Forgiveness and Marriage in Much Ado about Nothing, All's Well That Ends Well, and Measure for Measure Shakespeare never does manage to make the journey to the end of his comic plays an easy one for his characters or his audience, and as his comedies evolve, the journey becomes even more difficult. Tragic elements and more psychologically complex characters increase the intensity of the ending and often make a reader or viewer question if there will be a happy ending at all. Specific male characters in three plays act as impediments to this comic ending, often prompted by a villainous character and sometimes by their own doing. These men: Claudio in Much Ado about Nothing, Bertram in All's Well That Ends Well, and Angelo in Measure for Measure for various reasons are not ready for marriage or love. Living in a patriarchal society, they are often more concerned with fighting in a war or preserving male bonds than they are with being in love or being married. The problems that occur between the couples about to be married or just recently married are essential because these men need to grow up and become responsible. The only way to change them is to let them commit these harmful acts and realize the consequence. The women: Hero, Helena, and Mariana must be strong enough to forgive them for the hurtful acts these men have committed against them in order for some semblance of a happy ending to take place. The "crimes" committed by Claudio in Much definitely requires a great act of forgiveness but Hunter feels that forgiveness is the essential element in this play. He point out that "the love of man for woman (but not of woman for man) is seen too frail an emotion to sustain the pressures that are frequently put... ... middle of paper ... ...nter, "Forgiving Claudio" Works Cited Dash, Irene G. "When Women Choose: All's Well That Ends Well." Women's Worlds in Shakespeare. Newark: University of Delaware Press, 1997. Friedman, Michael. "Male Bonds and Marriage in All's Well and Much Ado." Studies in English Literature 35 (1995): 231-248. ---. "'O, let him marry her!': Matrimony and Recompense in Measure for Measure." Shakespeare Quarterly. 46 (1995): 454-464. Hays, Janice. "Those 'soft and delicate desires' Much Ado and the Distrust of Women." The Woman's Part: Feminist Criticism of Shakespeare. Ed. Carolyn Ruth Swift Lenz, Gayle Greene, and Carol Thomas Neely. Chicago, Urbana, London: University of Illinois Press, 1980. Hunter, Robert Grams. "Forgiving Claudio." Twentieth Century Interpretations of Much Ado about Nothing. Ed. Walter Davis. Englewood Cliffs, NJ: 1969
Romantic love stories are often ended with a tragedy, because of loss of passion or a loved one. These tragedies are often the result of one person’s actions that ended someone’s life or love. In the Romeo and Juliet play written by William Shakespeare, two citizens of Verona come together and fall deeply in love. Unfortunately their love comes to an end, along with their lives, because of a misunderstanding and a persistent feud between their families. Although there are many characters in this play that have contributed to Romeo and Juliet’s death, Friar Laurence is the person most to blame.
Pitt, Angela. "Women in Shakespeare's Tragedies." Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint of Shakespeare's Women. N.p.: n.p., 1981.
The title of Shakespeare’s Much Ado About Nothing has sparked scholarly debates about its meaning for centuries. Some say it is a play on the term “noting”, revolving around the theme of all sorts of deceptions by all sorts of appearances (Rossiter 163). Others claim it has more to do with everyone making a fuss about things that turn out to be false, therefore, nothing (Vaughn 102). Regardless of these speculations, there is something rather profound going on in the play that is worth making a big deal about: four characters in the play learn about love, and eventually, how to love.
Barton, Anne. Introduction. Much Ado About Nothing. The Riverside Shakespeare, 2nd ed. Boston: Houghton Mifflin Co., 1997. 361-365.
Throughout the history of the world, honor has been an important part of life. In literature, as well, honor plays an important role in many plots and the development of almost any character. Shakespeare’s play Much Ado About Nothing is no exception. In this comedy about love and marriage, honor is revealed as the primary reason for many of the actions taken by several different characters. When Claudio breaks off his wedding with Hero, he does it because he believes she is not chastised as she claims to be and in being such, she would dishonor him as well as her father if the marriage were to proceed as planned. The play is an accurate depiction of the honor code and the different standards for men and women of the time in regards to honor and chastity.
Dash, Irene. Wooing, Wedding, and Power: Women in Shakespeare’s Plays. New York: Columbia University Press, 1981.
Novy, Marianne L. Love’s Argument: Gender Relations in Shakespeare. Chapel Hill: University of North Carolina Press, 1984.
...der to maintain success. King Henry showed that he is restricted to one language which resulted him to not gain the lower class power and it then lead him to focus on his political status. On the other hand, Hal presented himself to the viewers as a friendly character, yet he sustained to manipulate and lie to others to achieve his goals. Henry IV n, Part 1 presents the idea of political power and the different characteristics leaders follow. The lesson for audiences, then, is to develop relationships with different people who will expand one’s area of inspiration and the ability to advance success. One can learn from the mistakes of King Henry and remember to be visible and properly positioned, so society can see one’s strengths and talents.
All human life is sacred and all human life is good, to us this means
Pitt, Angela. "Women in Shakespeare's Tragedies." Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare's Women. N.p.: n.p., 1981.
Kemp, Theresa D. Women in the Age of Shakespeare. Santa Barbara, CA: Greenwood, 2009. Print.
Garner, Shirley Nelson, and Madelon Sprengnether, eds. Shakespearean Tragedy and Gender. Bloomington, Indianapolis: Indian U, 1996.
Ekici, Sara (2009). Feminist Criticism: Female Characters in Shakespeare's Plays Othello and Hamlet. Munich: GRIN Publishing.
Riverside Shakespeare, 2nd ed. Boston: Houghton Mifflin Co., 1997. 366-398. Neely, Carol Thomas. “Shakespeare’s Women: Historical Facts and Dramatic Representations.”
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