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Comparing and contrasting characters in shakespeare
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Much Ado About Nothing: A Comedy with Deep Meaning
Much Ado About Nothing--the title sounds, to a modern ear, offhand and self-effacing; we might expect the play that follows such a beginning to be a marvelous piece of fluff and not much more. However, the play and the title itself are weightier than they initially seem. Shakespeare used two other such titles--Twelfth Night, or What You Will and As You Like It--both of which send unexpected reverberations of meaning throughout their respective plays, the former with its reference to the Epiphany and the topsy-turvy world of a saturnalian celebration, and the latter with its implications about how the characters (and the audience itself) see the world in general and the Forest of Arden in particular.
Much Ado About Nothing is no different, but we do not pick up the deeper resonances as quickly as an Elizabethan would, simply because of a shift in pronunciation. We get our first real glimpse of the pun in the title when Don Pedro says, "Note notes, forsooth, and nothing!" (The Complete Signet Classic Shakespeare, ed. Sylvan Barnet, New York: Harcourt Brace Jovanovich, Inc., 1972, 2.3.57). As A. R. Humphreys explains, "That 'nothing', colloquially spoken, was close to or identical with 'noting' is the basis of Shakespearean puns, especially in a context of musical 'noting'. A similar pun, though non-musical, is conceivable here" (Introduction, The Arden Shakespeare: Much Ado About Nothing, London and New York: Methuen, 1981, 4).
The play is, in fact, driven by the "noting" of scenes or conversations and the characters' reactions to these observations; "noting" seems to be the thematic glue that binds the various plot elements together. When he wrote the play in ...
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...spite their lack of sophistication and their abuse of the English language, Dogberry, Verges and the rest of the Watch discover Don John's plotting and manage to sort out the confusion created by the aristocrats. "Much Ado is," as John Wilders says, "a play about 'noting', about the various and conflicting ways in which we respond to and judge other people" (147). It is about the flexibility of reality-- our ability to manipulate what other people observe and our occasional tendency to let biases influence our perceptions. And finally, it is about the inadequacy of "noting" the world with eyes and ears only, and the importance of relying on one's experience with and consequent faith in other human beings. Much Ado is all this, and marvelous comedy too.
Works Cited:
Shakespeare, William. Much Ado about Nothing. Ed. A.R. Humphreys. New York: Routledge, 1994.
“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.
At first glance, the story “Barn burning” seems just to be about a tyrannical father and a son who is in the grips of that tyranny. I think Faulkner explores at least one important philosophical question in this story were he asks at what point should a person make a choice between what his parent(s) and / or family believes and his own values?
Shakespeare, William. Much Ado about Nothing. Ed. Paul Werstine, Barbara A. Mowat, and Gail Kern. Paster. New York: Simon &ump; Schuster Paperbacks, 1995. Print.
Transformations inherently contain traces of the author’s social and cultural context. Much of the same can be applied to “Much ado about nothing”. It incorporates comical features, yet retains the sense of tragedy which is attached to almost all of Shakespeare’s plays. Brain Percival’s role as a director, was determining, understanding and distinguishing the social norms and the social structure of the society, and how the themes represented in the play can be transformed into a modern text. The Elizabethan society was typically a patriarchal society. Percival has used as well as transformed certain themes and textual features to ensure, that the film is more appealing and assessable to the critical modern audience.
"Much Ado About Nothing: Entire Play." Much Ado About Nothing: Entire Play. N.p., n.d. Web. 29 Mar. 2014. .
The modernization of nearly outdated and cliché settings typically used for Shakespearian plays such as Much Ado helps enforce Whedon's attempt to make the film and play familiar, as well as creates accessibility for the audience regardless of how well they may understand Shakespeare's language. Both the ensemble and individual cast members assist in achieving Whedon's vision by creating an atmosphere that seems familiar if only that it could be our own family and friends throwing that same banter back and forth between each other. Their playful and occasionally raw performances combine with a spectacular setting to help make Whedon's Much Ado About Nothing a stellar film that is a nearly perfect modern translation of a classic, centuries old
Katherine Paterson says, “Real maturity, which most of us never achieve, is when you realize that you’re not the center of the universe.” Claudio, a character from Much Ado About Nothing, is a perfect example of this quote. Throughout most of the play Claudio is only concerned about how other people and events affect him. However, the obstacles and positions he is put in do not help the situation. The one of the main themes of this play is deception, which Claudio, as well as most of the other characters in the play, fall victim. In Much Ado About Nothing Claudio begins the play with a tendency to be very gullible and paranoid about everything, and he continues to show his immaturity by seeking revenge when he is upset; Claudio finally matures when he accepts that he was wrong and is willing to take the punishment that goes with his mistakes.
In William Shakespeare’s play ‘Much Ado about Nothing’, there are many instances of trickery and deception, which seem to surround the whole of the play.
A Tale of two cities is a compelling tale written by Charles Dickens. The tale takes place in London and Paris. Main characters Dr. Manette, Lucie Manette, Charles Darnay, Sydney Carton, and the Defarges are chronicled before the French Revolution and when the revolution begins throughout France. The author Charles Dickens explores the economic disparity between rich and poor within in the two cities and topics during enlightenment such as revolution in political thinking. In addition to establishing the time period Charles Dickens explores themes such as true friendship and love. What makes this story great is the use of the supporting characters such as Jarvis Lorry, Jerry Cruncher, Mr. Stryver, and Marquis Evrémonde to really develop the story and connect it all together.
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 ... ...
Charles loved to incorporate prisons and peasants in his writing, reflecting the life of the lower class and his father, John Dickens. He wrote with a realistic genre, portraying everything exactly the way it should be without much elaboration. While writing the book A Tale of Two Cities, Charles read Thomas Carlyle’s history of the French Revolution, which he incorporated in the plot of the novel. Charles Dickens focused mainly on the motifs of prisons, self-sacrifice, rebirth, and the mystery of love in his works. These motifs came from his lifetime experiences. (Karen
The French Revolution was a time of chaos and uprising in France during the mid-19th century that divided the French people. A Tale of Two Cities by Charles Dickens is a novel that is set during this tumultuous time in history. During this period of time, the people of France made many sacrifices. Sacrifice is a common theme that is developed throughout this novel. One reason many people make sacrifices is for love, and throughout the novel this theme is developed through the characters Miss Pross, Doctor Alexandre Manette, and Sydney Carton.
In Ibsen’s play, “fatherhood, ordinarily associated with the authority and stability of patriarchy, is associated with abandonment, illness, absence, and corruption” (Rosefeldt). Torvald, Krogstad, Nora’s father, and Mrs Linde’s father all display tendencies that clash with the western stereotypes of patriarchal figures. Torvald, for all of his talk of the corruption that poisons homes, is willing to comply to Krogstad’s demands when he learns of his wife’s forgery. He blames Nora’s actions on her “father’s flimsy values”(Ibsen 845), and tells her “The thing must be hushed up at any cost”(Ibsen 845). He believes that Krogstad’s unwillingness to admit to and atone for his mistakes has destroyed his home and the lives of his children and yet in this moment is preparing to do the exact same
Much Ado About Nothing. The Riverside Shakespeare, 2nd ed. Boston: Houghton Mifflin Co., 1997. 366-398.