Much Ado About Nothing
From its opening lines to its final scene, MUCH ADO ABOUT NOTHING is a feast of wit and verve. The play’s humor runs from slapstick to subtle wordplay, and it features Shakespeare’s wittiest couple, Beatrice and Benedick.
The plot consists of two interwoven love stories: those of Beatrice and Benedick, and that of Claudio and Hero. Claudio, accompanying his friend, Don Pedro to Messina, is smitten with the lovely Hero, daughter of Leonato, governor of Messina. To help his friend, Don Pedro assumes Claudio’s identity at a masked ball and woos Hero. In the meantime, Don John, bastard brother of Don Pedro, does his worst to undermine the love affair by convincing Claudio that Hero is unfaithful.
Benedick, another friend of Don Pedro, has arrived in Messina a confirmed bachelor, ridiculing men who succumb to marriage. Equally opposed to marriage is Beatrice, Leonato’s niece, the verbal jousting partner of Benedick. The fireworks between these two spark the play. Don Pedro, Hero, Claudio, and Leonato all conspire to bring this unlikely couple together.
The plot speeds to its climax on Hero and Claudio’s wedding day as Don John’s deceit convinces all but Beatrice and Benedick. When Don John’s evil plot is exposed in a hilarious report by the constable, Dogberry, Claudio is led to believe that his foolish acceptance of Don John’s lies about Hero has led to her death. One remaining plot twist awaits the repentant Claudio. After he consents to marry Leonato’s niece, he learns that Hero in fact is alive. A double wedding ensues.
Bloom, Harold, ed. William Shakespeare’s “Much Ado About Nothing.” New York: Chelsea House, 1988. Contains eight significant articles from the 1970’s and 1980’s. See especially the essays by Richard A. Levin, who looks beneath the comedic surface to find unexpected, troubling currents, and Carol Thomas Neely, who contributes an influential feminist interpretation.
Evans, Bertrand. Shakespeare’s Comedies. Oxford, England: Clarendon Press, 1960. Important critical study. Concludes that Shakespeare’s comic dramaturgy is based on different levels of awareness among characters and between them and the audience. The comedy in Much Ado About Nothing reflects an intricate...
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