The Transformation of Benedict in Much Ado About Nothing
In "Much Ado About Nothing" Shakespeare manages to transform Benedict
from a bachelor to being in love with Beatrice. Shakespeare does
extremely well to make this change of character seem believable as it
such a big one. Shakespeare does this by using key scenes to gradually
reveal the true relationship between the two. This transformation is
especially interesting as at the beginning of the play he argues with
Beatrice and declares he will always be a bachelor.
In Act I Scene I when the visitors arrive in Messina, Benedict appears
to be an arrogant, patronising womaniser. In this scene Benedict has a
merry war with Beatrice and from lines like "In our last conflict four
of his five wits went halting off" and "You always end with a jade's
trick, I know you of old" from Beatrice it seems like the two have
previously met and there is some history between them. In this war of
words we see the arrogance of Benedict when he says to Beatrice "I am
Lord of all ladies, only you excepted". From this opening scene we can
see Benedict's character and it is obvious he is not scared to speak
his mind or give an honest opinion, no matter how harsh it may be. An
example of this is when Claudio asks Benedict if he finds Hero
attractive and Benedict replies ?I can see yet without spectacles, and
I see no such matter?. We also see from this merry war that Benedict
enjoys entertaining his friend and one possibility could be that he
doesn?t change as the play goes on, maybe he loved Beatrice the whole
time and he had been hiding it behind his humour.
When Benedict poses as so...
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In Act V Scene IV, Benedict?s transformation is complete. He says that
to Leonarto ?Your niece regards me with an eye of favour. And I do
with an eye requite her?. Benedict does seem to return to his true
self, however his love cannot be hidden when Claudio and Don Pedro
arrive. Even when Benedict proposes to Beatrice he says he takes her
in ?pity?, this shows that even though he is no longer a bachelor, he
is still as patronising as he was at the beginning of the play and he
has not lost any of his wit. Beatrice continues this merry war by
saying ?I yield upon great persuasion?#?. In Benedict?s final
soliloquy he talks about marriage. ?I will think nothing to anyone
that the world can say against it?. This shows that Benedick has
finally accepted marriage and his love for Beatrice. He is no longer a
bachelor.
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.
Throughout Act one and two, Benedick repeatedly says that he will never love a woman or get married. At some stage in the duration of the play his mindset changes. In the end he is head over heels in love for Beatrice whom he once quarreled with habitually. The turnabout in his behavior was brought about by the deceiving Claudio and Pedro who indirectly told Benedick that Beatrice loved him.
Beatrice and Benedick show their apparent distaste for each other right from the first scene. Beatrice mocks Benedick to the Governor of Messina, claiming that she always beats him in a battle of wits and the last time they crossed paths Benedict’s “five wits went halting off, and now is the whole man governed by one” (1,1,50). Clearly relishing resuming their ‘merry war’, Beatrice cuts Benedick down at the first opportunity, telling him “I wonder that you still will be talking, Signor Benedick, nobody marks you” (1,1,105). Incredulously, Benedick retorts, “what my dear lady distain! Are you yet living?” (1,1,95). So, the dynamic of the two is set and it goes on from there in the same vein. Yet, the reader, even at this early stage may ponder if the lady doth protest too much.
Exploring Love in Much Ado About Nothing 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. The main plot of Much Ado About Nothing is that of the relationship between Claudio and Hero. Their story is a melodramatic saga concerning the realities of relationships based on love at first sight.
Romeo and Juliet is one of Shakespeare's tragic plays. It is about two star crossed lovers who commit suicide when their feuding families prevent them from being together. The play has many characters, each with his/her own role in keeping the plot line. Some characters do not have a great amount of lines, but have the plot revolving around them. Such a character is Friar Laurence. At first glance, one may overlook this character and dismiss him as only a minor player in the story of Romeo and Juliet. Upon closer examination, it becomes obvious that the Friar plays a crucial role in the development of the play. Throughout the play he attempts to guide young Romeo and Juliet through their struggles, and unwittingly causes their deaths.
In Joseph McElhaney's essay, “Vincente Minnelli: Images of Magic and Transformation,” he argues that character transformation is central to Minnelli’s films and that this transformation takes place in two ways: through the process of education in a world dominated by teachers of various types; and through a process of enchantment and seduction at the hands of artists. In Emmanuel Burdeau’s essay, “Minnelli’s Message,” he argues that throughout Minnelli a “dance of hesitation” occurs in which characters change their minds about something. Vincente Minnelli’s 1958 film, Some Came Running, addresses both of these arguments in the sequence when the main character, Dave Hirsh, deals with the hesitation of a woman he wishes to marry.
When Jesus walked the earth his twelve disciples put aside all of their worldly possessions and worldly pursuits to fully and faithfully follow him. After the fall of Rome, Europe slipped into what has been referred to as the “dark ages.” However, even in these dark ages men and women put aside their secular desires and devoted themselves to a life of celibacy and simplicity. This similar desire between many people drew them together and this pursuit became know as monasticism. No one had a bigger influence on this way of life and on these people who chose this calling than Saint Benedict of Nursia. His teachings and life would have an impact on monasticism all throughout Europe helping to form its spirituality and culture.
adds to the comedy of the rest of play. It is obvious to the audience
Shakespeare uses quite a lot of literary devices and techniques to present the characters of Hero and Beatrice in a way that lets the audience easily compare and contrast them. For example, in the characterisation of Hero and Beatrice, the dialogue used – what they say, how they say it, what other characters say about them and Hero’s silence are all very important in revealing their characters; in a similar way, their actions – what the characters do, and their inaction contrasts and creates significant difference between them, bringing each one’s personality. In addition, Shakespeare’s constant use of dramatic irony, exaggeration and contrasting plots, themes and structure all combine in his presentation of the two.
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.
Merriam Websterś Collegiate Dictionary defines a hero as ¨A man admired for his achievements and noble qualities.¨ In the play Much Ado About Nothing by William Shakespeare, there is not a clearly defined hero, but that does not mean there isn't one. Although there could be many, Don Pedro is the most deserving of being labeled the hero because of his creation of love between people and his loyalty.
...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.
This era focused on the new idea that were grown. Having the people to think for themselves was important for the society. I think that this allows all of us to grow in faith. We are not perfect and we will never know what is the correct way to look at Faith and the Bible. But, this reform created a great example in change.
In Antonioni’s La Notte Moreau uses this mastery, which previously brought a new love life, to end a dying one. The film’s final sequence again finds Moreau, this time as Lidia, walking away from a love interest— Giovanni. Like Jeanne, Lidia refuses to look back at the man that trails behind her, but Lidia’s gaze is level, and focused on what’s ahead. She turns only momentarily to respond to Giovanni, matter-of-factly, and as she walks off screen she seems content to leave Giovanni behind. When the two stop, Lydia turns, hesitates, and somewhat reluctantly tells him about Tommaso’s death. She cock’s her head gently at his response, doubting his concern, and then begins to reminisce about Tomasso.
He is not being professional as he was in the pitch as he has to be himself now. No fillers are used in the pitch, which suggests that he is being professional and intelligent hoping that would influence the Dragons.’