome jest in answer to Don Pedro’s question about whether she was Leonato’s daughter—“Her mother hath many times told me so”(3 ). Benedick, in his sharp way is impelled to observe, “Were you in doubt, sir, that you asked her?” and Leonato compounds his innuendo with the words, “Signior Benedick, no; for then were you a child” (3 ). All in good fun, perhaps, but a trifle too offensive to women of the upper crust as Hero and her mother would no doubt expect to be considered. Perhaps the gentleman richly deserves to fall into the pickle that leaves him a sadder and wiser man at the end of the play. Even so, his sufferings pale in comparison with the extent of the pain and disgrace that Hero is subjected to, and that too, for a not inconsiderable span of time.
Ruth, on the other hand, has a different but no less painful situation to contend with. Her first husband has died, leaving her a childless widow in a strange land, alone except for her mother-in-law Naomi and sister-in-law Orpah. It is as if both Orpah and Ruth are laboring under the effects of a potent curse—for they are both in the same black barque—the two brothers who had been their husbands both having given up the ghost at around the same time, leaving their widows nothing but much ado. Naomi knows that it would be unfair to tie the two young girls to her apron strings and allows them, nay, advises and urges them to leave her and go back to their native lands and to marry again, and to have children of their own by other husbands. Both Orpah and Ruth protest that they will not leave Naomi and although Orpah is rather easily persuaded to do so, Ruth is unwavering in her decision to remain with her mother-in-law. Indeed this is one of the first indications the reader gets of Ruth’s goodness and her greatness. Ruth is good, no doubt, but, more importantly, she is great, rather than just goody-goody, because she knows that instead of just fending for herself it is her duty to take care of her dead husband’s mother, whom she has perhaps considered her mother ever since her marriage. As the Bible succinctly puts it, “Orpah kissed her mother-in-law” (and left her) “but Ruth clung to her” (1:14). Ruth has it in her to cling to what is right.
When Claudio asks his friend Benedick for his sober and honest opinion of Hero, this is what Benedick has to say:
Why, i’ faith, methinks she’s too low for a high
praise, too brown for a fair praise and too little
for a great praise: only this commendation I can
afford her, that were she other than she is, she
were unhandsome; and being no other but as she is, I
do not like her. (5)
It is sad, but true that many a reader might be inclined to voice more or less the same opinion of her, especially because of the contrast she offers to the more lively and engaging Beatrice. It is perhaps somewhat fortunate that a man like Claudio takes an instant liking to her—and if only no one had ever presented him with the opportunity to doubt her sincerity and her fidelity they might have had a moderately happy married life, like many other men and women.
That was not to be, however: the drama demands it, the presence of the Bastard villain Don John and his cohorts assures it; and it is Hero’s lot to suffer the most undeserved pain any maid ever had to endure—and that too, in open church, at a ceremony which she believed would ensure her eternal happiness in this world. Therefore the same Claudio who had declared of his beloved, “Can the world buy such a jewel?”(5) says to her father in open church, where he had said he would marry her, “Give not this rotten orange to your friend” (53). When Hero asks him
Who can blot that name[Hero]
With any just reproach? (55)
Claudio’s reply is cruel:
Marry, that can Hero;
Hero itself can blot out Hero’s virtue. (55)
It is cruel, doubly cruel, because it is he, Hero’s hero, who has so easily, and what’s more, apparently irrevocably, blotted out Hero’s virtue from the minds of all the people gathered in that church and all the other people who had ever known the virtuous Hero. Hero was undone, not by herself, but by Claudio and Don Pedro, and Don John, and Leonato, and almost everyone else.
Ruth, on the other hand, decided for herself, against the advice of her mother-in-law what it was that she had to do. She did this not because she was or wished to be disobedient but because she knew that there was a greater truth that compelled her obedience. This truth is that in certain cases, an excess of unselfishness may lead to an individual turning a blind eye to his/her own best interests and think only of the best interests of others. Ruth knew that it was in this spirit that Naomi urged her to abandon her and to think only of her own future. She knew as if the knowledge had been branded on her mind that her place was with Naomi. In words that are remarkable for being both loving and firm, she expresses her considered decision:
Do not press me to leave you
or to turn back from following you
Where you go, I will go;
where you lodge, I will lodge;
your people shall be my people.
and your God my God,
Where you die, I will die—
there I will be buried.
May the Lord do thus and so to me,
and more as well,
if even death parts me from you!” (1:16-17)
Ruth here reveals that she knows, perhaps instinctively, a divine truth that others more intellectually inclined than her might have found difficult to grasp—that not even death could part her from the good people of her life.
Curiously, Hero could in all justification have used these very same words to affirm the eternal bond that united her with Claudio, for she had been considered dead by all the world except the two or three in the know. However, when Claudio exclaims at the sight of her after the marriage, “:Another Hero!”, Hero says only this:
Nothing certainer:
One Hero died defiled, but I do live,
And surely as I live, I am a maid. (82)
Don Pedro comes closer to the truth than Claudio when he says, “The former Hero! Hero that is dead!” Leonato then uncovers the truth with his words: “She died, my lord, but whiles her slander lived” (82). Friar Francis then vows to “qualify” their “amazement” after the holy rites are done and Hero’s disgrace and return to grace are both forgotten in the more universal joy that surrounds(and quite rightly too) the truer “miracle” (84) of the uinion of Benedick and Beatrice. It had been an ordeal by fire for Hero, and to a much lesser extent for Claudio too, but the miracle that the audience yearned for was the marriage of the hero and heroine of their hearts—Benedick and Beatrice.
Ruth is fortunate in that the man chosen for her by God, by circumstances, by her mother-in law, and by the justness of her own actions, is a man worthy of her. His behavior to her by day in the midst of others is the very pinnacle of propriety and generosity. He shows that these qualities are ingrained in him when he finds her by his side at night. He asked her who she was.
And she answered, I am Ruth, your servant, spread your cloak over your servant; for you are next of kin. He said, “May you be blessed by the Lord, my daughter; this last instance of your loyalty is better than the first; you have not gone after young men, whether poor or rich. And now, my daughter, do not be afraid, I will do for you all that you ask, for all the assembly of my people know that you are a worthy woman. But now, though it is true that I am a near kinsman, there is another kinsman more closely related than I. Remain this night, and in the morning, if he will act as next-of-kin for you, good; let him do it. If he is not willing to act as next-of-kin for you, then, as the Lord lives, I will act as next-of-kin for you. Lie down till the morning. (3: 9-13)
And he is as good as his word—in fact, better than that. He sends her away before other eyes can spy on her. He accosts the nearer relation in open assembly and openly takes on the care of Ruth. And the couple and their mother Naomi are rewarded by the birth of a son, Obed.
Conclusion
At the end of the story of Ruth, not a heart but fails to beat for Ruth; at the end of Much Ado About Nothing none in the audience waste a thought for the future of Claudio and Hero—all find themselves caught up in the hype and hoopla that would certainly accompany the union of fire and phosphorus that is the marriage of Benedick and Beatrice. Similarly, there is no way anyone can ignore the message of divine intent that flows from the last sentences of the story of Ruth—the revelation that the son of Boaz and Ruth, Obed, was the grandfather of David, King of Israel and servant of the one Lord who came after him, and after his generations.
Many plays, poems, novels and short stories have single straight plots that are usually easy to follow and comprehend. The themes and styles used are always modest for the audience to get the flow of events as easily as possible.
However, Shakespeare successfully blends different approaches to make various plots. He managed to create multiple plots in this comedy, while at the same time, maintaining the general plot development and advancement by the use of certain themes, character traits and literature styles.
The irony is used to describe the battles between Beatrice and Benedick who are the main characters faced with a great challenge that seems to separate them, but instead this ordeal works contrary to the reader’s expectations. We assume that in reality when people hate each other, the worst they can do is to fall in love with each other. However, in this particular case, this is the thing that happens as these long time foes turn to be good friends and fall in love. Naturally, it is very impossible for people who hate each other so deeply and then fall in love, but Shakespeare’s plot proves the contrary as Beatrice and Benedick fall in love after their hatred has been forced to end. The use of irony makes the plot develop further when Don John pushes Hero and Claudio to separate just before their wedding.
The plot is also advanced in terms of mischief and the will to do evil because the characters, like Don John, are described to have the traits that make them negative figures. For example, Don John’s main role in the play is to cause chaos. He is portrayed as a person who is driven by evil motives to attain his selfish goals in life. Don John being a dishonest person tries to misrepresent the plot of the story in a negative light and seek revenge regardless of the consequences involved. In this case, Hero and Claudio’s love affair is threatened by Don John who plans various plots to try and separate them. He even risks spreading such rumours that Claudio is dating Hero for him and creating scenes that make Claudio break his engagement with his beloved one. At the end of it, all these evils are exposed and force Don John to disappear from the scenes as Claudio and Hero marry and live a happy life thereafter.
Shakespeare used many contradictions in this play to define people whose minds are clouded with a lack of proper understanding of events. In this case, there is neither the desire to do evil nor any conflicts to be solved, but the characters are forced by their limited vision of the facts to be exposed before there is a solution to the issues. Beatrice and Benedick prove this with their hate for each other without understanding that this hatred results in them falling in love with each other. They are separated by their shared animosity and encouraged to reunite under the influence of other characters in the play, and lastly, they confess to love each other. The final trial of their love is when Benedick and Beatrice have to confess in public that they have fallen in love and buried their long-standing hatred. At first, it is very difficult to reveal their feelings until their love letters which expose their affections are disclosed. They have no choice but to make it public that they are in love, and this eventually brings them together.
William Shakespeare used the theme of obstacles and impediments in life as an approach to his work. This approach forms a distinct plot where any audience can analyse the play through the problems the characters face there. Through this, the plot is advanced using those who have an endless desire to create troubles, like Don John who plans to ruin the wedding of Claudio and Hero by creating a falsehood that Claudio dates Hero to win her for him. These problems develop the plot further because Don John who despite failing to ruin Claudio and Hero’s affair still plans to expose Hero as unfaithful. Moreover, he is still determined to make them separate. Meanwhile, Beatrice and Benedick deeper fall in love with each other and do not reveal it to each other or their friends, and this puts their reputation at great risk. They are viewed as pretenders and hypocrites who, despite their affection for each other, are committed to making it a deep secret. The main part of the story shows both Beatrice and Benedick becoming passive actors in the process of dropping the incitement we have come to associate them with as they are fixed in their hate and love situation. Naturally, we wish to make them realize their love. However, on the other hand, we are challenged by the fact that it might make them dreary and normal characters that would deprive them of all the traits and features that made them fall in love and change the setting of the play.
Uncertainty and fate are common in both the characters and the audience as the storyline are too unpredictable in the manner in which events unfold. As the story develops, the plot becomes so complicated that making out who is going to fall in love with whom or what is going to happen to their relationships become too challenging for the readers. The sequences of events that follow are unexpected and very tragic to the audience and some characters. The hero who is considered dead comes back to the story alive and falls so deeply in love with Claudio, and then they marry. Claudio and Don Pedro have to claim their reputation as being very honest and straight in their affairs. Beatrice and Benedick’s hatred comes to a surprising halt as they find themselves in love contrary to the expectations of everyone including the audience and the characters. Their hate results in love which faces a minor challenge of declaring it publicly. However, they simply overcome this after Claudio exposes the details of their love letters that prove that they have a love affair. The disappearance of Hero which makes everyone think she is dead and the attempted elimination of Claudio from the scenes make the relationship of Beatrice and Benedick seem so uncertain. That is why everyone wonders what is going to happen to them. Finally, Hero proves she is alive and innocent, and this further complicates the uncertainty as to who may vanish or be eliminated next. It also creates wide speculation as to the intentions of her appearance whether she had come for revenge or not. Benedick shows his affection for Beatrice by publicly declaring his love for her, and eventually, he decides to choose her; this is a step that she has been waiting long for.
Shakespeare succeeded to blend the aspects of the real life of human beings filled with emotions and feelings with the theatrical skills in this work by use of multiple plots in advancing the themes as well as different styles in his presentations. This has created a complex but exciting literature masterpiece that absorbs readers and viewers until the last page or scene is finished. This play blends writing skills and creativity with the inevitable desires that humans face in their daily activities.
Much Ado about Nothing is Shakespeare’s comedy that portrays the development of romantic relationships between two couples in Messina, focusing on various intrigues around them. The first couple is Claudio, a lord and close friend of Prince of Aragon Don Pedro, and Hero, daughter of Leonato, governor of Messina. The second one is Benedick, a companion of Claudio, and Beatrice, a niece of Leonato. Don John, the brother of Don Pedro, plays a prominent role in developing relationships between Claudio, Hero, and Don Pedro. He tries to defame his prince brother, plotting against him, and then plans to use this situation to seize power from him.
Don John is a comedy villain who does evil deeds, trying to seed the strife between Claudio and Hero. He is gloomy and sullen, often lost in his dark thoughts: probably, he always was an outsider in the shadow of his brother. Don John admits loving to do wrong actions, saying that “it better fits my blood to be disdained of all than to fashion a carriage to rob love from any” (1:3:25–28). He then explains it by saying,” I am trusted with a muzzle and enfranchised with a clog; therefore, I have decreed not to sing in my cage” (1:3:30–32). Don John directly calls himself “a plain-dealing villain,” meaning that he does not even try to hide his evil sides of character (1:3:30). His image refers to a trickster archetype: a character who is aside from society and considers it as a large playground.
Then, his course of action is described: he wants to take his brother’s place in the social hierarchy, and other people, for him, are simple tools to reach this goal. His companion overhears that Don Pedro plans to woo Hero to help Claudio marry her eventually. His brother tells Claudio, “If thou dost love fair Hero, cherish it,/And I will break with her and with her father,/And thou shalt have her” (1:1:303–305). Based on this information, he tries to defame his prince brother and then seize power from him using intrigues.
Don John can either ruin all romantic relationships in the comedy or make them stronger if the mentioned characters will manage to distinguish his defamation from reality. At first, he seems successful: Claudio believes that she cheated him with Don Pedro and accuses her right during the marriage, after which she faints. He says, “But fare thee well, most foul, most fair. Farewell,/Thou pure impiety and impious purity,” being ready to push her away with pain (4:1:108–109). However, the end of the comedy is positive for the couples and negative for Don John: his intrigues are revealed. Hero’s gentlewoman, Ursula, eventually reveals that “it is proved my Lady Hero hath been falsely accused, the Prince and Claudio mightily abused, and Don John is the author of all, who is fled and gone” (5:3:96–99). In the last several lines, it is reported that he is captured and will probably be executed for his evil and treacherous deeds.
Therefore, Don John’s place in the comedy is the trickster villain who plots against his brother and uses other people’s feelings for this purpose. He could not overthrow Don Pedro by brute force but begged pardon and, after that, continued his tries, using intrigue. He may be considered a destructive element of the comedy, whose role is to challenge Claudio’s feelings for Hero and the ability to distinguish between lies and truth. Eventually, Claudio and Don Pedro can do this, restoring peace and harmony, and Claudio marries Hero with happiness.
Work Cited
Shakespeare, William. Much Ado about Nothing. Edited by Peter Holland, Penguin Books, 2017.
Much Ado About Nothing is a Shakespearean comedy written around 1598. The content of living joy, rich philosophy. The story’s main themes are masks, disguises, or games, while the characters explore self-awareness, honesty, and respect in relationships.
Discussion
The character Benedict raises the theme of the cuckold in the tension of the whole play. At the beginning of the play, Benedict appears as an aristocratic soldier, witty and intelligent. Benedik’s unusual self-portrait about his relationships with women is readily amenable to psychoanalytic reading. Moving nonstop from conception to upbringing and cuckolds, he merges his relationship with his mother and wife into one, destroying past and future, memories and fears. He said: “ That a woman conceived me, I thank her; that she brought me up, I likewise give her most humble thanks. But that I will have a recheat winded [i.e., a bugle-call blown] in my forehead or hang my bugle in an invisible baldrick, all women shall pardon me. Because I will not do them the wrong to mistrust any, I will do myself the right to trust none” (Shakespeare, p. 153). What seems to unite all these stages of a man’s life is the humiliating dependence on a woman, starting with the support of the infant on the maternal woman in terms of energy and upbringing (Fonagy, p. 45). However, this early dependence, instead of being outgrown, is considered a forerunner of later sexual humiliations of an adult man.
In psychoanalytic concepts of male suppression, the absence of the mother’s phallus is an alarming image for the child — an image of his fear of castration and subordination to another man (Barry, p. 102). Nevertheless, for Benedict, a returning soldier, this fear of women seems not so much general as personal: the horns of the cuckold, which he imagines as his future headdress, are precisely the horns of a defeated soldier who lost his horn because of another soldier (Barry, p. 111). However, in the drama of that period, there is a noticeable discrepancy between the frequency of jokes and the rarity of adultery. There are far more falsely accused wives than guilty ones.
Conclusion
Thus, this discrepancy between natural guilt and fear of betrayal suggests that we should focus not so much on the infidelity itself but on the natural source of patriarchal anxiety, which was the patriarchy’s inevitable dependence on an inability to verify the virtue of wives and mothers.
Works Cited
Barry, Peter. “Psychoanalytic Criticism.” Beginning Theory (fourth edition). Manchester University Press, 2020, pp. 97-122.
Fonagy, Peter, et al. “Reconciling Psychoanalytic Ideas with Attachment Theory.” Guilford Press, 2018.
Shakespeare, William. “Much Ado About Nothing.” One-Hour Shakespeare. Routledge, 2019, pp. 147-206.
Much Ado About Nothing is a timeless classic by William Shakespeare that has entertained audiences for centuries. The play is a comedy that explores themes of love, jealousy, and deception, which are still relevant to audiences today. However, the setting of the play, a small town in Italy, may seem a bit dated to modern audiences, as it is different from a relatable setting. To make the play more accessible to a broader audience, it is proposed to transport the main characters, events, and themes to a modern high school setting. This setting would be familiar to modern audiences and allow them to connect with the characters and themes in a way they might not be able to with the original setting. By updating the setting and making the characters and situations more relatable, the play’s themes will be able to resonate with a modern audience.
Summary
The high school setting provides a perfect backdrop for the play’s love, deception, and scandal themes. The high school is a microcosm of society, complete with cliques, rumors, and rivalries, much like the society depicted in the original play. The play’s main characters, Maria and Marco, are the popular and charismatic senior class president and vice president, respectively, just like Beatrice and Benedick in the original play (Shakespeare, “Much Ado About Nothing”). They are known for their witty banter and constant teasing, but neither admits to having feelings for the other.
The high school is home to two pairs of young lovers: Roberto and Gianna, the star athlete and the head cheerleader, and Sofia and Angelo, the school’s resident gossip and her sidekick. Roberto and Gianna’s relationship is the picture of innocence, just like Claudio and Hero’s in the original play (Shakespeare, “Much Ado About Nothing”). They are a popular and well-respected couple, admired by their peers for their talents and achievements. Roberto is the football team’s captain, Gianna is the head cheerleader, and they are seen as the epitome of high school romance.
However, Sofia and Angelo’s relationship is different. They are known for their constant bickering and jealousy, much like Margaret and Borachio’s in the original play (Shakespeare, “Much Ado About Nothing”). Sofia is the school’s resident gossip, always spreading rumors and causing drama, while Angelo is her helper, always eager to please her and join in on her schemes. Their relationship is filled with jealousy and deceit as they constantly attempt to outdo each other and sabotage their rivals. This contrast between the two couples highlights the different types of relationships in high school and the different dynamics that can play out.
As in the original play, Roberto is misled by Angelo and Stefano into believing that Gianna is unfaithful to him, leading to a dramatic confrontation at the school’s prom. However, in this modern setting, the confrontation occurs on social media, with Roberto publicly accusing Gianna of infidelity on Instagram. The power of social media in today’s world amplifies the situation, causing the rumors to spread quickly and reach a wider audience. Gianna is humiliated, and her reputation is tarnished as her classmates, friends, and strangers see and share the accusations. Based on false information, Roberto’s accusations cause a rift in their relationship, and Gianna has to fight to restore her reputation. This modern twist on the confrontation scene highlights the dangers of jumping to conclusions and the power of social media in shaping public opinion, which is relatable to a modern audience. The play demonstrates the importance of communication and trusts in relationships and how easily rumors and deceit damage them.
Meanwhile, Maria and Luigi continue to engage in their playful banter, but their true feelings for each other become increasingly apparent. They eventually confess their love for each other in front of the school at the prom after Gianna’s innocence is cleared, and Roberto apologizes. The themes of innocence, jealousy, gossip, and behavior are portrayed in a way that rings true to a modern audience. The use of social media and the high school setting brings a fresh perspective to the play, making it more relatable and accessible to a new generation of audiences.
In this new, modern high school setting, Much Ado About Nothing is a story of young love, jealousy, and betrayal, with a happy ending that would satisfy a modern audience. The play’s themes are as relevant as ever, and the characters are relatable and believable. By updating the names and situations but staying true to the overall themes and ideas, it can be ensured that this classic play continues to be enjoyed for generations, as it will be more relatable to modern audiences.
Conclusion
In summary, Much Ado About Nothing is a timeless comedic masterpiece that has stood the test of time. It can reach new and diverse audiences by adapting the main characters, events, and themes to a contemporary high school setting. The modernized version of the play delves into themes of youthful romance, envy, and deception, all while providing a satisfying conclusion that resonates with current audiences. By preserving the core themes and concepts while updating the specifics, the play can continue to be cherished for generations.
At first sight, Much Ado About Nothing, a play written by Shakespeare, seems to be an ordinary tale about the life of high society with its intrigues, gossips, and love affairs. However, the writer would not have written this comedy unless he had wanted to disclose human vices and satirize the upper class’s passion for deceit and conspiracy. This paper will give a summary of the play and discuss the points that make this literary work outstanding and worth reading.
The setting of the book is an Italian city of Messina in the days of Shakespeare, which is the 16th-17th century. Don Pedro, Claudio, and Benedick return from war and stay at the house of Leonato, a governor of the city. Claudio falls in love with Leonato’s daughter, and Benedick has verbal skirmishes with Beatrice, the governor’s niece. Don John, a brother of Don Pedro, learns about Claudio’s feelings for Hero and decides to convince him that she is unfaithful. Meanwhile, Don Pedro wants to arrange a marriage between Benedick and Beatrice as he thinks they secretly love each other. Thus, there are two men, each with his companions, who plot to decide the fate of the couples.
After a while, Don John says to Claudio that Hero, his wife-to-be, has another man. He asks Margaret, Hero’s maid, to dress like her mistress and pretend to declare her love for someone. As Claudio sees it, he has no doubt it is accurate and rejects Hero the next day at their wedding. After this, Leonato is advised to fake his daughter’s death. In the meantime, Benedick overhears his friends’ conversation, during which they say that Beatrice loves him. Beatrice hears the same dialog between Ursula and Hero and learns that Benedick has affection for her. Both of them admit to themselves that they have feelings for each other.
However, the plot against Hero is uncovered after the Watch arrests Don John’s companions, who confess to lying about the girl’s infidelity. Claudio is desperate and agrees to marry a woman who is supposed to look like Hero and is the daughter of Leonato’s brother. On their wedding day, Claudio is surprised to see his beloved bride whom he considered dead. The play has a happy conclusion: Benedick asks Beatrice to marry her, and she agrees, and a messenger reports that Don John has been arrested.
Perhaps, the most remarkable characters of the book are Benedick and Beatrice. They behave as if they were proud and self-sufficient, but in fact, they are afraid of admitting their feelings not only to others but also to themselves. They exchange sarcastic remarks only to hide what they truly experience. Both of them seem to oppose marriage as it may be concluded from their conversations. While discussing Beatrice, Benedick says, “I would not marry her though she were endowed with all that Adam had left him before he transgressed.”1 Beatrice despises the whole idea of marrying as she considers men unworthy: “Would it not grieve a woman to be overmastered with a piece of valiant dust?”2 However, they change their views as soon as they realize that their feelings are mutual. It means that their arrogant behavior was just a defense protecting them from being hurt.
Another couple of characters, Claudio and Hero, are entirely different. They do not hide their feelings; on the contrary, they make others aware of their love and plan their wedding. However, they are not exceptionally positive characters, at least Claudio. Due to his gullibility and lack of critical thinking, their enemies managed to disrupt their nuptials.3 As for Hero, she is a pure woman whose reputation was unfairly soiled by some evil people. Luckily for her, the truth was revealed, and she redeemed her good name.
Two more personages worth mentioning are Don Pedro and Don John, brothers representing good and evil, respectively. In the play, they have one thing in common: both of them want to determine the fate of others. However, Don Pedro’s actions lead to an arranged marriage, while Don John’s conspiracy causes a wedding disruption. Don John is the only purely negative character in the play because he has evil intentions and incites his companions to realize his plan.
The play touches upon several themes, such as gender roles, deceit, and gossip. Shakespeare shows the social pressure placed on women to make them live according to the established pattern: be pure, obey a husband, and spend time at home4 In the play, Hero represents a person who conforms to this standard behavior, while Beatrice is an example of a woman who decides to beat gender stereotypes. However, society overcomes Beatrice’s persistent desire to be independent and urges her to agree to a marriage.
Deception is one of the central problems of the play because most events it are based on lies. For example, Claudio is deceived at least two times: when Don John convinces him that his bride is unfaithful and when Leonato tells him Hero is dead. Benedick and Beatrice happen to overhear conversations by deceit as well. In the play, Don John’s conspiracy is uncovered by accident because the Watch happens to hear his companions’ talk5 However, regardless of deception being white lies or malevolent trickery, there is always a chance that it will be exposed.
The theme of gossip is concealed in the headline of the comedy since, in Shakespeare’s times, the word nothing sounded like noting, which means rumors. Indeed, the characters of the book make a fuss about things that they do not know for sure but hear from sources that may be untrustworthy. They not only believe gossips but also create them by involving in such activities as eavesdropping and surveillance.
Despite all infamies and vides of high society, Shakespeare shows that they are capable of love. Benedick and Beatrice, incorrigible opponents of marriage, can no longer maintain their position after they become aware of their affection for each other. Hero and Claudio’s storyline is also dedicated to the theme of love. Finally, Don Pedro seems to be seeking a beloved wife, but he is not lucky at it. Thus, the play reveals that love is essential for anybody, and it can change a person’s attitude toward life.
To sum up, this Shakespeare’s comedy makes readers or a theatre audience think about the role of women in the society, especially the pressure exerted on them as to their proper behavior and relationships with men. Besides, the play shows that excessive gullibility and believing every single word without verifying it may lead to deplorable consequences. Eventually, the book allows readers to keep track of the storylines of two couples and see that love comes even for those who do not expect it.
Bibliography
Cartmell, Deborah, and Peter J. Smith, eds. Much Ado About Nothing: A Critical Reader. London: Bloomsbury Publishing, 2018.
Morini, Massimiliano. “‘Out on Thee, Seeming!’ Fashioning Plots in Much Ado About Nothing.” Prophecy and Conspiracy in Early Modern England (2017): 17-26.
Pifer, Stacy. “Fallen Angels, New Women, and Shakespeare’s Much Ado About Nothing: Modern Stereotypes in the Elizabethan Era.” Monarch Review 3 (2016): 3-7.
Shakespeare, William. Much Ado about Nothing. Oxford: Oxford University Press, 2004.
Footnotes
William Shakespeare, Much Ado About Nothing (Oxford: Oxford University Press, 2004), 25.
Shakespeare, Much Ado About Nothing, 19.
Massimiliano Morini, “‘Out on thee, seeming!’ Fashioning Plots in Much Ado About Nothing,” Prophecy and Conspiracy in Early Modern England (2017): 24.
Stacy Pifer, “Fallen Angels, New Women, and Shakespeare’s Much Ado About Nothing: Modern Stereotypes in the Elizabethan Era,” Monarch Review 3 (2016): 7.
Deborah Cartmell and Peter J. Smith, eds., Much Ado About Nothing: A Critical Reader (London: Bloomsbury Publishing, 2018), 1.
The dramatic comedy of Much Ado About Nothing is set in the coastal city of Messina on the island of Sicily in Italy. One of its main characters Beatrice, the witty heroine, is the cousin of Hero, who is Leonato’s daughter. Leonato is an affluent governor of Messina. Even though the main plot of the story is centered on challenges threatening to sabotage the union Hero and Claudio, Beatrice along with Benedick with their constant verbal jousting finds itself quite an interesting counter-plot (Anonymous).
Beatrice and Hero are very close but polar opposites. She appears to be the sense to Hero’s sensibility. They are only alike by virtue of their lineage and domicile. Beatrice’s cynicism is matched by Hero’s politeness; her witty and sharp behavior is juxtaposed against Hero’s respectful and gentle personality; and her feisty, spirited ways are tempered by Hero’s quiet reserve. Beatrice projects a hard impenetrable veneer however, beneath the layers lie a core of sheer vulnerability. Under the aggressive exterior laid a mesh of feminine sensibility.
Benedick, a Paduan lord, and soldier, constantly wage a battle of wits and dueling discourse with Beatrice throughout the story. She incessantly competes with Benedick to match wits and outdo one another with clever invective remarks. With a fantastic cache of raillery, Beatrice always surmounts as the victor. The story implies that she may have repressed feelings for Benedick, perhaps contributing to the constant feud between them. Beatrice can be described by some as being genuinely kind, winsome, and loving. Even though she and Benedick would frequently humiliate and mock others with their intricately woven web of sarcasm, derision, and clever remarks.
Beatrice is adamant to remain unmarried. Her views on marriage are riddled with cynicism. She feels that there exists no one who would support her attitude towards life. She figured herself to be too much of a liberated, renaissance woman to be subjected to the servitude of a husband. Her banter was laced with rebellion against social convention, but underneath she tacitly desired all the trappings of marriage. She finds the way women are treated to be quite disgusting, especially since she perhaps considers herself to be equal in intellect and abilities as any man. She has quite a strong opinion on women being treated as second-class citizens, which, is perhaps played out in her constant war with Benedick.
When her beloved cousin Hero is falsely accused of premarital dalliances with another than her betrothed, Beatrice gallantly comes to her defense. She lashes out at Hero’s fiancé Claudio for his mistrust and misrepresentation of her cousin. This further incensed her and she expressed her frustration about injustice to Hero and women in general. Her feelings were pronounced in the statement, “O that I was a man for his sake! Or that I had any friend would be the man for my sake!”… “I cannot be a man with wishing, therefore I will die a woman with grieving” (Hilton).
Beatrice could be described as a complex persona, schizophrenic psychology as the very thing she appears adamant about, is perhaps what she really desires. Her friendly banter with Benedick could be interpreted as hidden admiration. Her very interest in matching wits with him could be evidence of her desire to enjoy his company. Some may view her personality as unattractive and be put off, however, others will find her quite interesting and will only crave more and more.
References
Anonymous. Much Ado About Nothing – William Shakespeare- Analysis of Major Characters. 2008. Web.
Hilton, Jeremy. The Complete Works of William Shakespeare. 2008. Web.
Much Ado About Nothing is a comedy written by William Shakespeare in 1598. The themes of the literary work have received some major attention from critics and readers since they include such issues as gender roles, infidelity, and deception, all of which are still relevant in the current life. Therefore, it can be hypothesized that despite the fact that Much Ado About Nothing was written in the sixteenth century, it touches topics that are being discussed in modern society to this day.
Gender Roles
With regards to the issue of societal gender roles, many characters in the comedy play are subjected to a variety of biases, expectations, and limitations due to their gender. For instance, Hero willingly obeys the orders of her father, and she is as willing to obey her husband-to-be. While Much Ado about Nothing is filled with wordplay, pranks, and a lot of misconceptions, Shakespeare was successful in exposing the ugly truth about the gender inequalities of Elizabethan society. Such inequalities can be traced through the witty language of the character Beatrice, as well as how male characters view female characters.
The character of Beatrice is one of the most prominent figures in Much Ado About Nothing. The author created her to offer readers and viewers a character that would oppose the traditional understanding of a woman of the Elizabethan era and broke some ground for thought regarding gender inequality (“Much Ado About Nothing”). On the other end of the spectrum, there is a Hero who plays the role of an ideal fiancée and a daughter. She is quiet, polite, and obedient, while Beatrice is sharp, witty, and cynical (“Much Ado About Nothing”). It becomes evident that Beatrice was not a “typical” woman by Elizabethan standards when she spoke critically of the character of Benedick: “I wonder that you will still be talking, Signior Benedick: nobody marks you” (Shakespeare 3).
Beatrice took many jabs at his character, which was regarded as unusual: a woman criticizing a man cannot align with societal gender norms. There is no doubt that Beatrice stood out among other female characters of Much Ado About Nothing because her image as a confident and independent female was not a common occurrence in Shakespearian times. For instance, she refused to marry because there was no one that could be equal to her; also, she did not want to obey a controlling husband. On the other hand, Beatrice agrees to marry at the end of the play, but it remains unclear whether she submitted to the authority of a man or continued being herself instead (BBC).
Infidelity and Honor
The issue of infidelity is another theme that Much Ado about Nothing covered. In the comedy, a woman was falsely accused of infidelity, and the role of the “unfaithful woman” was represented by Hero (“Unfaithfulness”). Despite the fact that Hero was heavily accused of cheating, she did not do anything wrong. The stopped wedding ceremony during which Claudio rejected Hero and humiliated her publicly was the play’s climax (“Much Ado about Nothing: Themes, Motifs & Symbols”). This scene speaks a lot about how women were valued in Shakespearian times: a woman had to be a virgin before marriage and had to obey her future husband. If a young woman lost her honor because of intimate relations before marriage, that she would be despised in the society and would lose her good reputation and status in the society, which was thought of as an irreversible disaster (“Much Ado about Nothing: Themes, Motifs & Symbols”). The issue of honor ties in with the topic of infidelity in this play, as the loss of honor due to accusations of infidelity, could potentially impact a woman’s entire family.
On the other hand, for men, honor did not depend on them being obedient or loyal to their wives; rather, it was built upon male friendship and alliances, as their relationship was more military in its essence (“Much Ado about Nothing: Themes, Motifs & Symbols”). This is not surprising due to the different standards for men and women of the Elizabethan era: while a woman could do nothing to defend her honor, a man could defend it by fighting in a dual. For instance, Beatrice urged Benedick to protect the honor of Hero by dueling with Claudio because, as a woman, Hero had no opportunities to take her honor back, which again aligns with the hypothesis of unequal gender roles in the comedy.
Deception
Much Ado about Nothing explored the topic of deceit in great detail. The relationship between Beatrice and Benedick was riddled with deception, not to mention that they were brought together because of it. For instance, at the beginning of the comedy, both were deceiving themselves that they did not care about each other, exchanged witty insults through the “merry war.” Then, both of them were tricked into thinking that they had feelings for each other, which resulted in a positive resolution of their relationship (“The Role of Deception in Beatrice & Benedick’s Relations”). Therefore, in the case of Beatrice and Benedick, deception played to their advantage in establishing a trusting relationship between two individuals deserving of each other.
On the other hand, deception did not play a good role in the relationship between Claudio and Hero. When Claudio had fallen in love with Hero, Don Pedro decided to pretend to be Claudio to help their relationship. However, Don John did not have good intentions at heart and told Claudio that he had seen her wife with another man, which was not true (Gray). As a result of this deception, Claudio humiliated Hero before the altar, which, as discussed previously, wrecked her social standing. In this case, deception possibly ruined a positive relationship between two people.
Conclusion
Gender roles, honor, infidelity, and deceit are all themes that people discuss to this day. Some societies of the twenty-first century are still experiencing the unequal treatment of men and women, where women are forced to be obedient to their husbands and cannot do anything to protect themselves or their position in society. Much Ado about Nothing sheds light on how women used to be treated in the Elizabethan world, as well as how lies and deceit could either build or ruin relationships between people. Overall, Much Ado about Nothing has become extremely popular not only for the witty wordplay or the jokes of main characters but also the deeper topics that it explored such that it can still capture the attention of either readers or viewers that live in the industrialized and globalized society.
Works Cited
BBC. “Much Ado about Nothing Themes.” BBC, 2014, Web.