Effective Use of the Foil in Much Ado About Nothing
In The Marriage of Heaven and Hell, the famous British poet William Blake wrote that "without contraries there is no progression - Attraction and repulsion, reason and imagination, and love and hate are all necessary for human existence" (Blake 122). As Blake noted, the world is full of opposites. But, more importantly, these opposites allow the people of the world to see themselves and their thoughts more clearly. For, as Blake asserts, without attraction, one cannot understand repulsion, and without imagination, one cannot understand reason. In Much Ado About Nothing (MAAN), William Shakespeare uses this idea of the power of opposites to show the differences in two types of love. Using the relationship, language, and actions of Hero and Claudio as a foil against those of Beatrice and Benedick, Shakespeare has painted a world in which the ideas of courtly love only serve to illuminate those of true love.
In an essay on Chaucer's Canterbury Tales, William Kittredge defined the idea of courtly love that is illustrated in MAAN. Kittredge said that courtly love must involve a love that is extremely idealized and superficial, with the vassal or servant-like suitor, who is often a valiant knight, devoting himself completely to an ideal woman who is often the daughter of a powerful man (Kittredge 528-529). When this definition is applied to the relationship between Hero and Claudio in MAAN, one is able to recognize a perfect match. For example, Claudio, a young lord of Florence, is a valiant soldier as is shown in the first scene of the play with the comments made by the Messenger: "[Claudio] hath borne himself beyond the promise of his age, doing ...
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...hat is truly Much Ado About Nothing, becomes a commentary on the idea of love. True love becomes illuminated through its reflection in its own foil - the ideals of courtly love. The true relationship of Beatrice and Benedick compared to the relationship of Claudio and Hero, gives the reader not only a better understanding of the power of the literary foil, but also a foil into which that reader can reflect and better understand himself.
Works Cited
"Blake, William." The Columbia Dictionary of Quotations. CD-ROM. New York: Columbia UP, 1998.
Kittredge, George. "The Marriage Group." The Canterbury Tales: A Norton Critical Edition. Ed. V.A. Kolve.
New York: W.W. Norton & Co., 1989. 523-530.
Shakespeare, William. "Much Ado About Nothing." The Norton Shakespeare. Ed. Stephen Greenblatt.
New York: W.W. Norton & Co., 1997. 1389-1443.
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.
In the play, “Much Ado About Nothing”, love and romance play a major role throughout the play.It takes place in Messina. The play has a lot of characters that fall in love with each other. Besides romance and love there is a lot of jealousy in the play. Characters will have up and down moments throughout the book, but they will all get together at the end of the story. Many scenes in the play will be about characters making other characters fall in love by telling one another that one likes the other. The play is all about characters getting together and being happy.
Benedick and Beatrice both benefit from the deceit that they encounter. At first, both are enemies in a battle of insults and wit, until they are each fooled into thinking that the other loves them. When Benedick hears that Beatrice is supposedly attracted to him, he thinks that it is “a gull, but that the white-bearded fellow speaks it: knavery cannot, sure, hide itself in such reverence” (111). Little does he know, Leonato, the "white-bearded fellow," is also in on the joke (111). Benedick starts to admire her when he is aware that Beatrice might actually be attracted to himself, as well. She is also astonished when she first hears that he loves her. However, when Beatrice comes to terms with their affection, she hopes "Benedick [will] love on... And [she] Believe it better than reportingly" (134). In other words, she falls in love with Benedick as soon as she believes that he, too, is fond of her. They each start to fall in love with one another under the pretense that other was hiding their affection from them. Now that they are both in love, they start to open up to each other and prove that the deception they endured was worth it in the end.
Shakespeare, William. Much Ado about Nothing. Ed. Paul Werstine, Barbara A. Mowat, and Gail Kern. Paster. New York: Simon &ump; Schuster Paperbacks, 1995. Print.
...ut Nothing is an extremely fast paced and witty play, Shakespeare very much has love as his central theme. There are two very different, yet equally compelling relationships that are explored in depth. They run through the play concurrently, allowing the reader to compare and contrast the different facets and complexities between the two. The playwright’s rich understanding of relationships, and particularly his understanding of the fact that love is not always as formulaic as many a writer would have us believe, makes for a fascinating read. In fact, by directly comparing a realistic couple, full of real world self doubt and a fear of rejection with a very stereotypical love-at-first-sight type of relationship, Shakespeare is possibly making the point that love and relationships have more depth than is often given credit.
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...
Forbes, Shannon. "'To Alisoun Now Wol I Tellen Al My Love-Longing': Chaucer's Treatment of the Courtly Love Discourse in the Miller's Tale." Women's Studies 36.1 (2007): 1-14. Academic Search Premier. Web. 16 May 2013
With its entangled double 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 for which carries the drama from beginning to end. For example, when we look at Act 1 Scene 1 of the play ...
The word “inquisition” means to examine. Inquisitors would “examine” suspected Heretics, people whose ideas do not match those of the Roman Catholic Church, and punish them accordingly. This included torture and burning. The great inquisition movement that took place in Spain, or Hispania as it was called before Spain united. It was called The Spanish Inquisition. It took place for approximately five hundred years, from the late 15th century to mid 19th century. Many ironic elements were involved in the history of the Inquisition. The Spanish Inquisition lasted longer than any other preceding it, and was the most cruel, bloodthirsty, and festive of all. The objective of the inquisition, in its early state, was to convert all Jews into Christians, but later it mutated into an ugly machine who’s new objective was to rid the country of the newly converted Christians.
Comparing the Villains in Much Ado About Nothing and Othello & nbsp; The two villains in Much Ado About Nothing and Othello share much in common, despite their numerous differences. It is evident that Shakespeare framed the second piece of literature to be similar to the first. Although shorter, the plot of “Othello” is definitely more complex. The villains play a major part in the novels, and are very much alike in their line of thinking. The comedy, “Much Ado About Nothing” depicts the story of a group of high-ranking soldiers who travel through a town called Messina.
Shakespeare, William; Much Ado About Nothing; Washington Square Press; New York, NY; New Folger Edition May 1995
What was the Spanish Inquisition? The Spanish Inquisition persecuted and discriminated against minorities in the Iberia Peninsula who opposed to the practice and ideologies of the Catholic Church. Between 1480 to 1834, the Spanish Inquisition was placed under the authority of the royal power in Spain; the Inquisition was created in order to resolve the particular problem presented by the presence of thousands of converted Jews in the Iberian Peninsula. At the same time, the inquisition extended its authority to other minorities and become implanted in other geographical regions. This “institution” operated and was expanded to other territories under the crown of Castile—the Canaries and the territories ruled by viceroys in New Spain and Peru (24, 25).
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