Much Ado About Nothing Notes

Much Ado About NothingRomantic frivolity * Much Ado about Nothing * do it and War Love as Warstarts with soldiers coming back from war and wanting fill in complete becomes a battlefield * Young Lovers Claudio and shooter * Not(h)ing Messina Confusions of style and mankind * Love and War Love as War * 1. 1 creation waiting for the return of youth and drive in * Learn of soldiers even to begin with they destroy scene * Youthful Claudio, ll. 12-16 benedick (older man) introduced by Beatrice, ll. 28-9he is universe introduced by mockery Beatrice catchs the joke and marks her different from the other women in the playshe is loud, jokes about men, able to fight with words, witty, and Benedick is the same modality * Beatrice and Benedicks vital war, ll. 56-9 * Martial world replaced by merry one * What happens when skills necessary for success on the field of battle enter domestic world? * Romantic Couples * Potential Lovers Claudio and paladin (make up the chief(prenomina l) plot, b bely some of the least relateing characters in the play relatively quiet) * Beatrice and Benedick (subplotmore mature, more worldly, and they be much more talebearing(a)/interesting) * Claudio and belligerent * Claudios first line in play introduces interest in submarine, l. l. 154-70 Note * To take strike of to drive or orbit carefully to pay attention to to mark (OED 5. a) * To become aware of to notice or perceive ment aloney to be struck by (OED 5. b) * Claudio and chock * Nature of Claudios love? ll. 278-289 Contrast between affections prior to and locating military action * Hesitancy to use the word love * have on Pedros plan (ll. 300-312) * Disguise (Pedro says he will disguise as Claudio for the ball and approach Hero) * seduction as military action * man of the institute Messina * Place of propriety and hospitality * Disguise, deceit runs rampant done play * Inability to distinguish between appearance and reality plethoric feature of life in the w orld of play 1) Not(h)ing Messina Confusion of Appearance and Reality 2) Educating Young Lovers From Appearances to Faith ) Merry Warriors Beatrice and Benedick * World of the Play Messina * GossipOverhearing, mishearing, and eavesdroppingcentral to play * Nothing and noting to take notice of to consider or study carefully to pay attention to mark (OED 5. a) * Pedros plan to cost for Claudio sets off chain reaction of misapprehensions * 1. 2 Antonio tells Leonato that Pedro plans to woo Hero for himself (when in reality, Claudio is trying to woo her) * 1. 3 Borachio overhears Pedro and Claudio discussing plan, tells usurp buttocks the Bastard ( go in magic trick gets the story right * 2. 1 Wooing by proxy * Masquerade/Disguise (dance to welcome back the soldiers) * Deceiving Claudio Don John and Borachio, ll. 155-63 (they pretend he is Benedick) * Claudios soliloquy ll. 164-74 * Does not question what he has been told Tis certain so. (The prince woos for himself) * Love as impe diment to friendship * Eye as lover (synecdoche A figure by which a more encyclopedic term is used for a less comprehensive or wrong versa as whole for part or part for whole, genus for species or species for genus, etc. (OED)) * Goes simply by what he sees Valediction (or rejection) to Hero * Leonato (Heros father) gives Claudio Heros hand, ll. 285-299 * Couple silent, must be prompted to speak * Beatrice cues them to speak * Hero is silent sense of youthful embarrassment or confusion * they are overwhelmed and ignorant * Educating Young Lovers From Appearances to Faith * False Hero, Take Two Don Johns spectacle of infidelity * Claudios problem with trust, 3. 2. 111-3 * Shame Hero publicly In plain view of all * 4. 1 down in the mouth Marriage Ceremony * Claudio returns bride to father ll. 29-41 The blush sign of innocence or experience? * Innocence How could you say these things? * Experience Busted * Exterior shows of virtue (39) * He takes it as guilt, not as innocence * He is completely wrong. She is innocent. * Claudios second valediction to Hero, ll. 99-107 * speaks to his youthfulness that he is so easily swayed by only outward appearances * Re-educating Claudio * 5. 1 Realization of mis-noting (He is wrong. Learns of Don Johns lies) * 5. 3 Mourning ceremony (spends night at tomb of Hero) * Agrees to marry Heros cousin without seeing or knowing her. Claudio publicly retracts slander ll. 3-10 * In death, shame transformed into fame (Hero has become a torpedo through death) * Night gives way to dawn (shifts from grieving to hope apprehend of darkness or confusion to a wrapping up of the play) * 5. 4 Heros Resurrection * Scene re-works and reverses 2. 1 (masked ball) womens identities concealed by masks * Ceremony corrects Claudios initial error, in which he identified and cute Hero by outward signs * Merry Warriors Beatrice and Benedick * Beatrice I implore you, is Signor Montanto returned from the wars of no? (1. 1. 28-9) * Opening exchange b etween host and guests takes bawdy turn, ll. 90-106 * Joking suggests male suspicion of female sexual inconstancy * sceptical Womens Constancy * A womans gentle heart, but no acquainted / With shifting change, as is false womens form (Sonnet 20, 3-4) * Cuckold, ry A derisive name for the husband of an unfaithful wife (OED 1) * desire that deceived husband would grow horns which would reveal him to his community as a taunt of his wife and her lover * Fear of Being Cuckolded Horns (bovine quite a than antlers) associated with visibility make things seen * Cuckold is emasculated, not merely by having his place taken by some other, but in being rendered vulnerable to representation * Husband becomes spectacle of ignorance to all around him * Verbal Energy of Warring Words * Public protestations against love * Benedick vows to live as bachelor 1. 1. 227-256 * Beatrice against falling in love 2. 1. 5-17, 40-60 * Shared sentiments (and wit) mark Beatrice and Benedick as suited for on e another * Gender and Speech Claudio on match with Hero 1. 1. 278-80 * Marriage as alliance * Economic concerns bind women * Parental (patriarchalseems like there are only dads in Shakespeares plays) desires seem to govern womens reference * Gulling the Reluctant Lovers * to pass the time prior to the wedding of Hero and Claudio, Don Pedro Proposes another theatrical interlude (trick) 2. 1. 342-366 * Tricking couple involves making them a spectacle, a form of comedic entertainment without their awareness * Matching Beatrice and Benedick involves form of morphological cuckolding * 2. workforce Hunt Benedick * Tricksters pretend to speak truth, while Benedick notes their conversation (so he can listen in on their conversation) * Men describe Beatrices suffering from unrequited love, ll. 87-119 * to gull to make a gull of to dupe, cheat, befool, take in, deceive (v. 3, def. 1) * Leonatos authority and Heros virtue convince Benedick of truth * Benedick transformed, ll. 210-33 * e numeration of Beatrices virtues contrasts Claudios interest in appearance * Converted into lover for I will be horribly in love with her (l. 23) * 3. 1 Women Snare Beatrice * Actresses follow Don Pedros script (? are they in truth following the script) * Silent Hero? ll. 34-36, 47-56, 60-70, 72-80 * Focus on Beatrices faults rather than Benedicks virtues * Beatrice to temper her voice to Benedicks wishes, ll. 107017) * impudently Alliances Repudiation scene (4. 1) * All doubt Hero but witty lovers (Beatrice and Benedick) * Beatrice tests Benedicks love, ll. 262-289 * Kill Claudio (288)