How Does Shakespeare Use Dramatic Irony In Much Ado About Nothing

He tells Leonato to “take her back/give not this rotten orange to your friend”. Shakespeare might have been implying that as soon as Claudio finds out about Hero’s supposed unfaithfulness he does not want her anymore, as one would not want broken goods after they had been broken. Shakespeare’s use of the metaphor “rotten orange” could suggest that Hero is different on the outside as to how she is on the inside. From the outside she looks innocent and pretty but once you know more about her character, she is malignant and sinful.

Hero, just like her suitor, follows the model, at least in the eyes of Claudio, of the perfect ideal woman.  Even though Benedick does not like her and thinks that she is "too low..., too brown..., too little..., [and] unhandsome" (Shakespeare 1.1.138-141), Claudio thinks that she is "the sweetest lady that ever [he] looked on" (Shakespeare 1.1.151-152).  Throughout the play, Hero is   a model of speechless modesty.  She has very little to say or do in the play except live up to the expectations of the courtly lover.  For example, rather than violently or angrily objecting to the false accusations made against her by Claudio at the alter, she, as would be considered proper for the ideal woman, only swoons, blushes, and blanches.

Claudio and Hero are the idealised Elizabethan couple in the book because of the patriarchal society that the story is based on. This is because Hero is shown as a weak and powerless young woman while Claudio is described as a powerful and honourable man. In the wedding Claudio decides to shame her and says ‘There, Leonato, take her back again Give not this rotten orange to your friend’. Even when Hero is being insulted and accused of being a prostitute she does not defend herself and says ‘Is my lord well, that he doth speak so wide?’ Instead of defending herself she asks if Claudio is alright which displays a sign of weakness in her.

“Good comedy is tragedy narrowly averted”: these words were spoken by Jonathon Bate and Eric Rasmussen in their publishing of ‘William Shakespeare: Complete Works’. They show how many elements of comedy could be interpreted as almost tragic. The comedy in Much Ado About Nothing is often created when the audience can see that something could go horribly wrong, however it is saved in the nick of time. A sense of relief and light-heartedness is created, as customarily comedy is known to end in a meeting of characters at a gleeful point in time or occasion; most frequently with a wedding.

How ironic that Claudio’s quick decision to shame Hero at the alter shows his extreme lack of honor and virtue.  Rather than stand by his fiancée’s side, he chooses to believe a rumor and instantly disowns her.

In the play Othello, Shakespeare uses many literary devices to help the reader understand the theme of the story. One of those many literary devices used in the play, is the wide range of irony. Throughout the pages of the book the reader will see the use of dramatic, situational, and verbal irony. Shakespeare does not use irony in an understated way, it is very direct, and can be found on almost every page of the book. The use of irony creates suspense, and adds interest as to what will happen.

Leonato deceived Claudio and Don Pedro by telling them Hero had died because of Claudio's words; when in reality her death was portrayed to prove the innocence of Hero. The news devastated Claudio, and is instantly feeling guilty for the accusing her and humiliating the young bride in front of all of Messina.

The ironic irony is found throughout "Much Ado About Nothing" by William Shakespeare, allowing the audience to learn the facts. It is used in the play to create uncertainty, comedy and cause conflict between the characters, which makes the game more interesting, allowing the story to grow. The most notable use of dramatic irony in the play is the "infidelity" of the Hero, her death and "deceiving" Benedik and Beatrice. The first notable use of dramatic irony occurs when both Benedika and Claudio believe they deceived other people, believing that they were someone else. In the case of Benedik, he will not allow Beatrice to find out who he really is, she asks: "Will you tell me who you are?"

Claudio obviously does not have any true compassion for Hero because he did not have any compassion to confront or talk to her about what he heard and seen previously. Instead, he publicly shamed her even though he was not completely certain it was her with another man in her chamber window.

The play Much Ado About Nothing by William Shakespeare consists of many themes which grow out of the ‘game of love'. The two main themes consist of perception and deception. Through the plot complications, character development and dramatic techniques these themes can be explored. In the play deception is shown on both good and evil sides, the game of love between Beatrice and Benedick and the Don John plot to split up Hero and Claudio. Perception is a theme used in most of Shakespeare's plays. Perceptive views by the characters help portray the game of love. Hero is perceived as dead which then Claudio is sorry and feels for her. Beatrice and Benedick's loved is clouded by each other's perceptions and arguments.

Earlier in the play, a scene was described where Borachio and Don John plan to trick Claudio into thinking that Hero is diwsloyal because of a man in her chamber the night prior to her wedding. After the stated quote, the intent is to try and trick Claudio and show that Hero is disloyal when she is actually not. This quote presents significance by describing the overall trait of the entire act and scene which is the trickery and sabotage of Borachio and Don John upon the hapiness of all of the other characters in the play. Overall, the previouly described scene, in part with an already confused Claudio, makes this quote important to the wedding of Claudio and

Deceit and trickery play a huge part in the play Much Ado About Nothing by William Shakespeare. Deception is a key theme in the play, it also moves the plot along. Trickery and deception is used in the love stories of couples Hero and Claudio, and Benedick and Beatrice, with opposite results. This play demonstrates two different kinds of deceit: the kind whose only purpose is to cause trouble, and the kind that is used to form a good outcome. In the relationship of Hero and Claudio, deception nearly succeeds in breaking them apart forever, while in the case of Benedick and Beatrice, it brings them closer together.

When Hero has been humiliated by Claudio, her father instantly says, "Do not live, Hero; do not ope thine eyes"(4.1.121). He would rather she were dead that have this kind of shame brought on the family. He doesn't even consider once, until the friar speaks up, that Hero could be innocent of Claudio's charges. And then if this isn't enough, she (as her cousin) has the audacity to take Claudio back after he has publicly humiliated her just because her father tells her to. This is another example of how tightly women were trapped under their father's rule.

At this time, the world was part of a patriarchal society in which men were superior to women. In the play, this can be seen during Hero’s public shaming at her wedding ceremony. Both Claudio and Lenato call her rotten for an act she did not commit, and her own father believes their word over his daughter’s, revealing a norm of the time, that men were trusted over women. The majority of the characters in this play were subject to limitations and expectations because of their gender roles during the fifteen hundreds. For example, even after all the awful things Claudio said towards Hero, she takes him back, emphasizing to the audience that in this male dominated culture, she is subject to her

Comparing it to Hero, he means that she might be beautiful and innocent on the outside, and trick you with that, but is actually not pure and corruptive. Claudio also says that Hero blushes “like a maid”, suggesting that she blushes with guiltiness and not modesty. He thinks to know what is really going on and this is an example where he tries to find anything that might go against her. He then accuses her of having “cunning sin”, referring to the fact that her cuteness will believably cover all her wickedness.