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Deception and Villainy in Shakespeare's "Much Ado about Nothing"

Deception and Villainy in Shakespeare's
Author: Nadine Richters
Publisher: GRIN Verlag
Total Pages: 42
Release: 2008-08
Genre: Characters and characteristics in literature
ISBN: 3640140850

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Seminar paper from the year 2008 in the subject English Language and Literature Studies - Literature, grade: 2,3, University of Hamburg (IAA), course: Literaturseminar: William Shakespeare: "Much ado about nothing", 16 entries in the bibliography, language: English, abstract: Deception and the exploitation of the characters' credulousness are leitmotifs within Shakespeare's play "Much ado about nothing". central theme in the play is trickery or deceit, whether for good or evil purposes. However, the people being deceived are not as unintelligent as one might think at first perception. Most of them have a high social rank and this usually implies that people have access to higher education. This is proved by the character's high command of rhetoric stylistic devices, their expression and the way they phrase their thoughts and feelings. Even Don Pedro, who generally seems to be above everything, can be easily deceived by his bastard brother Don John. The recipient notices this in scene 3.2 when Don John makes them believe that Margret is Hero who has premarital sexual intercourse and thus is infidelous towards Claudio. There are three important forms of deception within the play of which I will inform you in section 2.. Furthermore I will state Don John's character traits, define the villain's function, name his intrigues and how they perfectly work. In the last section I try to explain the reason why it is apparently easy to deceive the fundamentally intelligent characters. On the whole, Shakespeare shows the characters' dealing between appearance and reality and deception and self-deception. Nearly every character of the play is involved in a deception and has to learn to distinguish appearance from reality. Paradoxically, even the most intelligent characters are not excluded. Schabert characterises the appearance and reality theme as follows:


Benedick and Beatrice Vs. Claudio and Hero

Benedick and Beatrice Vs. Claudio and Hero
Author: Marie Louis Freyberg
Publisher: GRIN Verlag
Total Pages: 57
Release: 2010-08
Genre:
ISBN: 3640654501

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Seminar paper from the year 2005 in the subject English Language and Literature Studies - Literature, grade: 2,0, University of Kassel, course: Shakespeare - Much Ado about Nothing, 10 entries in the bibliography, language: English, abstract: The following paper deals with the comparison of the two relationships in William Shakespeares' Much Ado about Nothing. The first section of the main part contains a short introduction of the author William Shakespeare himself. Furthermore the play itself is introduced with a short description of every important character, a summary of its content, and a brief paragraph about the origine of Much Ado about Nothing as a play. In the first and second section of the main part the four main characters Benedick, Beatrice, Claudio, and Hero are revisualised in detail before their respective relationship is described and analysed. The third section of the main part of this paper handles the comparison of the two partnerships. Here possible similarities and differences will be shown and discussed before a conclusion is drawn in the very last part of the paper. Short-term objective of this paper is to analyse similarities and differences of the two relationships between Benedick & Beatrice and Claudio & Hero. A long-term objective is to find out, which one of the two partnerships fits better into the standard of the Elizabethan age. At the very end of the paper a short perspective shall be given about our point of view concerning the question of which relationship probably lasts longer in the end.


The Book of the Courtier

The Book of the Courtier
Author: conte Baldassarre Castiglione
Publisher:
Total Pages: 526
Release: 1903
Genre: Courtesy
ISBN:

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Much Ado about Nothing

Much Ado about Nothing
Author: Harold Bloom
Publisher: Infobase Publishing
Total Pages: 331
Release: 2010
Genre: English drama
ISBN: 1438132034

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Presents a collection of essays discussing historical aspects of William Shakespeare's comedy in which Beatrice and Benedick overcome the obstacles preventing their union and ultimately conceding to mutual love and respect for each other.


The Shakespeare Story-book

The Shakespeare Story-book
Author: Mary Macleod
Publisher:
Total Pages: 492
Release: 1902
Genre:
ISBN:

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Much Ado About Nothing Illustrated

Much Ado About Nothing Illustrated
Author: William Shakespeare
Publisher: Independently Published
Total Pages: 204
Release: 2020-09-04
Genre:
ISBN:

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Much Ado About Nothing is a comedy by William Shakespeare thought to have been written in 1598 and 1599.The play was included in the First Folio, published in 1623.SynopsisIn Messina, a messenger brings news that Don Pedro will return that night, from a successful battle, along with Claudio and Benedick. Beatrice asks the messenger about Benedick, and mocks his ineptitude as a soldier. Leonato explains that "There is a kind of merry war betwixt Signor Benedick and her." On the soldiers' arrival, Leonato invites Don Pedro to stay for a month; Benedick and Beatrice resume their "merry war"; and Pedro's illegitimate brother, Don John, is introduced. Claudio's feelings for Hero are rekindled, and he informs Benedick of his intention to court her. Benedick, who openly despises marriage, tries to dissuade him; but Don Pedro encourages the marriage. Benedick swears that he will never marry. Don Pedro laughs at him, and tells him that he will when he has found the right person.A masquerade ball is planned, during which a disguised Don Pedro woos Hero, on Claudio's behalf. Don John uses this situation to get revenge on him, telling Claudio that Don Pedro is wooing Hero for himself. Claudio rails against the entrapments of beauty; but the misunderstanding is later resolved, and Claudio is promised Hero's hand in marriage.Meanwhile, Benedick and Beatrice have danced together, trading disparaging remarks under cover of their masks. Benedick is stung at hearing himself described as "the prince's jester, a very dull fool"; and yearns to be spared the company of "Lady Tongue" Don Pedro and his men, bored at the prospect of waiting a week for the wedding, concoct a plan to match-make between Benedick and Beatrice. They arrange for Benedick to overhear a conversation, in which they declare that Beatrice is madly in love with him, but too afraid to tell him. Hero and Ursula likewise ensure that Beatrice overhears a conversation in which they discuss Benedick's undying love for her. Both Benedick and Beatrice are delighted to think that they are the object of unrequited love; and both resolve to mend their faults, and declare their love.Meanwhile, Don John plots to stop the wedding, embarrass his brother, and wreak misery on Leonato and Claudio. He tells Don Pedro and Claudio that Hero is "disloyal"; and arranges for them to see his associate, Borachio, enter her bedchamber, and engage amorously with her (it is actually Hero's chambermaid). Claudio and Don Pedro are duped; and the former vows to publicly humiliate Hero.At the wedding (the next day), Claudio denounces Hero, before the stunned guests; and storms off with Don Pedro, causing Hero to faint. A humiliated Leonato expresses his wish for her to die. The presiding friar intervenes, believing Hero innocent. He suggests the family fake Hero's death, to inspire Claudio with remorse. Prompted by the day's stressful events, Benedick and Beatrice confess their love for each other. Beatrice then asks Benedick to kill Claudio, as proof of his devotion. Benedick hesitates, but is swayed. Leonato and Antonio blame Claudio for Hero's supposed death; and threaten him, to little effect. Benedick arrives, and challenges him to a duel.


Metaphors and Implicatures in Shakespeare's "Much Ado about Nothing"

Metaphors and Implicatures in Shakespeare's
Author: Achim Binder
Publisher: GRIN Verlag
Total Pages: 30
Release: 2008-08
Genre:
ISBN: 3640130332

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Seminar paper from the year 2003 in the subject English Language and Literature Studies - Literature, grade: 2,0, University of Tubingen (Neuphilologie), course: Understanding Utterances, 11 entries in the bibliography, language: English, abstract: For many people it seems that the application and analysis of metaphors only belongs to the field of literary studies. There are, however, such a large number of metaphorical expressions and lexicalized, so-called "frozen metaphors" in both German and English that the importance of metaphors exceeds by far their poetic usage. For Grice, metaphors result from the flouting of the first maxim (Quality) - that of not saying what one believes to be false. Metaphorical expressions hence provoke a search for the intended speaker meaning because of the obvious discrepancy between the proposition expressed by the utterance and the "falseness" of its content. This "falseness", however, is not always clear to see. Take, for example, the metaphor "no man is an island". It is obviously metaphorical in both content and meaning and one could deduce a whole range of weak implicatures from it but it is in no way "literally false". Considering that Grice labelled tropes and figures of speech (such as tautology, irony and metaphor) as cases of "maxim exploitation", it seems reasonable to analyse a text which allows for a maximum of maxim exploitation and whose author is responsible for a large number of frozen metaphors in English: What makes Shakespeare (to name just one example) extraordinary is the way he exploited this ordinary aspect of communication so that a single line or phrase triggers the discovery of a whole array of implicatures. The centre of this paper will thus be a linguistic analysis of metaphors and implicatures in Shakespeare's play Much Ado about Nothing.


Shakespeare & the Uses of Comedy

Shakespeare & the Uses of Comedy
Author: Joseph Allen Bryant
Publisher: University Press of Kentucky
Total Pages: 300
Release: 1986
Genre: Literary Criticism
ISBN: 9780813130958

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In Shakespeare's hand the comic mode became an instrument for exploring the broad territory of the human situation, including much that had normally been reserved for tragedy. Once the reader recognizes that justification for such an assumption is presented repeatedly in the earlier comedies -- from The Comedy of Errors to Twelfth Night -- he has less difficulty in dispensing with the currently fashionable classifications of the later comedies as problem plays and romances or tragicomedies and thus in seeing them all as manifestations of a single impulse. Bryant shows how Shakespeare, early a.