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Much Ado About Nothing Report

Much Ado About Nothing Report

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Published by Adam Steinberger
Much Ado About Nothing Report
Much Ado About Nothing Report

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Published by: Adam Steinberger on Sep 27, 2010
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12/01/2012

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Adam Steinberger March 1, 2007Literary Classics Honors
 Much Ado About Nothing
Final ExamAs a dozen solemnly dressed figures stand gazing up imploringly at the weepingheavens, dark ominous clouds contorting in angry cries, a gently moving chord descendsand the music begins to unfold in beautiful succession. Harmonies line up, one rollingsweetly into another, as if God Himself had made it so. At such times, a requiem is allone needs to sink into the deepest realms of repentance
 — 
and beauty. And so must classicliterature capture mind, body, and spirit in ways that pry at our hearts with eloquence andharmony. William Shakespeare wrote many pieces of great classic literature, includingthe romantic comedy
 Much Ado About Nothing
. Though much more than just a comedy,the play centers around two couples and their relationships with each other. One couple,Beatrice and Benedick, are both convinced at the beginning of the play that marriage istoo risky for them. So,
Benedick’s
friends Don Pedro and Claudio, along with
Beatrice’s
cousin Hero and acquaintance Ursula, work together to have them elope. Yet anothercouple, Claudio and Hero, fall in love at first site. A nasty group of trouble-makerscleverly shatter this relationship. In any case, Beatrice and Bene
dick’s relationship is the
more troubled of the two throughout the entirety of the play, which Faulkner believesexpresses
―the problems of the human heart in conflict with itself‖
 
 – 
a truly classiccharacteristic.According to Willi
am Faulkner, ―the basest of all things is to be afraid…‖ The
strongest element preventing Benedick and Beatrice from openly expressing their lovefor each other is fear. Both are highly independent people, and both fear that the other
 
will be unfaithful. Their feelings show themselves
in the form of witty puns and ―a kindof merry war…‖ (1
.1.58). As the story progresses, their words become increasinglyvenomous. In Act 2 Scene 1, Benedick 
exclaims, ―She [Beatrice] speaks
poniards, andevery word stabs,
(line 237). But their words are but a mask (motif) concealing theinsecurity each holds inside. The paradox of simultaneous love and fear shows that thetwo are concerned for their own welfare in addition to that of the other. How Benedick and Beatrice reconcile their conflicted selves illustrates a classic theme by nature.Likewise, characters of classic literature commonly risk themselves to find truthwithin and without. In this way, Beatrice and Benedick find each other, and their trueemotions. Yet such a feat requires some outside influence. Together with Don Pedro, asmall group of tricksters successfully dupe both Beatrice and Benedick into believing theother feels compassion for them. Ironically, the tricks turn out to be true, just spread outamong
―white‖ lies.
In Act 2 Scene 3
, Benedick reasons that Beatrice’s love must be true,expressively crying out, ―Love me? Why, it must be requited… for I will be horribly inlove with her,‖ (lines 220
-221, 230-231). Beatrice reacts in much the same way.Moreover, the stubborn individual finds internal equilibrium by choosing to cool her hot-headed emotions down.
―And Benedick, love on; I will requite thee, taming my wildheart to thy loving hand,‖ (3.1.111
-112). But, almost as quickly as one problem isresolved, a new one arises.
 Not too long after the bachelors are in love, Hero’s marriage to Claudio is
utterlydestroyed along with her overall integrity, with Don Pedro and Claudio to blame. DonPedro and Claudio believe they have seen Hero seducing another man, and publiclydisgrace the innocent young woman in front of the entire community at their wedding

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