Much Ado About Nothing Analysis

Characters were either mislead or pulled into situations that masked them without any realisation. Margaret is a great example of a character that was masked unintentionally when Don John and Borachio were planning to deceive Claudio. She had no idea that she was tugged into a mess of slander because of her actions with Borachio and was immediately seen as Hero, not herself. Because Borachio wanted Claudio to hear him “call Margaret ‘Hero’”(II.ii.35) so that it “shall appear such seeming truth of Hero’s disloyalty”(II.ii.38-39), it was an act to mask Hero as someone that she was not. She lost her morals and dignity and Margaret had no perception on what was going on in the process. Many were deceived during that time because of another’s jealousy and desire to sabotage someone else’s happiness. Even though Hero and Margaret were unintendedly masked, it was honesty that wiped away the masks of slander and

"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.

            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

Claudio also says that Hero has known a “luxurious bed”, a shocking accusation which implies that she has slept with another man just the night before their wedding; something extraordinarily shameful for Hero as women at that time were valued for being a virgin up to the time they got married. Claudio then refers to Hero explicitly as an “approved wanton” in line 41 provides extra shock as his rage is now very high. Calling her a proven whore in front of every one at the wedding is very mean and at the same time scandalous.

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

This theme of appearance versus reality is common throughout the play in the number of times deception is used among the characters. Deceit, and misinterpretation of the events causes tension among Claudio and Don Pedro (Act 3 Scene iv). After Claudio fell in love with Leonato's daughter Hero, Don Pedro woos the young lady for him. As Don Pedro does this jealousy arises in Claudio thinking his love is being taken away by the Prince.

In his attempts to find public acceptance, Claudio proves to be easily fooled into believing anything he is told despite obvious lack of proof of what he is being

Characters in this play have experience love in different ways; starting with Claudio that falls in love with Hero from the first time he sees her, and decided to get married. “In mine eye she is the sweetest lady that ever I looked on,” (1,1,168) it would seem that the love Claudio has for Hero is a result of first attraction on looks, however, Claudio’s character seems to be immature and inexperienced. Later in the play, when Claudio is suspicious of her, he instantly forgets the love he had for her, and that love turned to a full of hatred. On the other hand, Hero’s willingness to forgive Claudio is just as disturbing as Claudio’s rejection of her. She does not fight for her pride after what Claudio did to her but instead marries him willingly. “And when I lived, I was your other wife, And when you loved, you were my other husband,” (62, 5, 4) this line shows how forgiving and innocent Hero is as a character.

The illegitimate brother of Don Pedro; sometimes called “the Bastard.” Don John is melancholy and sullen by nature, and he creates a dark scheme to ruin the happiness of Hero and Claudio.

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

In the play “Much Ado About Nothing” Don Pedro and Don John’s actions are different from each other. An example from Shakespeare is Don John saying, “Will it serve for any model to mischief on?” and “If I can cross him any way, I bless muss myself every way. You are both sure, and will assist me?” (16-17).

Don Pedro and his men return from the war and visit the house of Leonato and his brother, Antonio. This sudden meeting reunites Beatrice with her archrival, Benedick, and it is here that Claudio and Hero fall in love.

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.

Don Giovanni is an operatic character that plays a womanizer during the 17th century. This was a play first performed in 1789, a successful creation of Mozart and DaPonte. During the play, Don Giovanni represents a sociopath that is lead by his incredible weakness for women. This weakness leads him into darkness, complete with seduction, and murder. Since the beginning, many people have seen Don Giovanni as a hero but many others have considered him a villain. The actions of Don Giovanni are not completely heroic neither are they totally villainous. But is noticeable that throughout the play he is more a hero than a villain.

Although Claudio has no proof that whatever Don John was saying to him was true, he is quick to believe it and misunderstand the situation. This causes there to be conflict between Don Pedro and Claudio, who