CRITICISM

Dawson, Anthony B. “Much Ado About Signifying.” Studies in English Literature, 1500-1900 22, no. 2 (spring 1982): 211-22.

Investigates the role of messages in the play, including an examination of the characters who deliver the messages, and the ways in which the messages are received, interpreted, and misinterpreted.

Hassel, R. Chris, Jr. “‘Man Is a Giddy Thing’: Repentance and Faith in Much Ado about Nothing.” In Faith and Folly in Shakespeare's Romantic Comedies, pp. 77-109. Athens: University of Georgia Press, 1980.

Studies the thematic and structural relevance of Christian doctrine relating to the treatment of humility and faith in Much Ado about Nothing.

Isherwood, Charles. Review of Much Ado about Nothing. Variety 373, no. 2 (23-29 November 1998): 56-7.

Offers a mixed appraisal of the 1998 Stratford Festival production of Much Ado about Nothing, directed by Richard Monette. While Isherwood praises the performances of the middle-aged Beatrice and Benedick, the critic finds the production as a whole “uneven.”

Leggatt, Alexander. “Much Ado About Nothing.” In Shakespeare's Comedy of Love, pp. 151-84. London: Methuen, 1982.

Suggests that in Much Ado about Nothing Shakespeare intended to incorporate the range and fluidity found in The Merchant of Venice and the harmony found in the various elements of A Midsummer Night's Dream.

Levin, Richard A. “Crime and Cover-up in Messina.” In Love and Society in Shakespearean Comedy, pp. 86-116. Newark: University of Delaware Press, 1985.

Explores the role of the social forces at work in Messina, suggesting that all the characters, not just Don John and/or Claudio, share in the responsibility for what transpires in the play.

Mueschke, Paul and Miriam. “Illusion and Metamorphosis in Much Ado about Nothing.” Shakespeare Quarterly 18, no. 1 (winter 1967): 53-65.

Noting that their assessment of the play is at odds with most critical views, the critics assert that the theme of the play is honor, the play's spirit is more reflective than joyful, and that courtship is depicted as a serious threat to masculine honor.

Oxman, Steven. Review of Much Ado about Nothing. Variety 382, no. 6 (26 March-1 April 2001): 56.

Applauds a 2001 South Coast Repertory production of Much Ado about Nothing directed by Mark Rucker, commenting that in style, the production resembled a film from Hollywood's Golden Age.

Stauffer, Donald A. “Words and Actions.” In Much Ado About Nothing and As You Like It: A Casebook, edited by John Russell Brown, pp. 87-93. London: Macmillan Press, Ltd., 1979.

Argues that Much Ado about Nothing reflects Shakespeare's harshest criticism of the weaknesses inherent in romantic love.

Taylor, Mark. “Presence and Absence in Much Ado About Nothing.” Centennial Review 33, no. 1 (winter 1989): 1-12.

Examines several absences or silences within the play, noting that within these absences characters such as Claudio see concealed aspects of themselves revealed.