This Study Guide consists of approximately 20 pages of chapter summaries, quotes, character analysis, themes, and more - everything you need to sharpen your knowledge of Much Ado about Nothing. Show
Take our free Much Ado about Nothing quiz below, with 25 multiple choice questions that help you test your knowledge. Determine which chapters, themes and styles you already know and what you need to study for your upcoming essay, midterm, or final exam. Take the free quiz now! Directions: Click on the correct answer. Questions 1-5 of 25: Copyrights Much Ado about Nothing from BookRags. (c)2022 BookRags, Inc. All rights reserved. Table of Contents Left: Beatrice and Benedick in an illustration Type of Work William Shakespeare's Much Ado About Nothing is a stage play in the form of a comedy. It centers on two couples and the trials they encounter on their way to the altar. Shakespeare knits the separate stories into a unified whole. The play is unusual for Shakespeare in that the characters speak in prose rather than verse most of the time. Prose is the everyday language of conversations, news reports, essays, and letters. Verse is an elegant,
poetic means of self-expression in separate lines of limited length, usually about ten syllables each. Composition and Performance Shakespeare wrote Much Ado About Nothing between 1598 and 1599, when he was in his middle thirties. It was first performed on a London stage before 1600
by the Lord Chamberlain's Men, an acting company of which Shakespeare was a member. First PrintingMuch Ado About Nothing was first published in a quarto edition in 1600 by printer Valentine Simmes (1585-1622) for booksellers Andrew Wise and William Aspley. A quarto was a sheet of paper
folded in half to create four pages. Friends of Shakespeare published the play again in 1623, seven years after the author's death, in a collection that included thirty-five other Shakespeare plays. This collection was carefully edited and proofread, then printed in a folio edition. A folio consisted of a sheet of paper considerably larger than a quarto. Like a quarto, a folio was folded to create four pages. Because the folio book was the first publication containing a collection of
Shakespeare's plays, it came to be known as the First Folio after other folio editions were published in 1632, 1663, and 1685. Sources One of the main sources for the play was a novella in a collection of tales by Italian writer Matteo Bandello (1485-1561). Another source was Orlando Furioso, an epic poem by
Lodovico Ariosto (1474-1535). The poem was published in Italian in 1516. Sir John Harington translated Orlando Furioso into English for an edition published in 1591. Shakespeare may also have used Il Libro del Cortegiano (The Book of the Courtier), by Baldassare Castiglione (1478-1529). It was published in Italian in 1528 and in English in 1561 in an edition translated by Sir Thomas Hoby (1530-1566). Setting The action takes place in northeastern Sicily in the province of Messina, a busy port and trading center only about five miles from the Italian mainland. Messina is a mountainous province blessed with fertile fields for agriculture. The capital bears the same name as the province, Messina. The modern city of Messina has well over 200,000 inhabitants. Characters Benedick: Young lord from Padua, Italy, who thinks he despises Beatrice but really loves her. He is friendly, has a quick and witty tongue, and generally maintains an even temperament. Plot Summary After defeating his troublemaking brother, Don John, in a military campaign, Don Pedro of Arragon (Shakespeare's spelling of
Aragon) and several of his compatriots decide to visit relatives and other friends in Messina, a province in northeastern Sicily. Leonato, the governor of Messina, receives word that Don Pedro is but three leagues off (about nine miles) and will arrive in Messina in a few hours with a company of men, including the defeated Don John. Also with Don Pedro are two of his most valiant soldiers, Benedick of Padua and Claudio of Florence. A messenger tells Leonato that Claudio performed
heroically: "He hath borne himself beyond the promise of his age, doing, in the figure of a lamb, the feats of a lion: he hath indeed better bettered expectation than you must expect of me to tell you how" (1.1.8).
Your daughter here the princes left for dead: Afterward, says Friar Francis�who perceives wronged innocence in Hero's eyes�information may emerge that will prove that Hero was the victim of slanderous plot. Be yet my nephew: my brother hath a daughter, Claudio embraces the offer. Tone The tone of the play is generally merry, playful, carefree, and mischievous. However, dark moments occasionally alter the mood. The most noteworthy of
these are scenes in which (1) Don John complains about his melancholy spirit, then plots against Hero; (2) Claudio accuses Hero of betraying him; and (3) the normally even-tempered Benedick becomes angry and challenges Claudio to a duel. Conflicts The main conflicts in the play center on the
following: Don John's hatred of his brother, Don Pedro, who defeated Don John in battle. Title Meaning The title suggests that the characters in the play pay too much attention to trivial matters. (Ado means fuss, bother,
commotion, confusion, or trouble.) But beware of the word nothing. Elizabethans sometimes used this word as a term for the female sex organ, which resembles the mathematical symbol for nothing, 0. Now consider that much attention�that is, much ado�is focused on Hero as a prospective wife. At a masked ball, Don John woos Hero in the name of Claudio, who has become entranced with Hero's angelic beauty. The scheme results in the betrothal of Claudio and Hero. ClimaxThe climax of a play or another literary work, such as a short story or a novel, can be defined as (1) the turning point at which the conflict begins to resolve itself for better or worse, or as (2) the final and most exciting event in a series of events. The climax of Much Ado About Nothing occurs, according to the first definition, when Claudio rejects Hero on their wedding day in the mistaken belief that Hero yielded to another man the day before. According to the second definition, the climax occurs in the final act when Hero unmasks herself and the two couples�Beatrice and Benedick, Claudio and Hero�joyfully dance before going to the altar. Teaching Shakespeare: A Handbook for Teachers ThemesDeceit The play relies mainly on deceit for its effectiveness. For example, at the outset of the play, Don John pretends to be remorseful for rebelling against his brother. However, inwardly he seethes with hatred for his brother and looks for an opportunity gain
revenge for his humiliating defeat on the battlefield. Also early in the play, Beatrice and Benedick pretend that they do not like each other, let alone love each other. Whenever circumstances bring them together, they spend their time exchanging insults. In their first appearance together in Act 1, Benedick is enjoying a conversation with Leonato and Don Pedro when Beatrice interrupts and a verbal skirmish ensues.
BEATRICE: I wonder that you will still be talking, Signior Benedick: nobody marks [notices; listens to] you. Of course, as the plot progresses,
it becomes obvious that Benedick and Beatrice are deceiving each other and everyone else, for in reality they love each other. Meanwhile, Claudio confesses to Don Pedro that he has an eye for Leonato's daughter, the comely Hero. Don Pedro then proposes that he woo Hero for Claudio at a masked ball, saying, I know we shall have revelling to-night: The deceptive scheme works and Don Pedro seals the deal by getting Hero's father, Leonato, to agree to a marriage between Claudio and Hero. Enter the evil Don John. After learning that Claudio�his hated battlefield foe�plans to marry Hero, he oversees a plan to break up the romance and thereby gain revenge against Claudio. In the dark of night, Borachio appears at Hero's bedroom window and converses with Hero's attendant, Margaret, who is dressed in Hero's
clothes. Don Pedro and Claudio are observing from an orchard a short distance away and think Margaret is Hero. Don John had previously poisoned their ears against Hero, saying she was a wanton and telling them they could witness her misbehavior themselves at night from the orchard. What they see and hear suggests that Borachio and Hero have just made love. The deception works, and Claudio denounces Hero at the altar on the day of the wedding. To-morrow morning come you to my house, Claudio agrees to marry the young woman. But Antonio's "daughter" is really Hero. The next morning, Hero carries the deception further by wearing a mask when she appears before Claudio. Leonato then makes Claudio take her hand and swear that he will be her husband. Claudio does so.
The bride-to-be then reveals herself as the real Hero and says, "Surely as I live I am a maid [virgin]" (5.4.71). The Class SystemMuch Ado About Nothing reveals the flaws of the class system in England and elsewhere in Europe. The most obvious flaw is its unfairness. Those born into the aristocracy receive rights and privileges unavailable to commoners. They also receive far more
wealth and property, as well as benefits such as political power and favors resulting from their connections with fellow aristocrats. Consequently, a wide gap separates the upper classes from the commoners. If their wisdoms be misled in this, The class system also imposes limitations on aristocratic female children. For example, the laws governing the system state that men, not women, should inherit property and wealth. Also, custom and tradition under this system dictate that a highborn young woman should to obey her father at all times, even when he commands her to marry a man of his choosing. In the play, it is assumed that Hero will obey her
father after he agrees with Don Pedro that Claudio would be a good match for her. After all, Claudio is a count. His rank would enhance the standing of Hero. Moreover, it would assure the continuance of a noble family into the next generation. Women's Inferior Status In Elizabethan England, women generally were subservient to men. In all things, each woman was expected to yield to the will of a father, husband, brother, uncle, or fianc�. A woman was frowned on if
she attempted to pursue a career as an architect, an attorney, a merchant, a diplomat, a politician, a law-enforcement officer, or even an actor. (In Shakespeare's day, men and boys acted all the parts in stage plays, even the parts of women.) Women could not vote and were not entitled to a formal education, although upper-class women often learned under tutors. Lower-class women could become cooks, servants, washerwomen, midwives, and perform various menial tasks. Upper-class women were
expected to remain in the home to carry out the following duties: to please their husbands, bear children, rear the children with the help of attendants, oversee the preparation of food, and conduct social entertainments. Although an unmarried woman could own property, she had to yield it to a husband if she married. A widow could inherit property but had to give it to the oldest son when he grew up. Use and Misuse of Language The use and misuse of language in the play help Shakespeare to develop his characters and themes, call attention to social conventions, and present comic episodes. DON PEDRO: Good Signior Leonato, you are come to meet
your trouble [the burden and expense of hosting me and my men]: the fashion of the world is to avoid cost [such trouble], and you encounter it. Margaret's language, on the other hand, is down to earth and at times vulgar. It may be that Shakespeare uses her words to satirize the rarefied language of courtiers and the sometimes priggish language of ing�nues like Hero, as in this exchange: HERO: God
give me joy to wear it [this dress]! for my heart is exceeding heavy. Moments later, Beatrice complains of symptoms of a cold, saying that her nose is �stuffed� (3.4.33) and she cannot smell. Margaret replies,
�A maid [virgin] and stuffed! There's goodly catching a cold� (3.4.34). Margaret is saying, in effect, that being �stuffed� by a man is a pleasant way to catch a cold. DOGBERRY: Are you good men and true?
Verges means to say damnation. In the following passage are other examples of malapropisms. The speaker is Dogberry, who is addressing a watchman who has learned to read and write. Well, for your [good looks], sir, why, give God thanks, and make no boast of it; for your writing and reading, let that appear when
there is no need of such vanity. You are thought here to be the most senseless [sensible] and fit man for the constable of the watch; therefore bear you the lantern. This is your charge: you shall comprehend [apprehend] all vagrom [vagrant] men; you are to bid any man stand, in the prince's name. (3.3.11) Dogberry is an archetype for bumbling police officers in modern film and television comedies. Among movie and TV policemen who followed in his footsteps are Sheriff Buford T. Justice (Smoky and the Bandit), Inspector Clouseau (The Pink Panther), Maxwell Smart (Get Smart), and Barny Fife (The Andy Griffith Show). However, Dogberry gets laughs mostly for his malapropisms rather than for slapstick. Other examples of his malapropisms are the the following.True, and they are to meddle [mingle] with none but the prince�s subjects. You shall also make no noise in the streets; for, for the watch to babble and to talk is most tolerable [intolerable] and not to be endured� (3.3.15). (Note: The use of "for, for" after "streets" is as Shakespeare wrote the words. The first "for" is a conjunction and the second, a preposition.) 1. Truly, I would not hang a dog by my will, much more [less] a man who hath any honesty
in him (3.3.25). The malapropisms of Dogberry and the other watchmen serve to
underscore the educational gap between the lower and upper classes. Ironically, though, it is the watchmen who discover the wrongdoing against Hero, proving that they can sometimes be more valuable to society than their learned and refined superiors. Importance of Reputation Having a good reputation was extremely
important to aristocrats in Renaissance Europe. For men, it meant treating a spouse or fianc�e with gallantry, maintaining loyalty to family and friends, and performing courageously in war. For women, it meant obeying the will of parents, guarding virginity in the nubile years, and remaining faithful to a husband after marriage. 1. Praise for Claudio and Benedick in fighting with valor for Don Pedro in his war with his rebellious brother, Don John. Revenge Revenge against Claudio and Don Pedro motivates Don John to develop the scheme that impugns Hero's reputation and casts a pall over the festive atmosphere of the play. Love Is Blind Hero ignores Claudio's faults. For example, she accepts Claudio as her husband-to-be even though only a short time before he so readily believed the slanders against her, called her a "rotten orange," and agreed to marry another in her place. Moreover, she never questions his motives�one of which, apparently, is to marry into
money. (He had previously inquired whether Governor Leonato had a son and was told Hero was Leonato's only child and, thus, sole heir to his property.) Love Is NOT Blind Benedick well knows that Beatrice has a sharp tongue and feisty spirit that he must accept if he is to be her husband and live with her for decades to come.
Likewise, Beatrice well knows Benedick is not the kind of man she can dominate. Yet, before the end of play, they acknowledge their deep love for each other and marry. Animal Imagery Shakespeare often uses animal imagery in exchanges between Beatrice and Benedick and in references to them by other characters, perhaps to suggest the wildness
of their love/hate relationship. The following exchange between Beatrice and Benedick demonstrates this point: BEATRICE: I had rather hear my dog bark at a crow than a man swear he loves me. Benedick declares that if he ever succumbs to the pangs of love, he will be like a trapped animal: �If I do [submit to love], hang me in a bottle like a cat and shoot at me; and he that hits me, let him be clapped on the shoulder� (1.1.101). When Don Pedro tells him that even a �savage bull� (1.1.103) must in time yield to the yoke of love, Benedick says, "The savage bull may; but if ever the sensible Benedick bear it [the
yoke], pluck off the bull's horns and set them in my forehead: and let me be vilely painted, and in such great letters as they write "Here is good horse to hire," let them signify under my sign "Here you may see Benedick the married man." (1.1.104) Imagery of Fire Shakespeare uses images of fire to demonstrate the passion with which characters express their viewpoints or feelings. An example is an exchange between a messenger and Beatrice in a conversation about Benedick. MESSENGER: I see, lady, the gentleman is not in your books [not a favorite of yours in your book]. CLAUDIO: That I love her, I feel.
Let Benedick, like cover�d fire, What fire is in mine ears? Can this be true?
Figures of Speech Following are examples of figures of speech in Much Ado About Nothing. God sends a curst cow short horns (2.1.12)
Anaphora: Repetition of a word or a group of words at the beginning of a sentence, clause, or phrase. If I had my mouth, I would bite; If I had liberty, I would do my liking. (1.3.10) How much better is it to weep at joy than to joy at weeping! (1.1.13) Thou wilt be like a lover presently, Dramatic irony occurs throughout the play. For example, readers and audiences know that Don John, who supposedly has made peace with his brother, despises him. Readers and audiences also know that Hero is innocent of wrongdoing when most of the other characters
believe she is guilty. BENEDICK: Would you buy
her, that you inquire after her? merry war (1.1.27) He hath borne himself beyond the promise of his age, doing in the figure of a lamb the feats of a lion. (1.1.8) He [Benedick] will hang upon him [Claudio] like a disease: he is sooner caught than the pestilence. (1.1.34) The ladies follow her and but one visor remains. Study Questions and Essay Topics1. In your opinion, why do Benedick and Beatrice at first refuse to acknowledge their love for each other? 2. Who is the most admirable character in the play? Who is the least admirable? Explain your answers. 3. Write an essay comparing and contrasting Benedick and Claudio. 4. Write an essay comparing and contrasting Beatrice and Hero. 5. Write an essay that argues for or against the belief that love is blind. . What is the main theme of Much Ado About Nothing?Much Ado About Nothing - Themes overview
There are many themes running through this comedy by Shakespeare, including love, confusion and the theme of 'nothing' itself. In this story of crossed wires, hidden identities and feelings, honour and deceit, we are also presented with themes of friendship and marriage.
Who suffers in Much Ado About Nothing?Much of Beatrice's pain comes from her loneliness: her yearning for a male companion she can respect, and one who does not patronize her or try to dominate her.
What are the key events in Much Ado About Nothing?Key Moments. Borachio tells Don John how he can prevent Claudio's marriage to Hero (Act 2, Scene 2). Benedick is duped by Don Pedro, Claudio and Leonato as he eavesdrops on their conversation about Beatrice (Act 2, Scene 3). Beatrice overhears Hero and Ursula discussing Benedick's love (Act 3, Scene 1). What is the moral of the story in Much Ado About Nothing?What is the moral of the story in Much Ado About Nothing? The moral of the play is that communication is important. Miscommunication and assumptions can and often do lead to tragedy.
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