William Shakespeare 's Much Ado About Nothing

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.

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.

Italy, a lot of the plays written were set in Italy. This play has a

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.

Much Ado About Nothing by William Shakespeare "Much Ado About Nothing" in fact has a great deal to say about love and marriage. What is Shakespeare trying to tell us about relationships between men and women? Compare the play's treatment of love with that in "Silas Marner" In "Much Ado About Nothing" there are many different forms of love and relationships that range from youthful infatuation to parental love. Shakespeare makes many comments about men and women and shows the audience a variety of both romantic and platonic relationships.

Drama text, Much Ado About Nothing by William Shakespeare is a romantic comedy revolved around marriage, dishonesty and love. In 2007, the original play had been interpreted and adapted into a new film text; Much Ado About Nothing Shakespeare Retold. This new film version is an adaption for the modern audience who’s views around love and marriage have changed since Elizabethan times. Brian Percival ‘Retold’ the original play, first published in 1623 by reinterpreting it into his own understanding of modern society with the focus of women’s roles nowadays. Whilst doing this Percival has maintained many of Shakespeare’s intentions.

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

During the two gulling scenes, namely Act 2 Scene 3 and Act 3 Scene 1,

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.

William Shakespeare’s play Much Ado about Nothing traverses the complex social, and emotional trials and triumphs of romantic relationships; Shakespeare’s perspective on the subject is both very similar to ours today, and different. Although filled with sexual innuendos, and humorous trickery and shenanigans, Much Ado about Nothing also dives into the complexities of social anxieties, defense mechanisms to cope with the social pressures, and the emotions involved.

“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.

In celebration of the soldiers return, Leonato hosts a masked dance where Don Pedro woes Hero for Claudio. Don John tries tells Claudio his brother is wooing Hero for himself, but Don Pedro clarifies the matter and tells Claudio that he has kept his promise. The others decide amongst themselves that during the week that Hero and Claudio wait to be wed, they shall play a game in order to make Beatrice and Benedick fall in love.

She throws away her old self, stating "Contempt, farewell! and maiden pride, adieu!"(3.1.109). She also choses not to be so protective of her independence and declares love for Benedick, claiming "I will requite thee, Taming my wild heart to thy loving hand"(3.1.111-112). However, the true change in Beatrice does not show until the first church scene in which Claudio publicly humiliates Hero. Beatrice shows deep concern for her cousin Hero, the first time in the play where Beatrice shows concern for another. She is the first to claim Claudio is a liar and declare "on my soul, my cousin is belied!"(4.1.145). Beatrice then proves once again that she is a better person by demanding justice for Hero is met. Through Benedick, Beatrice plots to right the wrong and asks Benedick to "Kill Claudio"(4.1.290). It is in this scene as well that Beatrice, proving a complete turnaround in behavior, confesses to Benedick that "I love you with so much of my heart that none is left to protest "(4.1.287-288). This shows Beatrice transforming from someone who would scoff at marriage and love, declaring things like "I may sit in a corner and cry heigh-ho for a husband"(2.1.312-313), to someone who easily embraces love from the person she once mocked. But such a dramatic change is seen in her love as well.

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).

‘Shakespeare wrote his play in accordance with the conventions of an easily identifiable genre – history, comedy or tragedy.’