1. How far do you agree that The History Boys is a play focused more on the learning of sexual identity than education?
*POSNER- is his sexual confusion the base for a comical role, or opening for a tragedy?
*EDUCATION- the entire play is about Oxbridge entrance exams. However, the value of education is degraded by the use of comedy and drama from the boys' relationships with every other character. Within the boys trying to identify themselves, there is then also the external influence of Hector who believes education should be used to make people happy (ironic as Posner, the only person that follows this belief, has the most tragic outcome of all the boys), while Irwin believes education should enable people to be more than the ordinary.
#question- do the characters confused sexual identities create comedy?
2. To what extent does Mrs. Lintott's character in the play serve purely as a functional role? [reference to how she supports Hector and serves as a dramatic contrast for Irwin, as well as the possibility of Bennett using her character as a medium for his views of a feministic history- the scene of her speech in the mock interviews]
3. To what extent do lies and deceit enhance the comedy and drama of the play? [reference to brothel scene, when Hector and boys lie to the headmaster]
4. How far do you agree that Hector is the most likeable character of The History Boys?
*HECTOR- despite his irresponsible behaviour, does his eccentricity strike the audience as comedic and therefore, likeable? [reference as to how Bennett makes it possible for the audience to forgive Hector using sympathy, with his emotional break down scene as well as his death]
Saturday, 8 February 2014
Tuesday, 3 December 2013
Much Ado -precoursework
HOW FAR DO YOU AGREE THAT THE TRUE COMEDY OF THE PLAY IS SHAKESPEARE UNDERMINING THE CONSTITUTION OF MARRIAGE?
Much Ado About Nothing is a comedic play, revolving around two couples and the turbulence experienced as they profess their love for each other. The main couple, of Hero and Claudio, is expressed by means of trial and error as they endure a sequence of rumours and slander. The secondary couple, of Beatrice and Benedick, is expressed by means of a third party tricking the duo into confessing their love for the other.
I however agree that Shakespeare intends for the play to be the mimicry of marriage. The play was written in a time when all a woman could bring to a marriage was her innocence. More so, this was an era when sex was more than a method of reproduction, and the exploration of pleasure and all that jazz. It is therefore questionable as to why Claudio is undependable, in that he is too quick to make decisions about getting married -even though the promiscuity of men was to be considered 'normal'. The other reason is that the ending Act is not purely conclusive, as the idea of the marriages continuing underway is beyond the stage and up to the audience. That is to say: the entire drama of the play results in no marriage at all.
The main supporting character of this notion is Claudio. In the very introduction of Claudio, he announces how he wishes to get married as there is no war to occupy his mind. The manner in which he says it brings it out as if he is saying he has nothing better to do but get married at this point. He is not even particularly picky about his potential wife, as it is discovered in the last chapter when he says he wouldn't mind if he married an Ethiope.
Furthermore, Claudio’s gullibility is the main front of comedy as he is easily fooled and manipulated. Other comedic aspects are explored in Beatrice in Hero, in that they are often the centre of sexual innuendos, verbal wit and repartee, as well as the tools of the confusion of the play. The entire play may be considered a farce; in that it contains the comedy of innuendos, wit and intense word play, as well as basic stock characters.
Sunday, 1 December 2013
possible essays for Much Ado
1. How far do you agree that Much Ado About Nothing is actually a comedy on the constituition of marriage?
2. To what extent does Hero's character show that she is simply ''good'', or does her character transform too much to trust her?
3. Don Pedro and Don John act as the perpertrators of the annexing and breaking of two couples respectively. How far do you agree that there is a darker/sadder side to Don Pedro?
4. What is the role of the Friar? To what extent is he to be credited for the way the play ends?
5. Despite Beatrice and Benedick taking more attention of the play, the main couple can be said to be Hero and Claudio. To what extent do you agree that Claudio does not deserve Hero?
2. To what extent does Hero's character show that she is simply ''good'', or does her character transform too much to trust her?
3. Don Pedro and Don John act as the perpertrators of the annexing and breaking of two couples respectively. How far do you agree that there is a darker/sadder side to Don Pedro?
4. What is the role of the Friar? To what extent is he to be credited for the way the play ends?
5. Despite Beatrice and Benedick taking more attention of the play, the main couple can be said to be Hero and Claudio. To what extent do you agree that Claudio does not deserve Hero?
Monday, 25 November 2013
The Great Gatsby -type b. essay
QUESTION 4.
How appropriate do you think it is to describe ‘The Great Gatsby’ as a tragedy?
The Great Gatsby can be described as a tragedy in more than one way. Firstly, the plot follows the perfect explanation of Greek Literature -a character's down fall due to their own personal flaw. In the events of Gatsby, Myrtle and even George Wilson, all three died due to their own irrational behaviour and motives.
Myrtle's death is a result of her pursuit of a life and love that was false. This was provided to her by Tom Buchannan, and it's the very life she's running after that is ended by Daisy Buchannan (who ironically seems to be running away from the reality of Tom), as she runs over her in Gatsby's car. Gatsby takes the blame for her death however, and it is this nobility and honesty of character (according to Nick in the least), that leads him to be shot by George Wilson. This death was the repercussion of the ricochet of rumours and events; a death that George justified as revenge for his wife's death. George's death however, was of his own accord: in a moment of perhaps panic, regret or guilt. That is to say, George could not cope with the psychological circumstances of the event. It may further be argued that perhaps Gatsby could not handle the stress of realisation -apparent as he takes his final swim in his untouched swimming pool. This could be symbolism of him throwing in the towel, as he gives up on his love for Daisy.
Further tragedies of the novel can be brought out with the intricate web of unrequited love between characters. If followed closely, it is discovered that Tom Buchannan appears to be at the very centre of the web- having both Myrtle and Daisy in love with him, and Gatsby and George in love with the former and latter respectively. Tom brings out another level of sadness of real-life experience in the novel. This refers to the inequality of women in the 20's, and how violence towards females was regarded as common. Chapter 2 is a perfect example of this as he hits his mistress, Myrtle, and breaks her nose. Nobody scorns his reaction, nor is any action taken. There are other parts in the novel that suggest he may also be violent towards his own wife, such as Chapter 1 when she tries to explain a bruise on her finger.
The main tragedy of the novel however, is the ending chapter. Nick believes that every person is entitled to some form of peace of mind, yet nobody appears to Gatsby's funeral despite all his attempts. It is this distortion of belief that leads Nick to the epiphany that one's ambition, or ''American Dream'' to better themselves in any way, can never be fully gained. The upsetting behaviour of Daisy and Tom at the very end of the novel aid this epiphany for Nick, as well as the readers that society can never allow a person to be in any way "Great".
How appropriate do you think it is to describe ‘The Great Gatsby’ as a tragedy?
The Great Gatsby can be described as a tragedy in more than one way. Firstly, the plot follows the perfect explanation of Greek Literature -a character's down fall due to their own personal flaw. In the events of Gatsby, Myrtle and even George Wilson, all three died due to their own irrational behaviour and motives.
Myrtle's death is a result of her pursuit of a life and love that was false. This was provided to her by Tom Buchannan, and it's the very life she's running after that is ended by Daisy Buchannan (who ironically seems to be running away from the reality of Tom), as she runs over her in Gatsby's car. Gatsby takes the blame for her death however, and it is this nobility and honesty of character (according to Nick in the least), that leads him to be shot by George Wilson. This death was the repercussion of the ricochet of rumours and events; a death that George justified as revenge for his wife's death. George's death however, was of his own accord: in a moment of perhaps panic, regret or guilt. That is to say, George could not cope with the psychological circumstances of the event. It may further be argued that perhaps Gatsby could not handle the stress of realisation -apparent as he takes his final swim in his untouched swimming pool. This could be symbolism of him throwing in the towel, as he gives up on his love for Daisy.
Further tragedies of the novel can be brought out with the intricate web of unrequited love between characters. If followed closely, it is discovered that Tom Buchannan appears to be at the very centre of the web- having both Myrtle and Daisy in love with him, and Gatsby and George in love with the former and latter respectively. Tom brings out another level of sadness of real-life experience in the novel. This refers to the inequality of women in the 20's, and how violence towards females was regarded as common. Chapter 2 is a perfect example of this as he hits his mistress, Myrtle, and breaks her nose. Nobody scorns his reaction, nor is any action taken. There are other parts in the novel that suggest he may also be violent towards his own wife, such as Chapter 1 when she tries to explain a bruise on her finger.
The main tragedy of the novel however, is the ending chapter. Nick believes that every person is entitled to some form of peace of mind, yet nobody appears to Gatsby's funeral despite all his attempts. It is this distortion of belief that leads Nick to the epiphany that one's ambition, or ''American Dream'' to better themselves in any way, can never be fully gained. The upsetting behaviour of Daisy and Tom at the very end of the novel aid this epiphany for Nick, as well as the readers that society can never allow a person to be in any way "Great".
Much Ado About Nothing- Reader's Journals (Act V)
Despite being the ending Act, there is not much of a denouement - a lot of loose ends remain. It can be classed as a comedy, in that comedies end with a marriage (Hero and Claudio, and substantially, Benedick and Beatrice); but it is highly unsatisfying otherwise. We are however left with a concluding judgement of characters though.
Firstly, there is Leonato. Antonio confronts the grieving Leonato and pleads with him not to be so suicidal. Leonato points out that everybody enjoys to moan at some point, and Antonio tells him to resolve it by taking his suffering out on the people that accused Hero. They try to start a fight, but are put aside by Claudio and Don Pedro insisting they have evidence and justification for Hero's death. This shows that even though Leonato is the most powerful person of the play (in that he owns majority of the setting), he still gives way and knows when he cannot win. This makes him most agreeable and easy going of the entire play.
Don Pedro and Claudio greet the approaching Benedick with the news that they narrowly avoided a fight with two old, toothless men. This shows the forms of slight disrespect they have, mostly on Claudio's behalf. We can conclude from this, previous and leading events, that Claudio probably has the most personality flaws. He is gullible (easily fooled), disrespectful, arrogant, and he depends on majority's vote rather than personal logic and/or reasoning. Benedick calmly asserts that Claudio is a villain, and is responsible for the wrongful death of Hero. Furthermore, Claudio doesn’t seem to take to account what he has done, nor Benedick’s threats very seriously. Claudio makes light of every situation, vaguely saying to Don Pedro that Benedick has accused him of being all kinds of stupid (which he sort of is). Don Pedro and Claudio then launch into a series of silly taunts about Beatrice’s love for Benedick, which they claim they heard from Hero (who is to their knowledge, dead, so they’re being pretty insensitive). Finally they ridicule Benedick, saying that when he marries Beatrice, he’ll be hung with cuckold’s horns, though he claimed to once be an untamable bull. Benedick doesn’t think any of this is funny. He says the men may be full of jokes now, but they’re like braggarts who talk big, but don’t know how to use a sword. Benedick goes on to thank Don Pedro for his many courtesies, but he says he’ll have to part ways with Don Pedro’s company from here on out. Further, he informs Don Pedro that his brother Don John has fled from Messina, and all three of them are implicated in the wrongful death of Hero. He calls Claudio "Lord Lackbeard," playing on Claudio’s youthful lack of a beard -this could perhaps explain his immaturity.
As Don Pedro wonders about why Don John suddenly skipped town, Dogberry enters to clear up the matter, followed by Verges and the watchmen, with Borachio and Conrade in tow. Don Pedro recognizes Conrade and Borachio as the henchmen of his brother, Don John. Don Pedro wonders at what offence the men committed in order to be brought forth in chains. Dogberry, as usual, muddles his explanation. After playing with Dogberry for a bit, Don Pedro finally asks Borachio what he’s done. Borachio breaks the mood of merriment, and finally reveals all of the truth, even though he’s scared Claudio will kill him (further proof that Claudio may be well known to make rash decisions, with no or little thought). The whole evil scheme is brought to light, and Don Pedro understands why Don John skipped town -but why he started the whole thing is unknown [Don John is a villian without reason].
Claudio realizes his mistake, and Hero's beauty and innocence as when he ''loved'' her. It's pretty shallow and fickle of him. Dogberry breaks up the scene by ordering the accused away (though he wrongly calls them the plaintiffs. A bit of a moment killer in such a dramtic phase).
It is possible to say that Borachio is just, in that he tries to take all the blame and explains that he only did it for the money:
When Borachio claims the fault is his alone, Leonato jumps to his defense and blames primarily Claudio, Don Pedro, and Don John, as well as Borachio. Leonato then thanks Don Pedro and Claudio for their roles in all this villainy -he's very big on the manipulation thing. Claudio and Don Pedro are brief with Leonato, but full of sorrow. Claudio says Leonato can have any revenge desired, though he’s quick to point out that his only actual sin was mistaking. Don Pedro jumps on the "I’m completely guilty, except…" bandwagon, though he says that whatever punishment Leonato wants to put him through, he’ll accept. Leonato says he just wants his daughter be alive again, and that isn’t within either of the perpetrator’s power -seems like more reverse psychology.Leonato's punishment for Claudio is an explanation to the people of Messina that Hero was actually innocent, and to hang an epitaph for her, and mourn over her (bizarre that people should be told when to mourn over the loss of a love). Claudio will be accepted back into Leonato’s fold if he shows up at Leonato’s house tomorrow morning for another wedding; this time Claudio will marry Leonato’s niece, to which he agrees (further evidence how sincere his love for Hero really was, unless he had a hunch it was Hero?), and thanks Leonato copiously for his kindness.
It's when Leonato is about to ask Margaret her part in the scheme when Borachio speaks up again, saying Margaret had no idea what she was doing, she wasn’t involved in the plot, and is a just and virtuous girl. This is somewhat romantic, in that true love is shown -he defends her name, unlike some people (hint hint, Claudio).
Margaret is with Benedick at this time, joking about his poems to Beatrice. Benedick’s inability with words on the page is rather funny, given how quick he is in his speech, and thus love makes more fools than poets. Beatrice enters, but doesnt ask about what happened between him and Claudio first. Instead, they dabble in words of love for each other. This leaves the question if she was entirely serious about Claudio's murder. Ursula rushes in with curative news. It has just been discovered that Hero was falsely accused, Claudio and Don Pedro were misled, and Don John is to blame for it all. Benedick makes a joke about how he’d like to be in Beatrice’s lap (which woven in well contextually) and he and Beatrice run off to go inside Leonato’s house and witness the chaos
At the wedding, Benedick points out that Beatrice likes him,and Benedick also points out that he loves Beatrice (which Leonato then credits to himself, Don Pedro, and Claudio). Benedick doesn’t quite piece Leonato’s cryptic speech together, but he does say he’d like to be married to Beatrice today if Leonato gives his blessing, and the Friar gives some service. Everyone agrees that blessing, service, and a bride will soon be handed over to Benedick. Then Don Pedro, Claudio, and some others enter. Leonato asks if Claudio is still ready to marry Antonio’s daughter, and Claudio graciously replies that he’ll marry her even if she’s an Ethiope (not too sure what views of race were in Shakespearean times, but nevertheless, it's safe to assume it wasnt regarded a great thing -but it also shows Claudio's emotional flaws). Claudio gets handed a n''mystery'' lady by Antonio, and swears that he’s her husband, if she’ll have him. The lady is then revealed to be none other than Hero.
Benedick asks which masked lady is Beatrice. Beatrice steps forth, and Benedick publicly asks Beatrice if she loves him -the first confrontation of the play. She denies it – kind of. So Benedick also kind of denies it when she throws the same question back at him. Both seem a little taken aback, first by how publicly their word is being tested, but also by the fact that they each had "inside information" about the other’s secret crush. They’re about to shake hands and relegate each other to a life of being nothing more than friends, even though they blatantly feel something for each other, abut Hero and Claudio interupt.Each reveal a love letter of sorts, and Benedick and Beatrice realize their hands have revealed their hearts. A lot of teasing commenses, and its noted that Claudio jests that he hoped Benedick wouldn’t marry Beatrice, as Claudio wanted to see Benedick become a married man and also a cheater. Still, Claudio teases that Benedick might end up being a cheater anyway, if Beatrice doesn’t keep a close eye on him. Benedick calls for dancing, though Leonato thinks they really should have marriages before dancing. The old man is ignored, and Benedick calls for music. Then Benedick teases Don Pedro about needing to get a wife, and this is where his sadness (perhaps loneliness) shows, as he is the only character unmatched.
The greatest untied end is when finally, randomly, a messenger comes in and announces that Don John was captured and brought back to Messina. Benedick counsels Don Pedro to not worry about this right now, and instead, to be merry. We are not let known what happens after the play, but perhaps that was as Shakespeare intended.
Firstly, there is Leonato. Antonio confronts the grieving Leonato and pleads with him not to be so suicidal. Leonato points out that everybody enjoys to moan at some point, and Antonio tells him to resolve it by taking his suffering out on the people that accused Hero. They try to start a fight, but are put aside by Claudio and Don Pedro insisting they have evidence and justification for Hero's death. This shows that even though Leonato is the most powerful person of the play (in that he owns majority of the setting), he still gives way and knows when he cannot win. This makes him most agreeable and easy going of the entire play.
Don Pedro and Claudio greet the approaching Benedick with the news that they narrowly avoided a fight with two old, toothless men. This shows the forms of slight disrespect they have, mostly on Claudio's behalf. We can conclude from this, previous and leading events, that Claudio probably has the most personality flaws. He is gullible (easily fooled), disrespectful, arrogant, and he depends on majority's vote rather than personal logic and/or reasoning. Benedick calmly asserts that Claudio is a villain, and is responsible for the wrongful death of Hero. Furthermore, Claudio doesn’t seem to take to account what he has done, nor Benedick’s threats very seriously. Claudio makes light of every situation, vaguely saying to Don Pedro that Benedick has accused him of being all kinds of stupid (which he sort of is). Don Pedro and Claudio then launch into a series of silly taunts about Beatrice’s love for Benedick, which they claim they heard from Hero (who is to their knowledge, dead, so they’re being pretty insensitive). Finally they ridicule Benedick, saying that when he marries Beatrice, he’ll be hung with cuckold’s horns, though he claimed to once be an untamable bull. Benedick doesn’t think any of this is funny. He says the men may be full of jokes now, but they’re like braggarts who talk big, but don’t know how to use a sword. Benedick goes on to thank Don Pedro for his many courtesies, but he says he’ll have to part ways with Don Pedro’s company from here on out. Further, he informs Don Pedro that his brother Don John has fled from Messina, and all three of them are implicated in the wrongful death of Hero. He calls Claudio "Lord Lackbeard," playing on Claudio’s youthful lack of a beard -this could perhaps explain his immaturity.
As Don Pedro wonders about why Don John suddenly skipped town, Dogberry enters to clear up the matter, followed by Verges and the watchmen, with Borachio and Conrade in tow. Don Pedro recognizes Conrade and Borachio as the henchmen of his brother, Don John. Don Pedro wonders at what offence the men committed in order to be brought forth in chains. Dogberry, as usual, muddles his explanation. After playing with Dogberry for a bit, Don Pedro finally asks Borachio what he’s done. Borachio breaks the mood of merriment, and finally reveals all of the truth, even though he’s scared Claudio will kill him (further proof that Claudio may be well known to make rash decisions, with no or little thought). The whole evil scheme is brought to light, and Don Pedro understands why Don John skipped town -but why he started the whole thing is unknown [Don John is a villian without reason].
Claudio realizes his mistake, and Hero's beauty and innocence as when he ''loved'' her. It's pretty shallow and fickle of him. Dogberry breaks up the scene by ordering the accused away (though he wrongly calls them the plaintiffs. A bit of a moment killer in such a dramtic phase).
It is possible to say that Borachio is just, in that he tries to take all the blame and explains that he only did it for the money:
When Borachio claims the fault is his alone, Leonato jumps to his defense and blames primarily Claudio, Don Pedro, and Don John, as well as Borachio. Leonato then thanks Don Pedro and Claudio for their roles in all this villainy -he's very big on the manipulation thing. Claudio and Don Pedro are brief with Leonato, but full of sorrow. Claudio says Leonato can have any revenge desired, though he’s quick to point out that his only actual sin was mistaking. Don Pedro jumps on the "I’m completely guilty, except…" bandwagon, though he says that whatever punishment Leonato wants to put him through, he’ll accept. Leonato says he just wants his daughter be alive again, and that isn’t within either of the perpetrator’s power -seems like more reverse psychology.Leonato's punishment for Claudio is an explanation to the people of Messina that Hero was actually innocent, and to hang an epitaph for her, and mourn over her (bizarre that people should be told when to mourn over the loss of a love). Claudio will be accepted back into Leonato’s fold if he shows up at Leonato’s house tomorrow morning for another wedding; this time Claudio will marry Leonato’s niece, to which he agrees (further evidence how sincere his love for Hero really was, unless he had a hunch it was Hero?), and thanks Leonato copiously for his kindness.
It's when Leonato is about to ask Margaret her part in the scheme when Borachio speaks up again, saying Margaret had no idea what she was doing, she wasn’t involved in the plot, and is a just and virtuous girl. This is somewhat romantic, in that true love is shown -he defends her name, unlike some people (hint hint, Claudio).
Margaret is with Benedick at this time, joking about his poems to Beatrice. Benedick’s inability with words on the page is rather funny, given how quick he is in his speech, and thus love makes more fools than poets. Beatrice enters, but doesnt ask about what happened between him and Claudio first. Instead, they dabble in words of love for each other. This leaves the question if she was entirely serious about Claudio's murder. Ursula rushes in with curative news. It has just been discovered that Hero was falsely accused, Claudio and Don Pedro were misled, and Don John is to blame for it all. Benedick makes a joke about how he’d like to be in Beatrice’s lap (which woven in well contextually) and he and Beatrice run off to go inside Leonato’s house and witness the chaos
At the wedding, Benedick points out that Beatrice likes him,and Benedick also points out that he loves Beatrice (which Leonato then credits to himself, Don Pedro, and Claudio). Benedick doesn’t quite piece Leonato’s cryptic speech together, but he does say he’d like to be married to Beatrice today if Leonato gives his blessing, and the Friar gives some service. Everyone agrees that blessing, service, and a bride will soon be handed over to Benedick. Then Don Pedro, Claudio, and some others enter. Leonato asks if Claudio is still ready to marry Antonio’s daughter, and Claudio graciously replies that he’ll marry her even if she’s an Ethiope (not too sure what views of race were in Shakespearean times, but nevertheless, it's safe to assume it wasnt regarded a great thing -but it also shows Claudio's emotional flaws). Claudio gets handed a n''mystery'' lady by Antonio, and swears that he’s her husband, if she’ll have him. The lady is then revealed to be none other than Hero.
Benedick asks which masked lady is Beatrice. Beatrice steps forth, and Benedick publicly asks Beatrice if she loves him -the first confrontation of the play. She denies it – kind of. So Benedick also kind of denies it when she throws the same question back at him. Both seem a little taken aback, first by how publicly their word is being tested, but also by the fact that they each had "inside information" about the other’s secret crush. They’re about to shake hands and relegate each other to a life of being nothing more than friends, even though they blatantly feel something for each other, abut Hero and Claudio interupt.Each reveal a love letter of sorts, and Benedick and Beatrice realize their hands have revealed their hearts. A lot of teasing commenses, and its noted that Claudio jests that he hoped Benedick wouldn’t marry Beatrice, as Claudio wanted to see Benedick become a married man and also a cheater. Still, Claudio teases that Benedick might end up being a cheater anyway, if Beatrice doesn’t keep a close eye on him. Benedick calls for dancing, though Leonato thinks they really should have marriages before dancing. The old man is ignored, and Benedick calls for music. Then Benedick teases Don Pedro about needing to get a wife, and this is where his sadness (perhaps loneliness) shows, as he is the only character unmatched.
The greatest untied end is when finally, randomly, a messenger comes in and announces that Don John was captured and brought back to Messina. Benedick counsels Don Pedro to not worry about this right now, and instead, to be merry. We are not let known what happens after the play, but perhaps that was as Shakespeare intended.
Much Ado About Nothing- Reader's Journals (Act III, IV)
Hero pulls Margaret aside in the garden, and gets the wheels turning on her part of Don Pedro’s scheme. Margaret seems to have more importance than what we assume as she is the pivot point of both conflicts of the play : the conflict between Beatrice and Benedick, and the conflict between Don Pedro and Don John. She wants Margaret to lure Beatrice to the 'Garden of Eavesdropping' by saying that Hero and Ursula are talking about her, and Beatrice should listen in on their secret conference. A lot is revealed in this conversation about perhaps Hero's true passive-aggressive character, as she then lights Beatrice’s flaws: calling the girl proud, disdainful, scornful, and too in love with her own wit to love any man. Beatrice comes out at the end of the scene: It’s worth noting that her primary concern isn’t the shocking revelation that Benedick loves her. Instead, she seems really hurt that her friends condemned her for being so proud. Beatrice declares she’ll put her bad attitude behind her, and give herself over to Benedick. Further evidence that this ''relationship'' is not based on true intentions. This then leaves the question that if poems are used to show characters emotional state, then are they true emotions that are being experienced? It could be the method of conformity -the profane idea that everybody should be married in the end.
Claudio volunteers to travel with Don Pedro after the wedding, but Don Pedro points out that Claudio will have more interesting things to do on his wedding night. This joke is very common amongst the ladies as well. Don Pedro says he'd rather have Benedick’s company, because Benedick can be trusted to never fall in love, which is manipulation of his emotions to get a confession. Leonato notes that Benedick looks sadder despite all his changes (haircut, shave and cologne), so either Benedick is in love, or he’s been transformed into a metrosexual. They figure that if any woman loves him, it’s only because she doesn’t know him very well. This brings doubt to the earlier idea that Beatrice and Benedick might have a past together. There’s some taunting about how the girl Benedick loves will die for him, but she’ll die with her face upward. ("Die" is Elizabethan slang for orgasm). This is further evidence for Benedick's promiscuity. Benedick shrugs off all this teasing and asks Leonato to go off with him to talk about serious stuff, which leaves Don Pedro and Claudio conveniently left alone for Don John to prey upon. Don John claims that Don Pedro’s efforts for Claudio’s wedding are all in vain as she is disloyal. Not only is she disloyal, he could call her all sorts of other nasty names, but he doesn’t. Claudio pledges that if he sees anything, he’ll be sure to be as dramatic as possible, by denouncing Hero in front of the whole wedding party tomorrow. Don Pedro pitches in that he’ll help Claudio disgrace Hero at the wedding if there’s proof of her disloyalty tonight. This brings out an unstable and almost sinister side to Don Pedro -considering his responsibility for getting the two together, as well as his final reaction/mood at the end of the play.
There is the introduction of a comic relief in the form of stock characters, these being Dogberry, Verges, and the watchmen. Dogberry tries to pick one among the watch to be the constable, going on to give a series of nonsensical instructions to the watch; essentially gives the men permission to sleep through their shift, but advises that they make sure they aren’t robbed while they’re dozing. More of Dogberry’s ridiculous instructions include: drunken men should be reprimanded, unless they’re too drunk, in which case they should be left alone to sober up. The men on watch should wake up nurses (nannies) whose babies are crying. If the nurses do not wake up at the watch’s calls, the babies’ cries are sure to wake their nurses up eventually. Dogberry goes on in this vein, with Verges throwing in some supportive comments. Whenever they open their mouths, the two men generally reveal that Messina is very lucky to be a quiet town, as their watch is completely incompetent to handle any real crime or disturbance.
Before Dogberry leaves, he tells the men on watch to carefully observe Leonato’s door [yet more coincidence by Shakespeare, considering he wouldn't have the logic to assume a wedding attracts trouble]. Lastly, he tells them to "Be vigitant!" (mistaking the word vigilant?).
The watch’s plan to settle into a peaceful sleep is interrupted by the entrance of Borachio and Conrade, Don John’s two partners-in-crime. Borachio and Conrade haven’t noticed the watchmen, though the watch has noticed them- the act of spectating is key in this play. Borachio updates Conrade on the night’s events, sparing no little detail, and announcing that he’s earned his 1000 ducats from Don John. Conrade wonders how Borachio’s villainous assistance could come with such a high price tag- Borachio points out that when a rich villain needs a poor villain’s help, the poor villain can name any price. Borachio describes how his plan went off without a hitch: Margaret leaned out of Hero’s window and bid him a thousand goodnights (it is safe to presume that more went on before they said goodbye, otherwise Hero's purity would not be in question). Anyway, Borachio replied to Margaret’s goodnights, but he called her "Hero." Why Margaret did not retaliate at this point? It could be a matter of loyalty, as of which it brings out that maybe women were used to being undermined and cheated on with the promiscuity of men.
Meanwhile, Don John was stationed with Don Pedro and Claudio in an orchard, close enough to hear what was going on, but not close enough to see that the woman was Margaret, not Hero. Borachio confirms that Don Pedro and Claudio were fully convinced of Hero’s disloyalty, and didn’t suspect that the scene was a villainous plot masterminded by Don John. Borachio makes the insightful point that the scheme had many layers, like an onion, or a layer cake.Claudio became enraged after "witnessing" Hero’s disloyalty, and he vowed to reveal Hero’s love affair in front the whole congregation tomorrow at their would-be-wedding. He’s determined to send her home without a husband (or her dignity!).
The watchmen, who have been listening this whole time, finally step out and seize Borachio and Conrade, calling them out for lechery (they really mean treachery?), and that they will 'obey them' (oblige them). This shows the stock characters of the play have a heavy case of Spoonerisms.
More of Hero's character is revealed as she gets ready for her wedding and calls Beatrice and Margaret fools. Margaret has no sense of shame or embarrassment as she makes innuendos about the wedding night -her crude and otherwise considered vulgar humour could be proof of how she isn't assumed to be a virgin -and perhaps, likewise with Beatrice. It would explain the dress code and social-ability Beatrice has with ''the common people'', as expressed in the Grand Theatre production. Further evidence as to how Beatrice may not be a virgin (and perhaps why Hero thinks she is better than Beatrice) is as Margaret and her joke about her ''stuffed nose''
*stuffed was a euphemism for pregnancy
*qualm could represent nausea, associated with pregnancy
*benedictus means ''Blessed'' and could further show the word play that Benedict was the father of (and cure to) Beatrice's presumed pregnancy
At the wedding, Claudio denies to marry Hero even after Friar tries to assure him. Hero faints
and is left for dead, except by Beatrice who tries to defend her. Benedick also stays behind (probably for the sake of Beatrice), and it is at the end of 4;1 when Beatrice puts an ultimatum on Benedick: either he kills Claudio, or they will no longer speak. This shows that women have some form of power (as they do in Macbeth for instance, by the art of manipulation and persuasion) over men, as Benedick decides to do it.
Setting changes to a prison cell, and it is in this dark setting that the truth of Dogberry is shown:
''...and a rich fellow enough, go to, and a fellow that hath had losses..''
This leaves the thought that every character has a past that is not shown on stage. Perhaps it was Shakespeare's way of leaving an audience to realise that there really is more going on in people's lives than from what is witnessed - as the whole plot of the play is.
Much Ado About Nothing- Reader's Journals (Act I, II)
Act I introduces to us all the characters* of the play, the comedic aspects to be expected, as well as the general plot of the play.
*Innogen, Leonato's wife is present but has no part in the play here after. Don Peter of Arragon is also called Don Pedro hereafter.
Men have returned to Messina from some battle or other; a man of particular honour named Claudio is with them, and Beatrice asks for Benedick -referring to him as Signior Mountanto. The comedy has begun, as this nickname has two meanings:
1. master of fencing
2. master of thrusting (Italian for copulation between animals.) This is an essential innuendo as later in the play, the symbolism of a bull is greatly explored, and we consider the past between Benedick and Beatrice.
Beatrice begins to talk about Benedick in quite an insulting way, thus making a dramatic contrast between herself and the 'reserved' Hero.
BENEDICK: were you in doubt, sir, that you asked her?
LEONATO: Signior Benedick, no, for then were you a child
This is referring to Hero being Leonato's daughter- the suggestion that Benedick is the father as he is hereby classed as a womaniser. This arises a debate between Benedick and Beatrice. Claudio confesses his love for Hero, much to Benedick's disappointment as he continues defending that he will never settle down. Nevertheless, intentions of marriage are mentioned.
Act I, scene I is in prose, until Claudio and Don Pedro start to talk about deeper emotions of love at the end, when it changes to poem style. Scene ii is very brief, regarding Antonio and his gossip about one of his men overhearing Don Pedro and Claudio talking in the enclosed garden area. Antonio reports that his man heard Don Pedro declare his love for Hero, and his intention to reveal his love for Hero that night. If Hero accepts Don Pedro’s love, then Don Pedro will tell Leonato right away, so they can be married (information is distorted, as Don Pedro will be wooing on Claudio’s behalf.) Leonato decides he’ll spring this news on Hero, so she can be prepared to deliver an answer. #The theme of eavesdropping and gossip is introduced.
It can also be anticipated that Much Ado About Nothing is the play revolving around the idealism of ''love'': primarily between Hero and Claudio, as well as Benedick and Beatrice.
Scene iii is also brief, revolving around the mood of Conrade and Don John and how they plot to cause mischief.
Act II starts with the general talk of marriage. the masquerade ball, whereby people are paired off. No surprise as to how things fall into place, and the revelation of the affair between the servants. Don John spills poison into Claudio's ear about Don Pedro and Hero. Claudio believes, and mopes around. Beatrice teases that he looks civil as an orange (punning on the fact that oranges from Seville, which sounds like "civil," were rather bitter. Also, orange is close to yellow, and yellow was a colour associated with jealousy). This is the opening of how Claudio's character is likely to develop.
Scene ii centres around the ball, and the conversations that ensue amongst the characters. We learn that Beatrice is rather oblivious (as she does not know who she's talking to) and continuously finds a way to talk about Benedick.
The marriage between Claudio and Hero is back on track, after little persuasion. Further evidence that Hero allows anything be said about and/or to her, while Claudio is gullible -perhaps a form of humour, particular to how easily fooled people can be. Don John is displeased about everything, and continuously insists on the breaking of the relationship between Claudio and Hero.
Scene iii is a very jokey scene, revolving around the inequalities of men and women -how women should not be judgemental about the promiscuities of men (ironic, considering the tumult to follow was about a woman's promiscuity). There is also the jape pulled off on Benedick, when he is led to believe Beatrice is in love with him
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