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“Comedy and tragedy are two sides of the same coin. A talent in one area might also lead to a predisposition in the other” (Dee, Jack.) Much Ado About Nothing, by William Shakespeare, is a tragicomic play, that follows the lustful blindness of love. The story follows the experiences of the main character Beatrice, and her relationship with Benedick. Beatrice represents the comedic aspects of a tragedy, as well as the comedic aspects of love. In Act II, Scene I, Shakespeare uses specific language, in his dialogue, to highlight the complex relationship between Benedick and Beatrice, and to display the contrast between Beatrice as a character, and the expectations society has for her as a woman.
Throughout the play, Shakespeare uses various techniques
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to create humorous dialogue. One of the most prominent aspects used is the subtle use of sexual innuendo. The second act of the tragicomedy opens with a conversation in which Antonio and Leonato comment, rather rudely, about Beatrice's love life, and the lack of a man in it. After being referred to as “too curst,” by Antonio, Beatrice returns, by saying that being “Too curst is more than curst: I shall lessen God’s sending that way; for it is said, ‘God sends a curst cow short horns;’ but to a cow too curst he sends none”(II,i.) Beatrice says that being “too curst” is different from being “curst,” therefore, she turns an old a proverb in her favor, saying that those who are ill-tempered get inadequate men so that the aforementioned women can’t do much harm. But for Beatrice, she is too ill-tempered, she says that she is given no man so that she can do no harm to them, or herself. Beatrice’s reaction displays how she acted in a manner that would have been deemed inappropriate for a woman during the time. This leads her to have to defend her actions, through the means of wit. Further in the scene, Beatrice pivots the conversation to the characteristics of a man that she would find attractive. Beatrice then states that she wouldn't want a man with a beard. Leanato offers a man without a beard. In response, Beatrice asks him “What should I do with [a beardless man]? dress him in my apparel and make him my waiting-gentlewoman? He that hath a beard is more than a youth, and he that hath no beard is less than a man: and he that is more than a youth is not for me, and he that is less than a man, I am not for him…”(II,i.) Beatrice refers to a young man who is on the cusp of manhood. In this time, this type of man was the most coveted object of sexual desire. In referencing dressing this man up as a woman, she alludes to the young, male, actors who were dressed as women in the play, including the actor who would have played Beatrice. She says that she is too much of a woman, another coveted sexual object, to love anyone, besides her perfect male counterpart. The strength and wit of her statement are, however, a traditionally male mannerism. Throughout the scene, Shakespeare also uses the character’s extravagant and comedic comments to create Beatrice’s ironic character of a strong woman in a time of female oppression.
Earlier in the scene, Beatrice tells Leonato the qualities that she would expect in a man, She says that she “could not endure a husband; with a beard on his face; [she]’d rather lie in the woolen”(II,i.) Beatrice’s hyperbolized reaction further portrays how different her actions are, from the normal actions of women during the time period. This also represents her perceived view of mature men, represented by the beard, as itchy, and are therefore too irritating to stand, like wool. She makes an insane claim regarding what she would, apparently, rather do than love a mature, or bearded man, like Benedick. Following this, Beatrice comments on her lack of feelings for a mature man, by saying that she is “not for him: therefore, [she] will even take sixpence in earnest of the bear-ward, and lead his apes into hell”(II,i.) Beatrice’s reaction to such an unimportant trait is clearly exaggerated, by her saying that she should take money from a bearded husband, and lead said man into Hell. This displays the fact that she not only does not believe that she ever wants to be with a real man, but she believes that she doesn’t need a man in her life at
all. During the scene, Shakespeare continuously uses dialogue, to create a humorous mood, and show how Beatrice truly feels about Benedick. This goes to show how love can be filled with both comedy and hatred. Beatrice very clearly cares for Benedick but uses comedy to avoid admitting her feelings for him, effectively using comedy as a defense mechanism. This use of comedy also shows Beatrice’s lack of regard for her gender’s role in society. The comedy also displays some of the effects that bachelordom has on Beatrice and her life. Such language also creates a comedic atmosphere during tragic and stressful moments in the lives of the characters. Doing so, by using sarcasm and sex, Shakespeare effectively relieves the stress.
Beatrice is an extremely crucial character in ‘Much Ado About Nothing’. She is one of the reasons that many plans and schemes fall into place to provide us with the outcome that the play finally reaches. Shakespeare depicts Beatrice as a very strong character who knows what she wants and how she wants to achieve it. Her characteristics of sharp wit and her ability to be acutely opinionated allow her to be a notable contrast from the other women in the play, whether this be in a positive or a negative way.
“And when I lived, I was your other wife, And when you loved, you were my other husband(Shakespeare 60).” In the beginning of the play it was overwhelming, steeped in love at first sight between Hero and Claudio, until Don John’s evil-manner took a role in ruining the love between them. And because of this a conflict developed between them, but was resolved when their vigorous love for one another overcame the conflict. In Much Ado About Nothing by William Shakespeare, Hero serves as the foil character of Claudio because of Hero’s dignified, well-mannered, eminent reputation is illuminated through Claudio’s insecure, accusing, and doubtful weakness; thereby, interminably influencing the conflict in the plot.
William Shakespeare is known for his use of dramatic irony and complicated story lines. In Much Ado About Nothing, he also adds in the element of disguise to what the characters know, or what they think they know. There are multiple characters trying to ensnare others in different facades, whether it be for better or for worse. The deception and illusion in the play can either assist the characters or completely shatter the situation, but in both cases, Shakespeare advises us to infer about what we hear or see before we jump to conclusions.
In Much Ado About Nothing Shakespeare depicts different kinds of loving relationships - romantic love, family support and loyal friendship - and shows how various characters react to love and marriage. By exploring the effects of this powerful emotion Shakespeare highlights its universal relevance, a relevance that transcends time.
William Shakespeare's Much Ado About Nothing is a play involving by deception, disloyalty, trickery, eavesdropping, and hearsay. The play contains numerous examples of schemes that are used to manipulate the thoughts of other characters; it is the major theme that resonates throughout the play. Ironically, it is one of these themes that bring serenity to the chaos that encompasses most of the play.
Much Ado About Nothing is a William Shakespeare play that was performed in 1612. It is a play about love and complications. The important love in this play includes Beatrice and Benedick, and Hero and Claudio. Hero and Claudio played the part of new puppy love and Beatrice and Benedick being the old dog love. This is about the two women of the love’s, Beatrice and Hero. Their acceptance of marriage. What made them so different and how would a modern feminist view their acceptances; which would be that a modern feminist would disagree with their ways of life interpreting love.
Set in the sixteenth century, Much Ado About Nothing is revolved around the thought of love and marriage. Primarily, this is prevalent in the two main characters, Beatrice and Benedick. They have once been courted which suggests more maturity than the majority of couples in Shakespeare’s various plays. In the duration of the play, the violent language between Benedick and Beatrice is most evident through their ridicule. Both characters always speak critically regardless of whether they are talking to each other or out loud about one another. This is highlighted when Beatrice exclaims, “What should I do with him—dress him in my apparel / and make him my waiting gentlewoman? He that hath a / beard is more than / a youth, and he that hath no beard is less than a/ man; and he that is more than a youth is not for me, and he that is less than a/ man, I am not for him...
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.
With its entangled plots and eloquent use of words, Much Ado About Nothing is a story that has the ability to entertain the masses, both young and old. Shakespeare’s use of figurative language along with situation creates such vivid imagery that carries the drama from beginning to end. For example, when we look at Act 1 Scene 1 of the play, we are quickly introduced to the sharp tongued Beatrice as she verbally annihilates her unseen co-star Benedick.... ... middle of paper ... ...
Feminist critics of Much Ado About Nothing, like Sylvia Townsend Warner, praise Beatrice for being "free and uninhibited" ("Women as Writers," Warner, 272). Beatrice is a strong female character who marries only after asserting her disapproval for the traditionally voiceless role of women in marriage and courtship relationships of the 16th and 17th c. Beatrice is a fearless verbal warrior, and Benedick is her greatest challenger. Their verbal bantering allow for each of their strengths and opinions to show, and together they glory in the challenge of their next duel.
Beatrice is, without a doubt, one of the strongest female characters that Shakespeare ever came up with in his time of writing. Shakespeare shows, through Beatrice, how every woman should act in an era where only the men were even able to have control. In this era, or the renaissance time, no woman had free will; they were always told what they could and could not do, as well as, who they were to marry. In the play “Much Ado About Nothing” Beatrice has many qualities but the ones that stand out the most in the play are: her independence, her feistiness, and of course her openness to defy male subjection.
Scott, Mark W., ed. "Much Ado About Nothing." Shakespeare Criticism. Vol. VIII. Detroit, Michigan: Gale Research Co., 1989.
The first scene gives good insight to Beatrice’s character. Benedict is telling Beatrice how he will never marry a woman, and he will be a bachelor forever. To this Beatrice responds: “A dear happiness to women. They would else
"Much Ado About Nothing" is a play intertwining two love stories. One story follows the romance of a young woman Hero (daughter of Leonato, governor of Messina) and a young officer Claudio. When Claudio returns from war, he realizes he's deeply in love with Hero. With the help of his commander, Don Pedro, Claudio proposes to her. The other is a less likely couple, Beatrice (Hero's cousin) and Bene*censored* (another officer). Both being witty, strong-willed and outspoken, the two seem to bare distaste for each other. However, when their friends arrange for them to overhear conversations revealing how much each is loved by the other, it doesn't take long before they declare their love for one another. Meanwhile, self...
...o asks Hero about Claudio she responds with: "So you walk softly, and look sweetly, and say nothing, I am yours for the walk, and especially when I walk away." (2.1.81-83). Beatrice is what a woman should be. A more modern view of feminism would have had Beatrice not only make her own decisions but follow through with them on her own. While Much Ado About Nothing seemingly questions the traditional gender roles of men and women in Messina through Beatrice's resistance to them, at the same time, the play decidedly ends Benedick saying, "Peace! I will stop your mouth" (5.4.96), silencing Beatrice with a kiss. Still, it cannot be denied that Beatrice, for a time, equates herself with men and the power they hold. Unfortunately, she gives in to love and in so doing, she relinquishes her independence and self-control in the male-dominated world of Much Ado About Nothing.