Much Ado About Nothing
William Shakespeare
I. Language
- Historians often research this
aspect of plays first in order to
date the plays.
• During Elizabethan times, there
were no copyright laws. Thus,
Shakespeare’s plays are often
not dated.
A. Modern English
• This period of development
within the English language
begin in 1580 and continues
until present day
• Very little changes made
between the Shakespeare's
English and with our own
Ex. Thee = The, Thou = you
B. Style
• Iambic Pentameter - Stress,
unstressed unit that repeats 5
times within a line
• This is used less than 1/3 of the
time in the play
• Blank Verse - Unrhymed,
iambic verse
• Rhyme - found only in couplets
• Shakespeare threw rhyming and
iambic verse to the wind
• This gave him freedom, power,
and flexibility in his writing
• The move to a less constraining
format indexes Shakespeare’s
growth from dramatist to master
of expression
C. Allusions
1. Classical/ Biblical
• Main reference is to the
character of Beatrice. This also
helps to date the play.
II. Shakespeare’s Writing
A. A collection of Shakespeare’s
works were complied in a folio
in 1623.
B. Borrow Stories
• In order to keep the audience
interested and the theater
popular, Shakespeare often
borrowed his ideas from other
playwrights.
• The audience might have
already known the story, but
Shakespeare give it his own
twist.
1. Bandello
• This was an Italian
poet/storyteller who printed a
version in 1554.
• The names and the plot are
similar to Shakespeare's.
2. Belleforest
• This was a French storyteller
who also produced a version in
1582 that was very similar to
Bandello.
• However, since there were no
copyright laws in Shakespeare’s
time, borrowing a plot idea
from one playwright to another
was acceptable. He was able to
shed new light on the treatment
of the characters and the
incidents.
• In addition, the two previous
versions were considered to be
“lost plays”. This means that
they were destroyed and the
only reference to them is in
other manuscripts.
C. Imagery
Motifs - imaginative pictures
created by repetitive references
• 1. Setting
- Create a Italian country
life
- Swift movement with
dancing and music
2. Stage directions
-Within the dialogue
-Language - Lyrical
ballads = background
sound
3. Levels of meaning
-With word choice
especially when Beatrice
and Benedict give their
lines
-Highly insightful, yet
can quickly be missed
D. Types
1. Comedy - No ones dies, all the
lovers marry and are happy
2. Tragedy - 1 man brought down
by his tragic flaw
3. History - Reference to
historical place or event
4. Romance - Music, Magic,
Masque
III. “Much Ado” Success
• This version was published in
1598. First of three comedies at
the height of his career.
• During this period,
Shakespeare’s female characters
are portrayed as strong figures
who “save the day” yet are
submissive in some other
fashion.
Ex. Viola in “12th Night” or
Rosalind in “As You Like It”
A. Three Plots
• Hero/Claudio
• Beatrice / Benedict
• Dogberry
1. Hero and Claudio
• Oldest story :
Boy likes Girl, Girl likes boy,
Boy betrays Girl, Girl goes into
despair, Boy changes mind, Boy
and Girl together again
• Hero’s name is ironic
considering she is the heroine
that is fair, virtuous, and meek.
• Claudio is shallow and falls
instantly in love. Yet, he is
quick tempered which leads
him to be careless with his love.
No great prize.
2. Beatrice and Benedict
• Love/Hate relationship
• Beatrice’s name means “she
who makes happy”. She is
witty, high spirited, and an
independent woman.
• Benedict’s name means
“blessed”. He enjoys being a
part of the “merry war” with
Beatrice. Often he is reluctant
and cynical.
3. Dogberry
• Town watchman .
• Shakespeare’s most famous
character for his humor.
• Incompetent, bumbling, slow,
and foolish. Yet, he is the fool
that saves the day.
IV. Problems
There are many discrepancies
throughout the play. Therefore,
the audience needs to have a
certain amount of fate that
things just “worked out”
automatically.
A. Lack of development for the
character of Margaret
B. Lack of motivation presented
for the villain, Don John
C. Does not follow the traditional
unfolding of a comedy (happy,
despair, happy)
V. Fame
• Constantly performed in
contemporary America
(traditional to unconventional)
• Relationship between Beatrice
and Benedict
VI. Title (Pun)
“Much Ado about Nothing”
• In Elizabethan times, “nothing”
and “noting” were pronounced
in a similar tone
• “Noting” = to notice, to watch
others around you