Much to Do with Deception

2356 WordsMay 7, 201310 Pages
“Much To Do With Deception” A Critical Research Paper about William Shakespeare’s Much Ado About Nothing Much Ado About Nothing, written by William Shakespeare, is a dramatic production that uses the tools of deception and humor under the category of comedy. As defined by Paul N. Siegel, “A comic play is usually accepted to be a light-hearted play with a happy conclusion.” Yet, Shakespearian tragic plays often use deception as a method to damage the role of the hero. In other Shakespearian tragedies like Othello and Richard III, deception is one of the main tools used to gain a victory over the hero. A Shakespearian tragedy is defined to be a hero afflicted with moral or emotional weight that ends in his or her destruction or…show more content…
Champion speaks of the evolution of this mature romantic comedy and describes this scene as “transformational deception”. Much Ado About Nothing begins to place drama and intrigue into comedy while developing the characters with plot and purpose. Beatrice finally uncovers her truth through the “dramatic interruption of deception”. Robert G. Hunter labels Much Ado About Nothing as a “Comedy of Forgiveness” and notes that Beatrice quickly changed her feelings (shows forgiveness) toward Benedick once deception gave her the push she needed to accept him. This mature comedy resembles tragedy in that it is supplied with a role character’s intervention as a guide to the plot. The most shocking act of deception in Much Ado About Nothing was done to Claudio and Hero. Meredith Anne Skura mentions the utilization of what is known as “stock characters” in comedic plays. These are normally young boys with their female partners. Our stock characters in this play are Hero and Claudio. The two of them, unlike Beatrice and Benedick, begin their relationship immediately. The deception begins when Borachio finds out about Don Pedro’s plan to influence Hero for Claudio cause. At the party, Borachio and Don John bump into Claudio and try to make him think that Don Pedro is only enticing Hero for himself: “Signor, you are very near my brother in his love. / He is enamored on Hero” (2.1.155-6). After Don John and Borachio’s plan works, Claudio gives the
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