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Much Ado About Nothing

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Introduction

Much Ado About Nothing Much ado About Nothing is a play of courtly love and romance, it is about love and falling in love, where virture is rewarded and viciousness is prevented. The play explores the nature of true love, realistically and critically; the way Shakespeare intended it to be. No one would expect to find a moral to the ways of human beings; nether the less Shakespeare must have seemed infinitely subtler as a writer of comedies than any other dramatist in English there had ever been. The audience were delighted by what he had done, for they saw his achievements a true reflection of the theatre of life, in which they were living. Shakespeare used everyday lessons on stage and gave them a whole new freshness. For Hero and Claudio, courtly love was the way of romance, certain convections had to be followed everything was polite and polished. The basis of a good relationship was when women were pure. Chastity is a symbol of love, the wit of the courtly conversation adds something extra to the straightforward communication of meaning; people show off wit in front of others and confirm to acceptable models of conversation, which are often carefully contrived. ...read more.

Middle

Hero is most likely to be singled out to make a "good match" with the Prince when he arrives. At the dancing one can easily forecast that Hero is almost herself when she is masked and not under the surveillance of the court, this is when we see her true voice, " So you walk softly, look sweetly, and say nothing, I am yours for the walk; and especially when I walk away" She is quite flirtatious and poetic as she is not in the formal court of love. Hero becomes typically silent, defensive and not passionate or over the top at the accusations. Leonato is all too quick to believe the accusations and the only two people to offer any kind of support id Beatrice and Benedick. Hero says, " O God. Defend me! How am I beset! What kind of catechising call you this?" Hero's playfulness becomes more apparent during the gulling of Beatrice. She is acting here within her own sphere; there are no men present and her two accomplices are Margaret and Ursula. However she is still in the form of public stage. The effect of the gross wrong done on her is pitiful rather than tragic; a virtuous and beautiful lady is to be sacrificed, and he lacks faith enough for somebody to defend her. ...read more.

Conclusion

Beatrice starts to ridicule Benedick but the irony is that she is slandering him to his face without realising. Benedick feels hurt and he feels as though he is the victim of Beatrice's slandering tongue. Beatrice is more modern as she has constant unfair denigration about marriage, " No sure my Lord my mother cried. But there was a star dance and under that I was born Cousins, God gave you joy!" It was not easy for Benedick to get pass the double role, that the masked encounter and of the more personal image of himself that he wants to show the world. The way he overstates his convections, and drives them too hard, sustains the comedy. By contrast Beatrice maintains her control over the situation, her style is often one of over reaction, over emotion, but this is her true person, and the results are spectacular. She says she was born to speak all mirth and no matter, yet matters she raises strike chords in many hearts, Benedick's included. Sympathy between them rapidly develops into a bond. So that when ever they are left together they have their opportunity to speak of their love for one another, Benedick says, " Suffer love! - A good epithet. I do suffer love indeed, For I love thee against my will." He ridicules courtly love and insults good expressions. " Live...Die...Buried... ...read more.

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