In the world he creates in Much Ado about Nothing(TM) Shakespeare demonstrates above all the value of friendship as the strongest bond in life. Do you agree with this statement? In your answer you should include an examination of a l
In the world he creates in 'Much Ado about Nothing' Shakespeare demonstrates above all the value of friendship as the strongest bond in life. Do you agree with this statement? In your answer you should include an examination of a least two extracts from the play. When studying Shakespeare it is always important to examine the context that his work was written, Shakespeare lived in the Elizabethan age, and age later called 'The Golden Age'. However it is essential to remember that the 'Golden Age' preceded the Age of Enlightenment. In fact Shakespeare was surrounded with a world of unexplained phenomenons as the entire concept of science was only just finding its feet in the world. As Shakespeare was writing there was no explanation for the content of the sky or belief of what was past it, disease went unexplained, and genetics was something far beyond the thought of any person living at that time. His era followed the aptly named 'Dark Ages' and even the most intelligent people could not offer any explanation beyond the supernatural and the existence of witches. God's existence was often questioned as the churches appeared to become more and more corrupt with no explanation other than that their actions were dictated by a scripture that the majority of the country were not able to read or understand. Foreign cultures were also largely unheard of at this time, though world
Analyse the way Beatrice and Benedick speak to and about each other, up to and including page 134
Analyse the way Beatrice and Benedick speak to and about each other, up to and including page 134 The characters Beatrice and Benedick in the William Shakespeare play "Much Ado About Nothing" can be described as sparring lovers. At the start of the play, it is difficult for them to converse without becoming involved in a "merry war" or a "skirmish of wit". This attitude gradually changes as the play progresses. I shall analyse the way in which this attitude changes as Beatrice and Benedick engage in parlance. From Act One, Scene One, Beatrice demonstrates hypocrisy when to Benedick she says "I wonder that you will still be talking, Signor Benedick, nobody marks you". The ironic part of this is that she is actually listening to him. Therefore, as much as she may like to deny it, she is giving the man she "detests" her undivided attention, and is noticing him. Benedick, in a quick flash of wit answers back "What, my dear Lady Disdain! Are you yet living?" As Benedick asks Beatrice if she is living, it presents the witty assumption that Benedick has not been aware of Beatrice's presence. A very well-put reply to this from Beatrice is that "Disdain" can't die whilst Benedick is there "feeding" it to carry on. This battle of wit which occurs between the both of them illustrates the deep loathing that they appear to have for one another. As we shall discover further on
What comic devices does Shakespeare use in the opening scene of Much Ado About Nothing to create humour and a light hearted atmosphere?
James Meredith ‘What comic devices does Shakespeare use in the opening scene of Much Ado About Nothing to create humour and a light hearted atmosphere?’ Throughout Much Ado About Nothing, Shakespeare uses many comic devices to bring about humour and a light hearted atmosphere, such as misunderstanding, bawdiness and wit. Act 1, Scene 1 opens with a messenger telling Leonato of Don Pedro’s return from conflict and his approach to the town of Messina where Leonato takes residence with his household and which is also surrounded by country, which in turn is an aspect of comedy which seems to take a more profound comedic effect later in the play. The use of status and power is a comedic effect as it causes the audience to laugh at the lower class as they believe they themselves are above the servants and the messengers in terms of status. Wit and wordplay are aspects of comedy, which Shakespeare tends to use successively throughout the play and we see evidence of this early in Scene 1 of the first Act when Beatrice remarks, “…is Signor Mountanto returned from the wars, or no?” with reference to Signor Benedick of Padua. Mountanto is a fencing term for an upward thrust, and so Beatrice mocks Benedick by calling him ‘Mr fancy fighter’. This use of names is a comic feature, which is used by Shakespeare to describe the behaviour and aspects of a certain
Shakespeare employs a wide range of literary techniques to define the characters of Beatrice and Benedick and to illustrate their evolving attitudes and relationship in the context of love.
The play Much Ado About Nothing is attributed to the eminent playwright William Shakespeare and is generally assumed to have been written in later years of the sixteenth century. This light-hearted comedy is set in Messina, a bustling port in Sicily, during the Elizabethan Era, a time when strict social conventions governed the way men and women were expected to act. Throughout this play, Shakespeare employs a wide range of literary techniques to define the characters of Beatrice and Benedick and to illustrate their evolving attitudes and relationship in the context of love. The effective manipulation of wit, metaphor and soliloquy allow Shakespeare to portray Beatrice as a strong-willed and outspoken noblewoman who challenges the gender stereotype of the time. Through the liberal use of simile, hyperbole and soliloquy, Shakespeare deftly constructs the protagonist Benedick as a witty, self-assured nobleman who initially scorns the idea of love but whose attitudes are challenged as the play progresses. Shakespeare's use of wit is essential in depicting Beatrice as noblewomen who challenges the social conventions of her time and to express her cynicism towards men in general and Benedick in particular. During her word spar with Benedick in the opening scene, after Benedick accuses her of being "Lady Disdain" (1.1.88) Beatrice retorts" Is it possible that Lady Disdain
Critical appreciation of Much ado about Nothing
"Much ado about nothing" is Kenneth Branagh's film adaptation of William Shakespeare's better-known comedies. The film is centered on the romance of Hero and Claudio and also the romance of Benedick and Beatrice. Hero and Claudio, undergo the conventional "love at first sight". From their first glance of each other at the beginning of the play, there is instant attraction, without having knowing much of each other. Beatrice and Benedick, however, have known each other for quite some time and though at first their squabbles can be easily mistaken for hate towards each other, it becomes very clear to the viewer the hidden attraction between the two. It doesn't take much effort to set the two up; they are in love with each after one simple trick that was carefully planned by Don Pedro, who plays cupid in the play. Kenneth Branagh's, the director of the play, is very learned in Shakespeare and this wealth of knowledge and wisdom, is greatly displayed in the film. "There is no one today who can do Shakespeare like Brangah," comments Steve Rhodes in his 1995 review of the film. The play is interpreted into something ore comprehensive and clearer, so that persons who are not accustomed to enjoying Shakespeare would find it quite easy to be intrigued and able to catch up with the plot of the play at all times. It is not the lines that create laughter, but the physical actions of
"Every text offers a unique perspective" Discuss with reference to your set text and other texts.
"Every text offers a unique perspective" Discuss with reference to your set text and other texts Within all texts a unique perspective is offered to the responder. A re-occurring idea within many texts is that of perspectives on change and truth. All of the texts studied offer to the responder a unique perspective on the idea of change; these vary greatly upon the composer's ideas, beliefs and opinions. All of the texts challenge the idea of a 'universal' truth. They demonstrate that truth is a perspective, which changes based upon the responders cultural values, and personal beliefs. This is shown mainly in Kenneth Branagh's Much Ado About Nothing, Jennifer Saunders's Absolutely Fabulous (Episode: Death), the cartoon A Woman needs the patriarchy like a fish needs a bicycle, The Board of Studies "Changing" booklet, Texts 2a and 2b, and in John Keats' sonnet On First Looking Into Chapman's Homer. Branagh's 20th century appropriation of Shakespeare's Much Ado About Nothing, deals with change in a light-hearted, humorous, way. Through the text the director is suggesting that large changes in perspective can be brought about by very small events. The director deliberately looks at this change of perspective in a humorous, light hearted, surreal way. In Much Ado About Nothing the change in perspective is shown through the use of film techniques. The garden sequence is an
How is Benedick presented in the scenes leading up to this point?
How does Shakespeare present Benedick at these points in the play? (Act II Scene III - 7-28, 181-213; and scenes leading up to this point) In these two extracts, Shakespeare provides two very different presentations of Benedick. The first: misogynistic, marriage-fearing Benedick which he projects to his audience. Second: the warm-hearted, love-sick Benedick who, despite his fiery demeanour, is very much in love with Beatrice. In the first part, Benedick soliloquises about the man who "dedicates his behaviours to love" is a fool, and the irony of becoming the "argument of his own scorn." This pre-empts the drastic change in Benedick's behaviour later in the scene. Already we see a confident flurry of long, complex declaratives, signalling a kind of gusto to Benedick's emotions: he clearly feels strongly about this issue. However, the fact that he must say these things to himself may serve to highlight his insecurity with himself. It is quite obvious from earlier points in the play that Benedick is wholly uncomfortable with his feelings towards Beatrice and tries (unsuccessfully) to hide these feelings. In the next few lines, Benedick contrasts battle imagery such as "good armour" with softer, more romantic objects, such as a "new doublet." This serves to illustrate his contempt for Claudio's utter turnaround. His tripling in this section further emphasises both Benedick's
Act III Scene ii Consider the dramatic significance of this episode in the play
Act III, Scene ii, from line 72 'My Lord and brother, God save you!' to the end of the scene. Consider the dramatic significance of this episode in the play. (750 words) As an audience, we can foresee the sinister turn of events which will be marked by the appearance of Don John in the latter part of this scene. Having earlier witnessed the deceitful and slanderous plot conjured up between he and Borachio during their discussion, implementation of the plan seems imminent. And yet the descent from the comedy of Benedick trying to pass off his love-sickness as toothache to the threatened tragedy of Hero's slander is perhaps far more rapid than we might have anticipated. The earlier jovial mockery of Benedick by Don Pedro, Leonato and Claudio provides a striking contrast with the underlying malice of the deliberately ambiguous and disparaging remarks from Don John. Yet such ambiguity seduces Claudio and Don Pedro in a remarkably similar way to the double meanings and innuendo which deceived Benedick earlier on. Don John demonstrates an ability to manipulate his language in a successful bid to influence and target the weaknesses of his audience; that is, Claudio and Don Pedro. He has a shrewd understanding of the court and his insinuations about Hero play upon the tensions within it relating to honour and status. Don John opens with a customary courteous greeting before baiting
Analyse Act IV Scene I (Lines 148-247) of Much Ado About Nothing
Act IV Scene I - Lines 148-247 This extract depicts the immediate aftermath of Claudio's public shaming of Hero. A battle of egos ensues between Friar Francis and Leonato, who both think that their course of action is the best - Leonato through coarse, passionate revenge and Friar Francis through rational, logical planning. Shakespeare presents to us the balance of turn-taking between Francis and Leonato as a battle for dominance. Neither seems to make any ground over the other, until Friar Francis has an extended turn, after which Leonato's turns shorten. This illustrates Leonato's resignation and acceptance that the Friar's plan is the more worthy. In addition, Shakespeare uses shared lines, for example where Friar Francis suggests "Pause awhile" to show interruption in an attempt to gain power. Both the characters do this, but Friar Francis then manages to foil Leonato in his extended turn by talking in extremely long compound sentences - giving Leonato no chance to interrupt. The sentences used by both these pivotal characters tend to be declarative, as Shakespeare illustrates how they both give out a lot of information and make statements in order to quell the other. The series of declaratives suggests that neither will be moved in their beliefs. In addition, Shakespeare uses a series of imperatives such as "Call me a fool" to show an aggressive move by the Friar to
Much Ado - How do the speech patterns of various characters add to our understanding of them?
In the play Much Ado About Nothing, speech and conversation are an integral part of the play. The way the characters converse with each other tells us a lot about the characters and also their relationships with each other. Sometimes their conversations with each other intend to amuse, sometimes intend to impress, and sometimes intend to conceal their true feelings. One prime example of a character that uses different language around different people is Hero. Hero is a character who adjusts her speech and conversation depending on which other characters she is in he company of. Being a conventional upper class woman, she uses courtly language when around men. Infact, when around men, Hero rarely speaks unless spoken too. However, when she is among the women her character really comes out. In Act 3 Scene 1, Hero and Margaret trick Beatrice into thinking that Benedick loves her. In this scene Hero has more lines on one page than she does in the entire previous acts. In this scene her language is very strong, which is something the audience don't suspect. She also speaks in blank verse during this scene. The reason Shakespeare may have done this is so that the audience are compelled to listen to Hero when she does finally speak. Her words are strong in this scene and have a huge affect on Beatrice. She describes Beatrice as someone who 'cannot love, nor take no shape nor project