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How women are portrayed in Shakespeare plays
Representations of women in much ado about nothing
Representations of women in much ado about nothing
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As mentioned, the act of Claudio forfeiting Hero’s hand in marriage and denouncing her at their wedding ceremony due to her unloyalty, not only proves that a woman’s virtue is critical to his “love” for her but also reveals a deeper meaning to the play as a whole at various degrees. Men are only satisfied when they completely dominate a woman. This means not only obtaining her heart, but her virginity and virtue as well. In this time period, their wives were seen as their property and a man would rather throw his whole fiance away than tread on previously marked territory. If Claudio genuinely loved Hero in the first place, he would have confronted her about the situation in private before he unjustly demolished her publicly based on a loose
accusation. His initial reaction was anger anyway, he was more mad at the thought she wasn’t pure, having been with another man, rather than betrayed that she cheated on him. His dramatic emphasis when claiming someone had “defeated her virginity,” almost makes it seem as if that action had defeated her purpose as a human being and especially a wife. Claudio was more embarrassed than hurt, he could never take the hand of a woman who wasn’t solely devoted to him, in marriage. He hardly knew Hero anyway, her good looks sparked his interest in her and if her body wasn't pure than it was no use to him. He wanted her to be the perfect obedient wife, her suspected impiety ruined that fantasy. Abstinence was standardized in this society; even if the presumed relationship between Borachio and Hero had occurred before she was with Claudio, he would have still denounced her. The key argument of his degrading speech was how Hero was not the fair maiden she appears to be, “her blush is guiltiness, not modesty.” The actual occurrence of her betraying her husband-to-be was hardly even mentioned, Claudio was prominently mad about her not being virtuous. After all, if he did genuinely love her then he wouldn't have thrown her out like trash. The actions and reasoning that influenced Claudio to throw away Hero’s hand in marriage were fueled by a loss of interest in her body rather than a broken heart.
Hero is resembled by Claudio as a “well-mannered young lady” who is content with her own unchangeable, elegant personality. This quote shows Hero is matron, and consistent of her elegance throughout the book and it is because of her personality that causes Claudio to be drawn to her. Claudio on the other hand, admits to Don Pedro that he is “hasty in (his) emotions”, which resembles his skeptical and uncertain personality when it comes to actually admitting his love for Hero. This evidence supports how Claudio is unsure of himself, and because of Claudio’s doubtful and unsure qualities he is quick to believe Don John when he says Hero has been unfaithful. Nevertheless, Claudio and Hero’s differences in the play it stirs up the plot and conflict, but it is their similarities and strong willed love that draws them together in the
Firstly, one of the two major tragic flaws of Claudio is his Passion of love for Hero. Claudio in Much Ado About Nothing says, “Sweet Hero, now thy image doth appear In the rare semblance that lov’d it first” (Shakespeare pg. 89). This quote shows how Claudio loves Hero once again when he hears Hero’s innocence. This quote also shows how Claudio’s passion of love for Hero is not as deep as it should have because he loved her again after overreacting and judging things too
Benedick’s Change of Heart by the End of Act 2 Scene 3 of William Shakespeare's Much Ado About Nothing
“Language is frequently used to stir up & manipulate emotions.” - Mary Hamer. The words that people say can appear brutal or detrimental. These violent words take up many forms such as lying, insulting, etc. Along with its’ comedic formula, William Shakespeare's, Much Ado About Nothing is enhanced with humorous mockery and intertwined dialogues. In the play, the soldiers have just returned from a successful war. Love is traveling through the village; however the “language of war” appears rooted in the language. Numerous times do the characters joke around in cruel dialects. The mockery, however, is not considered to be as harsh due to the presence of comedy within the play. William Shakespeare’s intricate use of language in his play, Much Ado About Nothing, allows immense aggressive language to thrive in the characters yet is able to use this to alleviate the violence.
The beginning of the play shows Claudio, on numerous occasions, as gullible and paranoid that everyone is against him. When Don John tells Claudio that Don Pedro has wooed Hero for himself he responds by saying, ““But hear these ill news with the ears of Claudio. Tis’ certain so. The Prince woos for himself” (Shakespeare 24.) This quote shows that Claudio often puts his trust in the wrong people. He takes the word of an enemy, who he has already defeated in battle, over someone who fought along side him and is supposedly his best friend. It also shows how naïve Claudio can be and how easily he will take what others say as the truth without using his better judgment. In this quote, Claudio proves how fast he can turn against someone, even one of his best friends, when he hears they have wronged him. When Don John accuses Hero of being unfaithful to Claudio he says, “If I see anything tonight w...
Shakespeare uses irony to great effect in his many plays, specifically dramatic irony, and some cosmic irony, in the tragedy of Romeo and Juliet. But why does he use it? What is he trying to achieve or portray? It varies throughout the play, but there are general trends as the story develops. In the beginning we see that it is almost comical uses. The irony then develops into more interesting and intriguing uses meant to keep the audience, especially the groundlings, interested and wanting more. And then finally, he uses dramatic irony to point out some of the reasons why this is a tragedy during and before the climax.
Leonato plays an important role in Shakespeare's play Much Ado About Nothing. Leonato is at the center of events from beginning to end, being as he is one of the main characters Hero’s father, and Beatrice’s uncle. A great majority of the action in the play takes place at Leonato’s home. Leonato is a friendly but stern man. His daughter Hero is to soon be married, so as a father, he is helping set up the wedding. Leonato is a respected man by all in the story. Leonato has no problem getting along with his daughter’s future husband, Claudio, until the wedding. When Leonato’s daughter is accused of adultery at her wedding, it is clear that the honor of his family is very important to him. Leonato is ashamed and tells his own daughter that she
William Shakespeare said: “Women may fall when there's no strength in men” (Romeo and Juliet). Throughout history gender role have been a big, whether someone is a feminist or someone believes there is no equality between males and females; everyone has different opinions when it comes to the matter of gender roles. The same thing can be said about William Shakespeare who was a feminist (Shakespeare of Stratford). This ideology can be seen in his play Much Ado about Nothing. In this comedy Shakespeare focuses on two pairs of lovers named Claudio and Hero who are set to be married in a week but before their marriage day, they plan to conspire with Don Pedro, the prince of Aragon to trick their friends Beatrice and Benedick to admit their love for each other. Don John, the brother of Don Pedro, meanwhile plots to prevent marriage of Claudio and Hero by accusing Hero of being unfaithful. Don John initially succeeds in his plan as Hero is accused and ashamed at the marriage ceremony, but at the end Claudio and Hero are united and marry each other. Also, Beatrice and Benedick finally declare their love for each and dance at the end of the play. Shakespeare uses a lot of sources for this comedy and one of them is “Orlando Furioso” written in 1591, which gave Shakespeare the idea of Hero and Claudio’s marriage and Don John’s plot to prevent it. Another source Shakespeare used to write the play is the courtier written in 1588, which gave him the idea of the romance between Beatrice and Benedick. And also “La Prima de la Novelle” written in 1554 by Matteo Bandello gave Shakespeare the idea of putting the setting in Messina, Italy (Shakespeare in quarto). Because Shakespeare was a feminist, some of the women appear as supporting and central...
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.
A particular section of Act 5, Scene 1, could be seen as the denouement of the play, Much Ado About Nothing. Perhaps it is more accurate to say the climax of the denouements - at its conclusion, all that remains for the play is a happy ending. It is here that the perpetrator is displayed before all the interested male parties, and here that Leonato can be assured that his belief in Hero's innocence was justified - and perhaps more importantly, that it can be seen to be justified: armed with Borachio's confession, and Claudio and Don Pedro's half-acceptance of guilt, he tells them to 'Possess the people in Messina here How innocent she died' (l. 282-283). This continues the play's concern with appearances and reality, the nature of truth and evidence: it seems that the revelation of the deception instigated by Don John, despite being accepted by all the relevant parties, doesn't count unless it is displayed publicly - even performed, for Claudio is told to ...
"To be or not to be – that is the question." It is one of the most famous lines in Western Literature and the hallmark of a critical thinker. It is no coincidence that Hamlet is one of the greatest critical thinkers of all time. In school, we are expected to think critically and it is seen as an intellectual virtue. Given the situation Hamlet is in though, Hamlet's intellectual virtue only leads to chaos and death. The story of Hamlet is a tragedy because Hamlet has a tragic virtue.
Reflect on the theme of agency in the three plays we have studied in this course. What is agency? How do characters lose or gain it? What role does it play in the structure and thematic layering of each play? If you wish, you may want to discuss its relevance to your own life (although this personal note is not required)
The main problem is young Count Claudio. He is immature when it comes to matters of love, and it shows when he hints of his growing feelings for Hero when he asks Benedick what he thinks of her (I.i.161). Claudio cannot come out and just say that he has feelings for Hero, he has to seek approval from his male counterparts first. While talking to both Benedick and Don Pedro, Claudio describes his feelings as passion first (I.i.219-220), and then he says, “That I love her, I feel” (I.i.228), indicating that he knows he feels something for Hero, but he is unsure of exactly what his feeling...
William Shakespeare’s tragedy Othello puts on exhibit an obvious hero and other not-so-obvious heroes. Let us examine them all in this essay.
Othello: the Moral and the Immoral. William Shakespeare’s tragic play Othello presents a full range of both moral and immoral activities through Iago, Desdemona, Othello, Bianca, Cassio, etc. The moral and immoral dimension of Othello, especially the latter, is enhanced simply by its location in Italy. Louis B. Wright and Virginia A. LaMar in “The Engaging Qualities of Othello” comment on how the exotic setting of this play satisfied the Elizabethan dramatist’s dream of portraying evil. Elizabethan dramatists were fond of portraying characters of consummate evil, and if they could lay the scenes in Italy, all the better, because the literature and legend of the day were filled with stories of the wickedness of Italy.