Much Ado About
Nothing
TEACHIT KS3 INTERACTIVE PACK
GCSE Updates 2009
Lessons 1–9
Worksheets/OHTs 1–14
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1
LESSON 1: Is love in the air? (3. 2)
Learning objective
To have a greater understanding of the events of Act 3 Scene 2 and the motivations of the main
characters.
This lesson has been adapted from Lesson 7 in your pack.
Activity 9 (Claudio's reasons)
Copies of Act 3 Scene 2 will be required for this lesson; students will need to have read the
scene beforehand.
Starter

Ask students to imagine that they have just found out that the object of their affections has a
secret crush on them too. How might they try to impress this person (e.g. have a new haircut,
pretend that they like the same band)? Share ideas by drawing and labelling a figure of a man and
a woman on the board. Which of these things would be most obvious to their friends? How might
their friends react (e.g. tease them mercilessly)?
Introduction



In this scene, Don Pedro, Claudio and Leonato are pleased with the outcome of their plan to get
Beatrice and Benedick to fall in love, and say that they've noted some changes in Benedick. In
pairs, students look carefully at lines 1–52 (pages 71–73) and identify the features which they
think show that Benedick is in love and is trying to impress Beatrice. They should either underline
these in the text or draw a figure to represent Benedick and label it with short quotes.
Ask students why Don Pedro, Claudio and Leonato tease Benedick – after all, they tricked him
into believing that Beatrice is in love with him. Would the audience feel sorry for Benedick or does
he deserve to be a figure of ridicule after his earlier claim that he would live a bachelor?
Ask students why lines 34 – 36 (the loss of a beard) are so significant. (In Act 2 Scene 1, lines
23–31, Beatrice said that she didn't like men with beards.)
Development

Still in pairs, students look at lines 57–98 (pages 74-76) and identify how Don John suggests
Hero's infidelity. What does he say about her that makes Claudio doubt her? What possible
reasons are there for Don John wanting to spoil the marriage? Ask 2 or 3 pairs to feed back.
Plenary

The day after the scene occurs should be the happiest day of Claudio and Hero's lives. Why does
Claudio believe what Don John has said to him? Students should discuss the various suggestions
on Worksheet 1 and put the list in order, with the suggestion that has the most influence rated as
number 1. Ask students to feed back and try to come to a class consensus, using ICT Activity 9
from the CD-ROM.
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2
Worksheet 1: Claudio’s reasons
In Act 3 Scene 2, Claudio believes what he has been told by Don John about Hero’s
infidelity. Below is a list of possible reasons for this. Decide which of these is the most
likely and write 1 in the box next to it, then number the rest of the list accordingly.
Underneath each reason, write down why you think this may or may not be a good
explanation.
Claudio is young and trusts Don John because they fought together in the war.
Claudio has only just met Hero and doesn’t know her well enough to trust her.
Claudio judges everyone by his own low standards.
Claudio is worried about what other people think.
Claudio adores Hero and is jealous because he assumes other men feel towards
her as he does.
Claudio has forgotten that Don John hates him and would do anything to stir up
trouble.
Claudio doesn’t have a very high opinion of women.
Claudio believes everything he hears.
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3
LESSON 2: Abandoned at the altar (4.1)
Learning Objective
To have a greater understanding of the events and context of Act 4 Scene 1.
This is Lesson 17 in your pack.
Activity 18
Copies of Act 4 Scene 1 (pages 91–105)
Starter
 Write on the board (or use ICT Activity 18 from the CD-ROM): The wedding guests gather;
Claudio accuses Hero of not being a virgin and being unfaithful; Leonato believes Claudio and
disowns Hero; Friar Francis believes Hero and comes up with a radical plan to protect her whilst
they try to find out the truth; Benedick and Beatrice reveal their true feelings for one another;
Benedick agrees to challenge Claudio to a duel. Students read through the scene and mark onto
the text where the different events are found.
Introduction
 Discuss the following questions with the class:
 When Hero is accused, who would you expect to stand up for her? (Leonato – he is her
father and a modern audience would therefore expect him to stand by his daughter.)
 Who wouldn’t you expect to stand up for Hero? (Friar Francis – he is a member of the clergy
so the audience might expect him to condemn Hero for not being a virgin.)
Development
 Divide the class in half, and then again into groups of 4. Explain that students are going to look at
the differing responses to the revelations at the church. One half will look closely at Leonato’s
speech (lines 121–144); the other half will look at Friar Francis’s response (lines 156–258), using
Worksheet 2 or Worksheet 3 as relevant.
 As students work through the questions, they should make notes to back up the points that they
make. Each group then elects a representative to share what they have learned with a group which
has been working on the opposite text. All students should, therefore, have information about both
speeches.
Plenary
 Ask the class whether they were surprised by the characters’ responses to the revelations. Explain
that in Shakespeare’s day, a woman not being a virgin on her wedding day would imply sinful
behaviour and therefore make her totally unsuitable for marriage. This would, in turn, reflect very
badly on her father, as women were supposed to obey their fathers unquestioningly; to have slept
with other men would imply a rejection of male authority. The Church would have had similarly
strong views on the need for chastity. Do students approve of what Claudio (and Don Pedro) did?
Was it necessary to shame Hero so publicly?
 For homework, students make brief notes on each of the other characters attending the wedding
and their response to the accusations.
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4
Worksheet 2: Leonato’s speech
Make notes to answer the following questions.
1 Imagine you are Leonato. You are attending your daughter’s wedding to a man you
approve of. As you stand in the church, waiting for the vows to be exchanged, your son-inlaw tells you that he doesn’t want her – and tells you to take her back. He says: She knows
the heat of a luxurious bed;/Her blush is guiltiness, not modesty.
How do you feel when you first hear this?
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
2 Look closely at the lines you speak after you hear this news (lines 121–144).
a How many exclamations are there? What effect does this have?
_____________________________________________________________________
_____________________________________________________________________
b What is your plan of action?
_____________________________________________________________________
_____________________________________________________________________
c What kind of imagery do you use? Metaphors? Similes? What are you comparing her
with?
_____________________________________________________________________
_____________________________________________________________________
d Why do you use these images? What effect does this have?
_____________________________________________________________________
_____________________________________________________________________
e How many times do you repeat yourself? What effect does this have?
_____________________________________________________________________
_____________________________________________________________________
3 Why are you so angry?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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5
Worksheet 3: Friar Francis’s response
Make notes to answer the following questions.
1 Imagine you are the Friar. You are conducting the wedding of the Governor’s daughter to a
visiting young nobleman. Suddenly, at the start of the service, the groom says: She knows
the heat of a luxurious bed;/Her blush is guiltiness, not modesty.
How do you feel when you first hear this?
________________________________________________________________________________
________________________________________________________________________________
________________________________________________________________________________
________________________________________________________________________________
________________________________________________________________________________
2 Now look closely at your response in the conversation after you hear the news (lines 156–
258).
a What reasons do you give for not believing the accusations?
_____________________________________________________________________________
_____________________________________________________________________________
b What clues have you seen in Hero’s behaviour that suggest she is innocent?
_____________________________________________________________________________
_____________________________________________________________________________
c What is your plan of action?
_____________________________________________________________________________
_____________________________________________________________________________
d Why do you believe this is the best way of dealing with the situation?
_____________________________________________________________________________
_____________________________________________________________________________
3 Why aren’t you angry?
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
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6
LESSON 3: Much ado about infidelity (3.2, 4.1)
Learning objective
To compare the different impressions of love that the audience might develop from Act 3 Scene 2
and Act 4 Scene 1.
This is Lesson 6 in your pack.
Activity 7 (Plan into action) and Activity 8 (Love is...)
Copies of Act 3 Scene 2 (pages 71 - 76) and Act 4 Scene 1 (pages 91 - 105) are required
for this lesson. Students will need to have read these scenes before the lesson.
Starter

Ask students to remind themselves of Don John's accusations in Act 3, scene 2, using ICT
Activity 7 from the CD-ROM. Alternatively, collect ideas on the board (the lady is disloyal; she is
every man's Hero; she is wicked; Claudio will see her chamber-window entered). Ask the class
what the apparent consequences of these accusations will be (Claudio says he will...shame her;
Don Pedro will join with thee and the marriage will not take place).
Introduction

Ask students to skim read the beginning of Act 4 Scene 1 and identify the lines that prove that
Don John has carried out his plan. Ask for feedback and collect answers on the board.
Development




Explain to the class that both scenes are concerned with outward displays of love and affection –
Act 3 Scene 2 is about Benedick's newly discovered love for Beatrice; Act 4 Scene 1 is about
Claudio's rapid falling out of love with Hero.
Ask students to think about what being in love means. (ICT Activity 8 from the CD-ROM can be
used at this point.) Is it just fancying someone? Or is there more to it than that? Then ask students
who they think was more in love in the play – Benedick or Claudio? Remind them that Benedick
and Beatrice have known each other for years, and that Claudio and Hero have only just met. In
light of this and their consideration of the nature of love, discuss the question as a class and
record ideas on the board.
Write on the board: What impressions of love and lovers might an audience develop from Act 3
Scene 2 and Act 4 Scene 1 of Much Ado About Nothing? Ask students to copy the question,
underlining the key words: impression; love; lovers.
Hand out copies of Worksheet 4 and ask students in pairs to skim read the two scenes and add
appropriate quotations to back up their impressions of love and lovers. They should not expect to
have the same number of answers in each area. Students should retain these notes as they may
be useful, should they choose this title for their coursework.
Plenary

Given the evidence that students have collected from the two scenes, ask them which relationship
they would prefer to be in and why. Do they think that Benedick is in love with Beatrice or that
Claudio is in love with Hero? They should provide evidence from the play to back up their
opinions.
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7
Worksheet 4: Love and lovers
What impression of love and lovers might the audience develop from Act 3 Scene 2
and Act 4 Scene 1? Add relevant quotations to the table below.
Act 3 Scene 2
Good impression
Bad impression
Act 4 Scene 1
Good impression
Bad impression
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8
LESSON 4: Love hurts? (3.2 and 4.1)
Learning objective
- To identify the different attitudes to love displayed within Act 3 Scene 2 and Act 4 Scene 1.
- To explore how and why the characters' attitudes to love change between these two scenes.
ICT activity 1
Starter

Cut up Worksheet 5. In pairs, ask students to order the cards with the statement that best
describes love rated as number 1. Share and discuss students’ opinions. Alternatively, use ICT
activity 1.
Introduction


Divide the class into two halves. Working in the same pairs as for the starter, ask one half to focus
on Benedick and the other to focus on Claudio. Taking the statements used in the starter activity,
ask students to rank order them to show the attitudes to love displayed by either Benedick or
Claudio at the start of Act 3 Scene 2. Which character's views would be most positive at this point
in the play and why? Repeat this activity according to how each character would feel by the end of
the scene. Whose views would be most negative and why?
As a group discuss, would this be different for Act 4 Scene 1? Whose opinions of love would
have changed the most and why? At this point focus upon Claudio's dramatic change of opinion:
does this suggest that he doesn’t truly love Hero or does it reveal more about how honour
governed a young man's life? He is desperate to disassociate himself from Hero, who has been
branded a rotten orange, at all costs.
Development

Divide the class into two halves and then into groups of four. Hand out copies of Worksheet 6
and ask half the groups to focus on Act 3 Scene 2 and the other half to focus on Act 4 Scene 1.
Plenary


Display a copy of a statement about love used during the starter activity. Students volunteer which
character might best suit this statement in each of the two scenes and justify their choice of
answer. Other than romantic love, what other types of love feature in these two scenes (e.g.
familial / parental love, friendship / comradeship)?
For homework, students could be asked to produce a Valentine's card from one of the characters
studied during today's lesson. They could use images and a short verse of poetry to convey the
character's attitude to love at the end of Act 4 Scene 1.
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9
Worksheet 5: Love hurts? Statement cards
Love is...
fragile
painful
cruel
life-changing
finding that perfect
partner
the best thing in the
world
a chance to better
oneself
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10
Worksheet 6: Love hurts?
Scene:
Love is...
Which character would Evidence (include a short quotation
most agree with this
from the scene where this attitude is
statement and why?
displayed.)
a chance to
better oneself
cruel
finding a perfect
partner
fragile
life-changing
painful
the best thing in
the world
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11
LESSON 5: Power, Status and Honour (4.1, 5.4)
Learning Objective
To explore and evaluate the theme of power, status and honour, with a focus on Act 4
Scene 1 and Act 5 Scene 4.
This lesson has been adapted from Lesson 13 in the 2008 online updates (Key themes section).
ICT activity 2 and ICT activity 3
Starter


Brainstorm the word honour with students. What is an honourable act? Can students think of any?
What is the difference between honour and status? What gives the characters power? Draw out
that a person's status in society and thus his or her power would partly depend upon how
honourably they acted.
Ask students to quickly rank the following characters from the most powerful position in society, to
the least powerful: Don Pedro, Benedick, Leonato, Claudio, Hero, Beatrice. You could do this as
a physical task, by lining students up to represent a power continuum.
Introduction – who’s number 1?


Distribute Worksheet 7 and ask students to complete Task 1, ranking the characters within Act 4
Scene 1. Take feedback, clarifying and amending as you go. Alternatively, you could use ICT
Activity 2.
Ask students to complete Task 2, giving explanations for their choices. Share and discuss, being
careful to explore the differences between the power of men and women at this time.
It is also important to note the hierarchy, with the Prince still remaining the most powerful character despite
the difficult situation he finds himself in. However, students might note that Benedick has a lot of power in
this scene and this might have something to do with the honourable way he has acted throughout the play.
Development – character and situation force fields


Distribute Worksheet 8 and ask students to match the idea about power, status and honour with
a quotation.
Ask students to create a force field diagram to show pressures on each character for the
quotations.
In this, the situation is represented in the middle of the page, then arrows are used to represent the
pressures that are acting upon it from different directions. Model the first one if necessary, as follows:
Fear of Don Pedro’s
anger
His humiliation and loss
of honour
His desire for status
LEONATO
Hero has been
publicly disgraced,
which has led to
Leonato being
devastated at his
loss of honour and
status.
Concern for his daughter
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12
Plenary – A conscience corridor

Ask for volunteers or nominate students to represent the following characters: Claudio,
Leonato, Don Pedro. Divide the remaining students in half and ask them to line up facing each
other. The students in role as Claudio, Leonato and Don Pedro should walk down the
conscience corridor in quick succession as one side calls out reasons that the character
should condemn Hero, while the other should call out reasons to believe in her innocence.
Each of the students in role should explain what they have learned about the reasons they
condemned Hero. What was at the forefront of their mind: honour, love or a different emotion?
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13
Worksheet 7: Who’s number 1?
Task 1: Complete the table below. You should give each character a number that reflects how
powerful they are in Act 4 Scene 1. The most powerful character should be number 1, the next
powerful should be number 2, and so on until each character is given a number. You should then use
the third column to explain where each character's power (or lack of power) comes from.
Character
Hero
Power in Act 4
Scene 1
Where does the character's
power (or lack of power) come
from? Gender, status within
household, occupation or other?
Gender: she is a woman in a
patriarchal society.
Beatrice
Benedick
Leonato
The Friar
Claudio
Don Pedro
Task 2: Explain your choices. Who are the strongest characters in this scene? Who are the
weakest? Why?
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14
Worksheet 8: Exploring power, status and honour
Match the idea with a quotation that supports what it is saying. Draw a line between the two boxes
that you think match.
Hero has been publicly
disgraced, which has led to
Leonato being devastated at his
loss of honour and status.
BENEDICK (Act 5 Scene 4)
Benedick chooses love over
status when he agrees to the
plan to lie to Don Pedro and
Claudio. Also, when he later
agrees to challenge Claudio he
will likely be forced to leave the
Prince’s company.
CLAUDIO (Act 5 Scene 4)
In order to regain his honour,
Claudio has agreed to marry
Antonio’s daughter.
LEONATO (Act 4 Scene 1)
In respect to Leonato’s status,
Benedick asks his permission to
marry Beatrice.
BENEDICK (Act 4 Scene 1)
But, for my will, my will is your good will
May stand with ours, this day to be conjoined
In the state of honourable marriage:
Re-enter ANTONIO, with the Ladies masked
For this I owe you; here comes other reckonings.
Which is the lady I must seize upon?
Being that I flow in grief,
The smallest twine may lead me.
And though you know my inwardness and love
Is very much unto the prince and Claudio,
Yet, by mine honour, I will deal in this
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15
LESSON 6: Doing the honourable thing? (4.1)
Learning objective
To determine the role that honour plays in the characters' actions within Act 4 Scene 1.
Starter – Scandal!


Brainstorm the names of celebrities and politicians who have fallen from grace. In pairs, students
complete Task 1 on Worksheet 9, rank ordering the possible consequences of being caught up in
a scandal according to how seriously it might affect the person's life. Alternatively, complete ICT
activity 4.
As a class, discuss their views. What else might a person be willing to do in order to protect their
honour? If you wish, at this point, you could introduce the concept of honour killings which are
highlighted in the press from time to time.
Introduction


Again working in pairs, students complete Task 2 on Worksheet 9, this time putting themselves in
Claudio's shoes. They should then move on to Task 3, which requires them to think about the
character's motivations and some of the moral issues behind Claudio's seemingly harsh treatment
of Hero.
As a class, share and discuss findings, leading into a discussion of the consequences of a loss of
honour and the audience's possible reaction to this scene. Draw out gender differences and how a
woman would have relied upon an unsullied reputation in order to attract a husband: what would
have happened to Hero if her name hadn't been cleared? Why might a Shakespearian audience,
with a more acute awareness of the importance of honour, have been more sympathetic towards
Claudio's treatment of Hero?
Development – Love or honour?


In this scene, Benedick and Beatrice finally confess their love for each other. Why might Beatrice
have chosen to reveal her feelings at this point? Could it be that Claudio's treatment of Hero has
spurred her into action or is she being manipulative? How far is Beatrice motivated by her feelings
for Benedick and how far by her desire to avenge Hero's honour?
Look closely at lines 259–321 (pages 102–105). Using two different coloured highlighters, in one
colour highlight lines or quotes which suggest that Beatrice is spurred on by love and use another
to identify those quotes which suggest she is motivated by honour. Invite students to identify the
most prominent colour - what conclusions are students able to reach from this activity? Which
other factors have influenced the characters' actions in this scene? For instance, why has The
Friar risked his own reputation in order to help Hero exonerate herself?
Plenary


Allocate the following names to students: Claudio, Hero, Leonato, Benedick, Beatrice, The Friar,
Don Pedro. Ask students to line up according to who has shown the most honour in this scene. As
a group, discuss the order, giving reasons either to support or challenge the characters' positions.
As homework, set the following question: as well as honour, what other factors have influenced
the actions of the characters in Act 4 Scene 1?
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16
Worksheet 9: Scandal!
Task 1
Imagine that a modern day celebrity or a politician has been caught up in a scandal. Rank order the
possible consequences below, according to how seriously it could affect the person's life.
Possible consequence
My rank order
Claudio’s top three
Loss of reputation/ good name
Deserted by friends
Dismissed from job
No way of earning money
Partner walks out
Being made to look a fool
Other (please write in):
Task 2
Imagine that you are Claudio. Which three of the consequences concern you most when you discover
that Hero has supposedly been unfaithful? Number Claudio’s top three consequences in the righthand column of the table, with 1 being the thing that would concern him the most.
Task 3
a. Does Claudio's willingness to believe the lies about Hero prove that he doesn't truly love her, or
does he have no choice but to condemn her in order to save his honour? Give reasons for your
answer.
b. How might a modern audience’s reaction to Claudio's treatment of Hero differ from that of a
Shakespearian audience? Give reasons for any possible difference.
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17
LESSON 7: Deception
Learning objective
To understand the role deception has in Much Ado About Nothing, and the different types of
deception
This is Lesson 30 in your pack.
Activity 26 (Deception tracking)
Copies of the play should be made available to students; prior knowledge of the play is
required.
Starter

Explain to the class that deception can take many forms – it can be accidental, deliberate, and
both against others and against oneself (self-deception). Ask students why deception is such a
popular theme in plays, films and television drama/comedy.
Introduction

ICT Activity 26, in which students order events from the play, can be completed as a class. Then
distribute Worksheet 10. Ask students to work in pairs to identify the Act and Scene in which the
different deceptions take place. Then ask them to try to give a reason for each of the listed
deceptions. For example, does Don Pedro woo Hero because Claudio is shy or for fun?
Development


Students should now look at the idea of self-deception. They have already considered the hidden
feelings of Benedick and Beatrice, but what about the other characters? Distribute Worksheet 11
and ask students to work in small groups to try to identify the characters that are described. Do
they agree with all the descriptions? Elicit class feedback: is there anyone in the play who
remains undeceived throughout?
It may be interesting to consider Dogberry. What is his self-deception? Is his humorous dialogue
apparent to the characters in the play or is he only funny to the audience?
Plenary

Deception obviously has a great part to play in Much Ado. As a follow-up exercise, students
should write a timed piece, entitled; Deception: the most important theme in Much Ado About
Nothing – do you agree?, drawing upon the examples they have looked at in this lesson.
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18
Worksheet 10: Deception tracking
Fill in the left-hand column of the table below, adding when (in which Act and Scene) these
events occur in the play.
When (Act and Scene)
What and whom
Don John tells Claudio and Don Pedro of Hero’s sinful
behaviour. They go off to see if it is true. (Borachio will
be seen with ‘Hero’ – actually Margaret).
The Friar persuades Leonato to allow people to think
that Hero is dead.
Benedick is tricked by Don Pedro, Leonato and
Claudio (with Balthasar present). Benedick thinks he is
overhearing their private conversation but they know
he is there!
A masked Don Pedro woos Hero pretending to be
Claudio (with his agreement).
Claudio turns up for the wedding and even goes
through the early part of the ceremony before refusing
to marry Hero as a result of her betrayal.
Hero and Ursula trick Beatrice. She thinks she is
overhearing their private conversation but they know
she is there!
Claudio believes he is to marry a niece of Leonato’s,
but when Hero is unmasked he realises that she is
alive and willingly takes her as his bride.
The masked Antonio tries to deceive Ursula but she
recognises him. Benedick, also masked, tries to speak
to Beatrice but she knows it is him. Don John tells
Claudio that Don Pedro intends to marry Hero.
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19
Worksheet 11: Deceived? Me?
Can you identify the characters below?
This character is under the illusion that love is straightforward
and that Messina is a place where only fun, laughter and love
exist. He/she is too willing to believe the worst and is forced
to grow up very quickly.
This character has been very protected inside the little world
of Messina and suffers self-deception because he/she
believes the world is a kind place that can do no harm.
He/she cannot believe what is happening when his/her world
is turned upside down.
This character is powerful so thinks he/she can control
everything around him/her, including sorting people’s love
lives out and arranging jokes. However, it is his/her error of
judgement that almost leads to tragedy.
This character is initially deceived because he/she believes
that someone he/she has known all his/her life could have
behaved in a way that it is completely out of character.
This character believes that helping his/her boss by
organising a nasty trick will go unpunished and gain him/her a
reward.
This character is deceived into trusting two people who
cannot keep their mouths shut. He/she is clever enough to
gain favour with a member of his/her family without being
revealed.
This character is deceived into thinking a harmless evening
frolic with a visiting man is just a bit of fun when in fact it has
far-reaching consequences.
This character is under the illusion that the marriage he/she is
about to conduct will go smoothly and end up with two young
people happily married.
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LESSON 8: Deception
Learning objective
To evaluate whether deception is a dividing or a uniting force within the play.
Copies of the play will be required for this lesson.
Starter – Moral quandaries

Read out the following three scenarios and ask students to record the letter which indicates how
they would act, ideally on a mini whiteboard. After each scenario, students are sure to want to
justify their answers. Use this as an opportunity to discuss the morality of their choices.
Moral quandary 1: You realise that two of your closest friends would be perfect for each other.
Would you:
a. Sit back and leave them to work it out for themselves?
b. Play match-maker by pretending that each has confessed to you that they fancy the other?
c. Try to avoid them both – who wants to play gooseberry?
Moral quandary 2: Your friend has been made to look like a fool and is refusing to show their
face in public. Would you:
a. Tell them to pull themselves together?
b. Join them as a recluse, sitting in and watching the telly every night?
c. Come up with a cunning plan to make everyone feel sorry for them, so that life could return
to normal?
Moral quandary 3: You are fed up with your younger brother or sister getting all the attention at
home. Would you:
a. Take no notice – you've got plenty of friends of your own?
b. Sulk?
c. Plot revenge and try to turn everyone against them?
Introduction

Relate the moral quandaries to the play. (Moral quandary 1 relates to the plot to unite Beatrice
and Benedick, moral quandary 2 to Hero's public shaming and moral quandary 3 to Don John's
all-consuming desire to avenge himself on Don Pedro.)

Either as a whole class or in groups discuss the answers to the following questions:
o Is it ever right to deceive others? If yes, in what context is deception acceptable?
o Why does Shakespeare incorporate so much deception into Much Ado About Nothing
when it is a comedy?
Development

Deception is a central theme within the play. How far has it pushed characters together and how
far has it pulled them apart?

Divide students into pairs or small groups to complete Worksheet 12 (two sheets). Ideally, the
Deception grid should be enlarged to A3. Each group of students will also need a copy of the
statements describing the deceptions which occur in the play.
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21
Plenary

On a scale of 1 to 5, how far does deception act as a unifying force in Much Ado About Nothing?
Ask students to respond by holding up the corresponding number of fingers (with 5 being total
agreement). Call upon selected students to justify their selection.
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Worksheet 12: Deception
Each of the statements below describes a deception that takes place in the play. Decide
whether the deception unites or divides the two pairs of lovers.
Write the letter of each statement on the correct place on the Deception grid. Find a
quotation from the play which shows that each deception took place.
The first example (for deception A) has been done for you.
A. At a ball, Beatrice insults a masked Benedick to his face, pretending that she
believes him to be someone else. Benedick is both mortified and incensed.
B. A masked Don Pedro woos Hero pretending to be Claudio (with his
agreement).
C. Don John tells Claudio that Don Pedro has wooed Hero for himself and
intends to marry her.
D. Benedick is tricked by Don Pedro, Leonato and Claudio (with Balthasar
present). Benedick thinks he is overhearing their private conversation and
believes them when they say that Beatrice loves him.
E. Hero and Ursula trick Beatrice into believing that Benedick has confessed his
love for her. She thinks she is overhearing their private conversation but they
know she is there!
F. Don John tells Claudio and Don Pedro of Hero's sinful behaviour. They go off
and see if it is true. (Borachio will be seen with 'Hero' – actually Margaret).
G. Claudio turns up for the wedding and even goes through the early part of the
ceremony before refusing to marry Hero as a result of her betrayal.
H. The Friar persuades Leonato to allow people to think that Hero is dead.
I. Claudio is deceived into believing that he is to marry a niece of Leonato's but
when Hero is unmasked he realises that she is alive and willingly takes her
as his bride.
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Worksheet 12: Deception
Uniting (pushing them together)
Dividing (pulling them apart)
Claudio and Hero
A – “She told me, not thinking I had been
myself, that I was the prince’s jester…”
Benedick and Beatrice
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LESSON 9: Planning your coursework
Learning objective
To choose, plan and (ultimately) write a Shakespeare assignment.
Students will need copies of Act 3 Scene 2 (pages 71–76) and Act 4 Scene 1 (91–105).
Starter

Ask students to brainstorm, individually or in pairs, the essential features of a good Shakespeare
assignment. The aim is to come up with as many of the following as possible: reference to
character, reference to events (action), reference to language, reference to contemporary
audience, reference to modern audience, quotation, analysis.
Introduction



Explain to students that they will have a choice of assignments to complete, and that they should
choose the one that they feel most confident about – not the one that their friends are doing!
Give students copies of Worksheet 13 and allow them some time to read through the titles.
Take general questions to ensure that students are clear about what each question is asking them
to do.
Development





Give students copies of Worksheet 14 (or equivalent for your board) and talk them through the
criteria that they will need to meet. Highlight the fact that comment on context is vital, and remind
them of the work done in lesson 2 of this sequence to help them with this.
Ask students for a show of hands to determine which title they intend to choose.
Move students into groups so that they can discuss their chosen title. Those students who are
struggling to choose will need additional teacher support.
Allow time for students to discuss their chosen title and share ideas with one another. Those who
choose either of the first two questions will need to discuss which scenes they might write about.
Collaboration will help to ensure that students are able to develop their ideas more fully –
however, it must be made clear that their work will be assessed individually, and that they must be
able to work independently.
Remind them that they must tackle all of the bullet points that appear in the mark scheme to
secure their grades. Encourage students to keep these bullet points in mind whilst planning their
essays.
Plenary


Ask students to write the opening paragraph of their assignment, reminding them that they do not
need to say ‘In this essay I am going to...’
Swap openings. Partners should give (brief) written feedback on strengths and weaknesses of the
opening, to help students to improve their own work.
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Worksheet 13: Choose your assignment
For your Shakespeare assignment, you will have to write an essay (of no more
than four A4 sides) on one of the topics below. Read each in turn and jot down
some ideas that you might include. This will help you to choose the one that
you’re best able to do.
What impressions of love and lovers might an audience
develop from Act 3 Scene 2 and Act 4 Scene 1 of Much Ado
About Nothing?
Honour is the characters' main motivation in Act 4 Scene
1 of Much Ado About Nothing. How far do you agree or
disagree with this statement?
What part does deception play in uniting the lovers in
Much Ado About Nothing?
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Worksheet 14: AQA marking criteria
SHAKESPEARE
EN2 – READING
A*
49 - 54
A
43 - 48
B
37 - 42
C
31 - 36
D
25 – 30
E
19 – 24
F
13 - 18
G
7 - 12
U
1-6
Show originality of analysis and interpretation
when evaluating:
 The play’s moral, philosophical or social
significance
 Shakespeare’s stagecraft and/or appeal to
the audience
 Patterns and details of words and images
Show analytical and interpretative skills when
evaluating:
 The play’s moral and philosophical context
 Significant achievements within the dramatic
genre
 Shakespeare’s exploitation of language for
dramatic, poetic and figurative effect
Show analytical skill when exploring:
 The play’s implications, contemporary
relevance and historical context
 Characterisation, structure and theatricality
 Shakespeare’s use of linguistic devices
Show insight when discussing:
 The nature of the play, its implications and
relevance
 Characters, structure and stagecraft
 Shakespeare’s use of language
Show understanding when discussing:
 The nature of the play, its implications and
relevance
 The appeal of the play to an audience
 Shakespeare’s use of language
Show familiarity when describing:
 The nature of the play, its meaning and ideas
 The sequence of events and variety of
characters
 The impact on an audience
Show awareness when describing:
 The play’s explicit meanings and ideas
 The sequence of events and variety of
characters
 Shakespeare’s language
Show response to:
 The play as a whole
 Significant characters and relationships
 The main events
Refer to meaning and some aspects of the text
LITERATURE
Show originality of analysis and interpretation when
evaluating:
 The effects of character and action
 The effects of dramatic devices or structures
 The layers of meaning in language, ideas and
themes
 The social and historical setting or cultural context
or literary tradition
Show analytical and interpretative skills when
evaluating:
 The effects of character and action
 The effects of dramatic devices or structures
 The layers of meaning in language, ideas and
themes
 The social and historical setting or cultural context
or literary tradition
Show analytical skill when exploring:
 The effects of character and action
 The effects of dramatic devices or structures
 The layers of meaning in language, ideas and
themes
 The social and historical setting or cultural context
or literary tradition
Show insight when discussing:
 Character and action
 The effects of dramatic devices or structures
 Language, ideas and themes
 The text’s setting or cultural context or tradition
Show understanding when discussing:
 The dramatic effects of character and action
 The effects of dramatic devices or structures
 Language, ideas and themes
 The text’s setting or cultural context or tradition
Show familiarity when describing:
 How character is revealed in dialogue
 Effects of dramatic devices or structures
 Areas of language interest
 The text’s setting or context or tradition
Show awareness when describing:
 Characters and their actions
 Effects of dramatic devices or structures
 Areas of language interest
 The text’s setting or context
Respond to:
 Details of characters and their actions
 Some obvious dramatic devices or structures
 Simple aspects of language
 The text’s setting or context
Refer to character, setting and incidents
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