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.

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?

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".

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.

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

Much Ado About Nothing -random notes

Character List:
Leonato: brother of Antonio, age old friend of Don Pedro and govenor of Messina, father of Hero, uncle to Beatrice

Antonio: brother of Leonato, father figure to Beatrice, uncle to Hero

Benedick: under Don Pedro, ramantic interest of Beatrice

Beatrice: adopted daughter of Antonio, cousin of Hero, niece of Antonio

Claudio: one of Don Pedro’s men, love interest of Hero

Hero: daughter of Leonato, cousin of Beatrice, love interest of Claudio

Don Pedro: Prince of Aragon, most powerful character in the play, brother of Don John, acts as cupid (Interestingly, Don Pedro makes half-advances on both Hero and Beatrice in the play)

Don John: "the bastard,": the illegitimate half-brother of Don Pedro, villain of the play

Margaret and Ursula: Hero's gentlewomen

Balthasar: an attendant on Don Pedro

Borachio and Conrad: Don John’s henchmen

Friar Francis: devises the plan to redeem Hero’s reputation

Dogberry: comic relief for majority of the scenes

Verges: Dogberry’s second in command

The Watch: they overhear Borachio and Conrad and discover Don John’s plot

The Sexton: leads the trial against Borachio and Conrad
　
　 Much Ado About Nothing is a comedic play written in the late 16th Century by William Shakespear. It is set in Messina, a port on the island of Sicily (a place near Italy). The act of the play takes place on the estate of Leonato.
Based on the title alone, it shows the elements of comedy that are to be expected in the play. Taken literally, the title implies that a great fuss ("much ado") is made of something which is insignificant ("nothing''). The word play and deeper meaning can be translated further: Nothing was a homophone in Shakespearian times for 'noting', which had/has many meanings. Firstly, it could have been the noticing of something [observing] and one example is given in the conversation between Claudio and Benedick, in which he confesses his love for Hero:
Claudio: Benedick, didst thou note the daughter of Signor Leonato?
Benedick: I noted her not, but I looked on her.
Also, Friar explaining as to how he has managed to live so long:
Friar: ... For I have only been silent so long
And given way unto this course of fortune
By noting of the lady. It is with this quote that it is to be explained that Nothing is a double entendre. ''An O-thing" (or a "n othing" or a "no thing"), was slang between 1550's to the early 1600's for a woman's 'vagina'.
The other possible meanings of the word 'noting' is brought out in the triple play on words in which noting signifies noticing, musical notes and nothing:
Don Pedro: Nay pray thee, come;
Or if thou wilt hold longer argument,
Do it in notes.
Balthasar: Note this before my notes:
There’s not a note of mine that’s worth the noting.
Don Pedro: Why, these are very crotchets that he speaks –
Note notes, forsooth, and nothing! *Don Pedro’s complex last line may be interpreted as, "Pay attention to your music and nothing else!" :a pun on "crotchets," referring to both musical notes and whimsical notions.
It is clear that the aspects of humour will arise from the manner of wits, and satirical/ironic elements combined with more serious annotations towards shame, honour, and the politics of the social circles.
This is brought to light moreso in the relativity of the title to various points through out the play : Noting also means rumour, gossip, and general eavesdropping/overhearing. Concluding on the above, Much Ado About Nothing can be the turbulent love story about two couples:
Hero and Claudio: a young couple who are left speechless infront of the other (perhaps for their mutual love). Claudio so far seems to be easily manipulated as he is fairly gullable -he believes whichever rumour may so much as pass him. Hero contributes to the play, but only as a shy girl that adds meat to the story and further delivers the pun as to have nothing but ''nothing'' between her legs.
Benedick and Beatrice: the couple of more attention, who both contribute in a ''merry war'' with each other -a complete dramatic contrast to Hero and Claudio. They banter on about how they will never fall in love -as of which it can be noted that Beatrice appears to be this way because of a deeper unexplained happening (quote ? ). This makes her out as sad and hurt from a past experience; and from what we can tell so far, it may have to do with the fact that she has no mother. Beatrice’s witty explanation for why she must remain an unmarried woman is that there is no man who would be a perfect match for her. Those who have no facial hair are not manly enough to satisfy her desires, yet those who do possess beards are not youthful enough for her. This paradoxial sentiment is not restricted to Beatrice as it was very common in Renaissance literature and culture: young men on the brink of maturity were the ultimate objects of sexual desire. This is exemplified that even though Beatrice jokes that she would dress up a young man as a woman, the actor playing Beatrice at the time the play was written would have been doing exactly that, since all female roles were played by prepubescent boys until the late 17th century.
Benedick on the other hand simply seems to proclaim his disdain of love because he has not yet found someone to marry- this can be proven in that he needs no persuasion into believing that Beatrice may like him, and further fooling himself (the scene in the courtyard when he 'accidentally overhears' Leonato, Claudio and Don Pedro talking about Beatrice confessing her love for him)
Claudio: Now you talk of a sheet of paper, I remember a pretty jest your daughter told us of.
Leonato: O, when she had writ it and was reading it over, she found Benedick and Beatrice between the sheet? in which Leonato makes a sexual innuendo, of Beatrice writting her love on a sheet of paper, as leading to her and Benedick towards an implied bedsheet.
Based on the above, and further incidences in the play, it is apparent that the centre of all reasoning revolves around heresay and competition of mind games.
     

The Great Gatsby: Chapter 9 (Reader's Journal)

The novel comes to an end, with the final chapter being the denouement and epilogue of the funeral of Gatsby. It's with Nick's narrations that the novel can then be viewed as an extended and elaborate eulogy, to the loss of a friend and perhaps of a dream. Majority of the pity that surrounds the chapter is in the form of information and communication. that is to say, telegrams, letters, phone conversations and notes. Most of the language used in these said styles are quite 'uneducated' (especially Gatsby's list).

The setting is based around Nick's view from his house, looking out onto Gatsby's premises, and the processions of the funeral. It also vaguely expands regarding 'town' when Nick goes to visit Wolfsheim (day of the funeral) and meets Tom (later, after the funeral). Both events are distressing to Nick, as the narratives displayed are in the form of conversation, revealing more of the characters, and incentives past the events than what we know revolving around Gatsby and Myrtle's deaths.

The language of Chapter one is only explained in this ending chapter (regarding the imagery of the green light), as Nick realises the allegory and true meaning of what Gatsby represented. The entire chapter occurs in order of events, and his epiphany is explained accordingly -it's as if Fitzgerald intended the reader to come to the realisation alongside Nick, at the same pace of mentality and thinking.

The Great Gatsby: Chapter 8 (Reader's Journal)

Gatsby reveals the story of his past, explaining the change of time and Daisy, and how they are actually acquainted.Nick feels uneasy, preoccupied with the past day's adventures. Phone calls prove a valid method of narrative explanations throught the novel, and symbolise a more psychological importance than previous chapters. Jordan phones, but Nick cuts her off and phones Gatsby. Unable to reach him, decides to head home early. The narrative again shifts time and focus, as Fitzgerald goes back in time, to the previous evening, in the valley of ashes. George Wilson is irrational and depressed over the loss of Myrtle, and leaves at the first chance he gets when Michaelis leaves him. The day with two time lines finally synchronise to catch up to a simultaneous point: the climax of the novel. This is the point when the 'Great Gatsby' is shot by Wilson.

The style of writing is very captivating as it relates two time lines, rather than one continous drone story line. The language used to describe the metaphores and hyperbole of the end of an era marked by Gatsby's death is punctual and undertoned. The theme left with this chapter is the death of hope; the definitive end of every dream and belief that governed Gatsby. This is exposed by Nick as he claims he was ''worth the whole damned bunch''.

The Great Gatsby: Chapter 7 (Reader's Journal)

Dialogue is the main form of narrative in this chapter. Narration alters between many characters in form of conversation, and even George Wilson takes part in the explanation of events. George's contribution however is rather grim, concerning the grotesque imagery of Myrtle's dead body. Further language and reference is expressed towards his delusions of Dr. Eckleberg. This in all gives a wider view on the occurances that have so far take place, and are yet to build to the climax of the novel. Discussion and debate show a lot more of the characters than we could have ever learned from Nick alone, particularly in the stand off between Gatsby and Tom over Daisy. The chapter ends with Tom and Daisy eating cold chicken and talking, with a sympathetic image of Gatsby looking in. This is when we also learn that it was Daisy who was driving the car, yet Gatsby was still willing to take the blame for her. The style in which the entire tragedy of the death and end of relationships henceforth is reported is very brief and detailed, further showing how Nick seems bashful of confrontation or emotional experience.

Corruption and deceit of morality is the main theme that can be extracted from this. The entire chapter is the time span of days on end, as the parties abruptly stop; surmounting to the eventual last day of conflict and resolutions. The setting therefore varies from Gatsby's house, to the garage in the Valley of Ashes, to the hotel. It's almost as if Fitzgerald is flashing a summary of the entire 'world' that the book revolves around, like the bow of actors at the end of a play.

The Great Gatsby: Chapter 6 (Reader's Journal)

Nick tells the story of events, although uncertain with approximate time lines and narrative gaps as to what happens between Gatsby and Daisy, claiming that he ''didn’t see him or hear’ from Gatsby for ‘several weeks’'. This implies that a lot of time was spent between the two, as well as the happenings of their lives was of no concern to Nick.

The narrative gaps are explored with the timeline of seasonal changes. The change of season also brings about a hint as to the severe change of events that will take place. The comparison of Summer, in which everything is bright and sunny, to Autumn, when leaves begin to die and fall away, is a large give away to the following chapters. It is also with a flashback to an Autumn years earlier that we are first given an off hand narrative by Gatsby. The intense passion he expresses for Daisy makes the reader realise the importance of the matter to him, and as to why the parties and their effect were such a priority to him.

Dialogue is a huge contribution to the style and language of the chapter. Colours are used in a synthenesiac way, indicating ideas about personality rather than mood as with previous chapters. It also appeals the general personality of Daisy and Gatsby, and the slow dawning on Daisy that they have drifted apart. All this happens in Gatsby's house, at his last party- irony as to the whole façade was to impress Daisy in the first place.

The Great Gatsby: Chapter 5 (Reader's Journal)

Unlike previously, the fifth chapter seems to be told as though Nick is joyed by the date between Daisy and Gatsby. It leaves a sense that Nick is a bit of a romantic although, it may considerably all have to do with that he is more relaxed about the encounter as he is comfortable in his own house.

The setting later leads to Gatsby's house as Daisy is given a tour. It is inside the house when music is brought into the equation - a joyous song of love and being oblivious, which is relative as there is a point where the couple do not even realise that Nick leaves.

The language of the chapter before hand is very timid and unsure, and oxymoronic in most phases. It highly increases the tension experienced by Gatsby, and the emotions he must be feeling about the momentous occasion. A theme thus is brought up: the idea of trying to catch up with lost time (exemplified as Gatsby catches a clock he dropped), and how much Gatsby has endured his love for Daisy (the fact he still finds the need to impress Daisy.

A style that is shown in the chapter is again the use of weather to describe the mood (rain with the unsettled behaviour of Gatsby, and the clearing of storm clouds as the couple are reunited).

The whole spread of this occasion however escalates quickly (as it will also end quickly later in the novel), within the time lapse of a single night.

The Great Gatsby: Chapter 4 (Reader's Journal)

Nick begins the chapter, and ends it, starting with a more serious introduction (as with Chapter 1), regarding the status of people. Jordan Baker is an alternative narrator in Chapter 4, as she explains in flashback the connection between Gatsby and Daisy. Gatsby also plays a means of narration by dialogue, as he tries to elude Nick about his past. Jordan's story however is more dependable as she has dates and a more realistic story compared to Gatsby. This is slightly odd, as Nick portrays Jordan as a liar thoroughly in the novel. This should leave doubt as to whether her story is true, but her confidence and certainty in narration leaves it dependable.

Nick continues to be portrayed as an outsider with the style of which he doesn't seem to bond with anyone. Further more, he is revealed as no more than a point of connection to Gatsby- a means of introducing Daisy and arranging a date for the two.

There are various places explored in Chapter 4, with a heavy use of pathetic fallacy to describe each setting: tension with hot weather, joy with sunlight, so on and so forth. This continues in later chapters, so perhaps it is Fitgerald's way of building up a sensation for the climax and denouement of the novel.

The language hence, is not as descriptive as it does not need to be for a 'build up'. The structure of time events is partially spaced, although understandable as each new narrator (Jordan and Gatsby) are eased into the story line.

The Great Gatsby: Chapter 3 (Reader's Journal)

Nick Carroway remains the narrator throughout Chapter 3. Despite the availability of alcohol (which is to be noted, was banned during the 20's), Nick does not get drunk and the leading events are told in linear order.

The setting is purely Gatsby's house and its architecture as according to Nick. It is noticed that the setting is told from the view of a person that evidently has not had the privileges of the grand estate, nor such a party. This brings a level of amazement; there would not be that factor having being described the story by a person that is used to these kinds of environments of wealth.

Language is very flamboyant and fluid in chapter 3. Descriptions revolve more around the overwhelming sights and the colours that reflect the mood of the party, rather than the descriptions of people as has been noticed in the previous chapters. The leading theme in this chapter therefore, is wealth and how easily it attracts people. It also gives a glimpse to how shallow and easily impressed the people of New York seem to be.

An important style of the chapter is the characters introduced and events that occur, all foreshadowing later chapters: such as the car crash that occurs by Gatsby's estate, and 'Owl Eyes' presence.

The Great Gatsby: Chapter 2 (Reader's Journal)

Chapter 2 is told from Nick's point of view. The pattern of the chapter remains chronological, although erratic due to the influence of alcohol. He is therefore not a reliable source of events as he self-admittedly becomes drunk. This is valid information for the reader as time of particular occurrences rapidly jump amongst each other. In this sense, it's as if the story itself is confused -a personal ailment reflecting Nick's mood. More so, the confusion is proven with the pandemonium that breaks out when Tom breaks Myrtle's nose and Nick scrambles to get home thereafter.

The language used in chapter two is still descriptive entirely towards the appearance of the people, as with chapter 1. Nick describes the company of the apartment, and the language and manner in which he brings these people out creates the slight image of prejudice from Nick regarding the demeanour of ''people who are less fortunate''. Based on common human experience, the reader is also left to feel like there is complete truth behind Nick's words as there is ''truth in wine''.

The entire attribute of contrasting settings is placed in Chapter two, as of which the most important one is the ‘Valley of Ashes'. The apartment in which Tom has his affair with Myrtle in New York is also described, but purely to describe the mentality and appreciation values of 'less rich' people. This is based on the description of the choice of furniture by Myrtle, who comes from the Valley of Ashes- a poor area that seems to be unrealistically invalid of existence, other than it remains a dumping ground. As revealed later in the novel, the description of the Valley of Ashes is fairly parallel to the fate of the characters.

The Great Gatsby: Chapter 1 (Reader's Journal)

The novel begins with Nick Carraway, the protagonist, narrating the story. We know immediately that the story has already taken place and that Nick is recalling the events in chronological order, recounting them by way of related memories.

Nick comes from a middle class family that values high morality and social justice. He is an educated man that has moved to the East to seek his fortune. Nick settles in West Egg, rather than East Egg and although both Eggs have grand houses, East Egg is home to ‘’old money’’; families that have lived for generations within comfortable means. West Egg on the other hand, was home to ‘’new money’’; people whose wealth was recently earned, as well as to working class people such as Nick. The two Eggs are separated by a lake.

The main centre of Chapter one is when Nick visits the East Egg to see his cousin and her husband, Daisy and Tom. Tom is an overwhelming figure, and is clothed in riding gear: a sport commonly associated with wealth and dominance. Clearly from Nick’s descriptions, Tom is not a sensitive or gentle man. Instead, he is powerful and harsh, not caring about society or etiquette. He has function and privilege, and that is how he wants it to remain. The notion is amplified at the dinner table, when he cuts his wife short numerous times. Furthermore, when he chooses to discuss politics, he unravels he is both judgemental and demeaning of people based on race and their class.

Daisy and Jordan Baker, are placed in a setting that resembles a dream. This underlines their incapability to deal with reality. Both young women are dressed entirely in white (suggesting purity, or ignorance perhaps), and are overrun by the vast emptiness of the room in which they are sitting (suggesting a lack of something such as certain intellect). As the chapter continues and they start to talk, the superficial behaviour becomes even more pronounced. Daisy seems she does not care about anything in the real world, by fulfilling her own whims. Jordan furthers the sense of worn-out mundane hanging over East Egg: her boredom (constant yawning), cynical remarks and dishonesty are immensely mismatched with her wealth and beauty. It is vaguely relative to the Buchanans’ marriage that Jordan’s outer glamour covers up an inner void: The marriage of Tom and Daisy Buchanan seems haunted by a silent plead for more to life, than what its attractive appearances care to tell.

Lack of vigour and/or a ‘zest’ for life can also be found towards the end of the chapter, when both Daisy and Tom try to force a rumour of marriage, and a liking to Jordan, onto Nick. This occurs shortly after Nick gains word of Tom’s affair.

The evening therefore ends with Nick in discomfort and disgust, particularly of what has become of his cousin. It also concludes with him observing his neighbour, Gatsby, who walks to the edge of the lake and stretches out his hands towards a green light. This mysterious act is what prevents Nick from introducing himself to Gatsby.

WHEN I WOKE UP THE KNIFE WAS STILL THERE

The above title is a single liner; other wise known as a short story. In itself, it lacks a lot: including punctuation, and the single fact that it cuts short of the entire list required for anything to be considered a story at all.

However, it is its gripping ability to make the reader create a story of their own that makes this an ''interesting read''. The key words of this story are 'knife' and 'still', which automatically have a chilling sense to them. Of course, this is a personal assumption and an interpretation of how it has come across to me. The number of possibilities for each story fathomed out of the creativity of one's mind to fill the narrative gap, is endless.

In conclusion, it somewhat shows that every story is not entirely up to the author. A good story is up to both the reader's ability to make a vivid and meaningful interpretation and assumption of the plot, as well as the author's ability to captivate said reader. Therefore, every story in its own sense has a balance between the writer and the audience. The pleasure of any story is purely up to the people involved, and I, myself, enjoy the above story. Simply because of its endless possibilities as to how it began and how it will end.