Don John Is Machiavellian

Don John claims that the resentment people have towards him is rooted in the fact that he is a bastard and any friendly intentions towards him are fraudulent ones. From the beginning of the play Don John does not come across as a friendly figure, especially compared to the rest of the soldiers that come with the party to Messina in a flourish of good and excitement. As Leonato welcomes the party he seems to implicate that he is extending the welcome on to Don John, because of his relationship with Don Pedro, the prince and his brother. Don John remarks in a conversation, “...it better fits my blood to

Machiavellianism, in modern psychology, is characterized by a dishonest interpersonal style, "a focus on self-interest and personal gain, and a cynical disregard for morality” (Jones & Delroy). This strategy is very effective in nature, but the philosophy and integrity of this strategy is one of great debate and can be seen as controversial. In the context of this play, however, it does not seem to be all that nefarious. In creating a

‘Tis certain so; the prince wooes for himself” (II.i.556-558). Here Claudio is led to believe, by Don John, that Don Pedro has wooed Beatrice for himself rather than for Claudio. This makes Claudio very upset. Claudio is deceived once in the play for a good cause. After he slanders Hero at their wedding, he needs to prove his worth:

The definition of a tragic flaw is, “a personality trait that ultimately leads to a character’s own downfall.” Much Ado About Nothing clearly displays to the reader that Don John’s actions coming from his tragic flaws negatively affect him along with others around him. He is extremely jealous of the success in Don Pedro and Claudio’s lives, and is attempting to ruin Claudio and Hero’s happiness in their upcoming marriage. In the book, Much Ado About Nothing by William Shakespeare, Don John appears to be the character who is the most tragically flawed by being jealous and deceiving.

Bastard, a child born out of wedlock, an illegitimate descendant that "deserves to be slapped." Don John, coined as “Shakespeare’s most passive villain” is plagued by the society of Messina that rejected him from the very moment of birth. Looking through the idea of predetermined roles in life, we can come to realize the roots of Don John’s agitation arises from his illegitimacy, stacking him at the bottom of the social hierarchy. Here he feels obliged to act the part of the villain, delegated by his very own blood.

Bastard, a child born out of wedlock, an illegitimate descendant that "deserves to be slapped." Don John, coined as “Shakespeare’s most passive villain” is plagued by the society of Messina that rejected him from the very moment of birth. Looking through the idea of predetermined roles in life, we can come to realize the roots of Don John’s agitation arises from his illegitimacy, stacking him at the bottom of the social hierarchy. Here he feels obliged to act the part of the villain, delegated by his very own blood. What exactly determines the words written on this label of hero vs villain? How much comes from inner predisposition, from personal destiny, from mere interpretation? Is someone obliged to become a hero or villain by virtue of their existence, or are heroes and villains molded over time with

Don John falsely informs Claudio that Don Pedro is pursuing Hero’s love for himself and Claudio spirals. Basing his actions solely on hearsay, Claudio reaches unwarranted conclusions. He questionably lost trust in his friend, asserting that in regard to love, people do not take care of each other and each person must embark on their own aspirations. This quote is quite significant, as it illustrates Claudio’s credulousness, driving him vulnerable to deception; a common theme throughout the comedy. Don John establishes himself as the antagonist of the story, and uncovers the gullibility of others, fostering deceptions to come.

Unlike Borachio, Don John doesn’t care for anyone else’s well being but himself’s. Borachio may be evil but deep down, he had a soft spot for Margaret, Hero’s gentlewoman, so much that he didn’t want her to be blamed for something he got her involved in. After Leonato came to the conclusion that Margaret had been part of the plan, an accomplice, Borachio stood before her, defended her and took all the blame, “No, by my soul, she was not;/ nor knew not what she did when she spoke to me,/ in anything that I do know by her” (Shakespeare 91). A true machiavellian wouldn’t care about someone else, as long as they come up on top and clean: speaking of which, Don John always made Borachio do everything, making sure to have his hands clean. After Borachio and Verges were captured and convicted, Don John made sure to skip town and let them both carry all of the charges, without him.

In 1513, an Italian politician by the name of Niccolo Machiavelli distributed, though privately, a political treatise called The Prince. This treatise was, essentially, a guide on how to effectively rule one's country. It's important beforehand to define exactly what a Machiavellian is, before describing one. A Machiavellian is a leader who, through his power and influence, works toward the common good of his people. This can be done through fear, through deceit, even through manipulation. It is important to understand the main principle of a Machiavellian; the end justifies the means. The end being the common good of his people. Vladimir Putin is a Machiavellian in the ways he retains power, institutes reform, and executes economic

Shakespeare has demonstrated the ramifications of human nature that have arisen through the misunderstandings of the characters. Shakespeare does this by effectively conveying the dramatic technique reversal. The purpose of the technique is to show the reader the complexities of human nature by demonstrating that even a common example of misunderstanding could change the direction of one's life, and the perception of an object. This is evident through the quote “That I love her, I feel” in Act 1 scene 1, said by Claudio about Hero, which is later contradicted with the quote “There, Leonato, take her back again. Give not this rotten orange to your friend”, who is referencing Claudio’s betrayal. Claudio believed that the person Borachio was making love to was Hero instead of Margaret, due to the succession of Don John’s master plan. During this scene, Claudio displays a sense of misunderstanding by falsely concluding that his fiancée had been ‘unfaithful’ to him. Reversal is shown when Claudio is enraged by the fictitious actions of Hero when he abandons her at the day of their wedding. Shakespeare has demonstrated misunderstanding through the dramatic technique, reversal to explore the complexities of human nature.

Don John's malevolent plan to ruin Claudio and Hero's wedding was to take effect the night before they were to wed. The malicious Don John constructed, or rather misconstructed, the scheme that insinuated Claudio's belief in Hero's faithlessness. It is Don John who reports to Claudio and Don Pedro that Hero is having an affair, and he who stage-manages an elaborate charade featuring his own henchman Borachio and an unwitting stand-in for Hero to lend credence to this fiction. Perhaps the most significant thing to be noted in connection with this deception is that the spectator does not witness the crucial scene in which Claudio overhears the counterfeit exchanges between Margaret and Borachio that persuade him of Hero's guilt. We learn of this episode only at second hand, when Borachio boasts of his exploit (Lucking).

            Although Shakespeare meant to create these two evil characters alike, there are a few differences between them. Don John set up Claudio using other people to convince him. I go used his manipulative speaking and wits, along

He says in Act 5: scene 1, “No, by my soul, she was not; But always hath been just and virtuous In anything that I do know by her”. Which means if his plans and margaret come against each other that he will choose margaret over them and Don John. In Act 2: scene 2, Borachio says “I think I told your lordship a year since how much I am in the favour of Margaret, the waiting gentlewoman of Hero”. This shows that Borachio has sort of a thing with Margret that could render him vulnerable form doing what he has to do to please Don John.

"Not so neither, but I know that I have tonight wooed Margaret, the lady Hero's gentlewomen by the name of Hero: she leans out of the mistress' chamber window." This narrative effect adds impact and severity of the characters actions and makes us further dislike Borachio.

Prospero, from Shakespeare’s play “The Tempest”, is a complete machiavellian leader because he practices the main principle from Machiavelli’s “The Prince”, of being feared rather than loved for safety. Machiavelli stresses that “it is safer to be feared” because “fear is bound by the apprehension of punishment which never relaxes its grasp”. He is right because love can easily be overlooked and dismissed for ambition. While the threat of punishment is a constant reminder in a person’s mind to not cross and betray the leader.