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A Critical Analysis of Shakespeare's Much Ado About Nothing
A comprehensive discussion of the play written by Shakespeare's Much Ado About Nothing with a special focus on the structure, plot and characterizations.
|language || ||english
|wordcount || ||11851 (cca 33 pages)
|contextual quality || ||N/A
|language level || ||N/A
|price || ||free
|sources || ||8
Table of contents
The Comic World of Much Ado About Nothing 3
The Play and Its Historical Background 4
Delving Into the Structure and Plot of the Play 4
Movements and Actions in the Play 5
Characterization, Roles, Disguises: An Analysis 16
Some Final Remarks About the Play 20
The Author 21
Preview of the essay: A Critical Analysis of Shakespeare's Much Ado About Nothing
Much Ado About Nothing, a comedy written by William Shakespeare which was first published as a quarto in 1600, probably from the author’s manuscript and was reprinted among the comedies in the Folio of 1023 with slight omissions and a few added stage directions from a promptbook. If the date of compositions given by the literary historian is correct, it could be the first of Shakespeare’s three great romantic comedies of love, the others being As You Like It and Twelfth Night.
Much Ado About Nothing is a brilliant play, one of the Shakespeare’s best. Performing it, the players make a major discovery: t is difficult to say what kind of play it is. It is primarily a love comedy, of course, and it is a splendid play to read as well as thrilling piece to attend in the theater. But what kind of love comedy is it?
Much Ado is Shakespeare’s nearest play to a comedy of manners. The main theme is Pride (hubris) and its influence on convention or ...
... Borachio is different: he deceives people, not because he is a dedicated villain like Don John, but because villainy is easy and well paid. The question, as he points out to Conrade, is why “villainy should be so rich” (III.iii.110).
There remains Deformed who, although he is never visible, becomes a leading person in the play. From the moment that a nameless member of Dogberry’s eavesdropping Watch is inspired (III.iii.116), in the minds of the Watch a metaphor becomes a thing of flesh and blood. Deformed, it seems, “has been a vile thief this seven year,” and what is still more shocking, “a goes up and down like a gentleman” (III.iii.123-124). No wonder, then, the Watch is hot on his trail, or that Dogberry sees his destiny as the adversary of Deformed. Perhaps the greatest stroke of Shakespeare’s comic art is that the capture of Deformed depends on pride.
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