Dogberry in "Much Ado About Nothing" Dogberry raises the art of using words in extravagant ways to the height of absurdity. He is proud of his ability to read and write but does not seem to notice how ridiculously he uses language. He speaks plainly enough when speaking to social equals, his fellow watchmen, although his advice is absurd. In Act III Scene iii, he explains how to handle suspicious individuals while on duty. On encountering a thief, he says,
In "Much Ado About Nothing," Shakespeare presents a kind of drawing-room comedy, where people's efforts to demonstrate the social graces of the day create all sorts of problems. Beatrice has a sharp tongue but gets away with it because her words are formed in the style of the day. Her cousin Hero, however, is greatly harmed by other people's talk, with her character badly maligned. The story really is much ado about nothing, because the events never would have happened if people had kept true civility behind their words. This misuse of words is emphasized in the play in the character of Dogberry.
Since the play is a demonstration of social norms, including those regarding manner of speaking, gone awry, Dogberry plays an important role. Dogberry's name gives the viewer a clue about his ...
"If you meet a thief, you may suspect him, by virtue of your office, to be no true man; and, for such kind of men, the less you meddle or make with them, why, the more is for your honesty...The most peaceable way for you, if you do take a thief, is, to let him show himself what he is and steal out of your company."
While the advice is absurd, it is witty and to the point.
Dogberry's use of…
Dogberry raises the art of using words in extravagant ways to the height of absurdity. He is proud of his ability to read and write but does not seem to notice how ridiculously he uses language. He speaks plainly enough when speaking to social equals, his fellow watchmen, although his advice is absurd. In Act III Scene iii, he explains how to handle suspicious individuals while on duty. On encountering a thief, he says,
I.16-17) the line however clearly describes the general behavior of the characters in the play, that "dare do" all kinds of things that provoke fate, without knowing what they do. Don Pedro's wooing of Hero to help Claudio is also significant, as Claudio does not actually needs his help so the offering is superfluous. Even Friar Francis who pretends Hero is dead endangers the happiness of the two, in spite of
Gender Roles in Much Ado About Nothing and Trifles Today, gender roles have become far more flexible than as recently as 50 years ago. Women today can enter management positions, have focused careers, and expect salaries on the same level as those of men. Indeed, some women have proved themselves to be as competent, or more so, in leadership positions as men. At the same time, however, women are free to
Shakespeare's "Much Ado about Nothing" is a witty comedy. It subscribes to all the conventions of a Shakespeare comedy, being witty in language and plot. It also ends well for all who deserve it, and badly for all those who do not. In "Cressida and Troilus" however, both the plot and theme seem somewhat dark for a comedy. However, this play has been classified as one of Shakespeare's comedies.
Shakespeare's Much Ado About Nothing, Claudio demonstrates an immature attitude toward love and romance. Claudio's initial attraction to Hero is based mostly on physical attraction; he seems to be only slightly interested in her financial status and is not concerned with Benedick's criticism of Leonato's daughter. Unlike Beatrice and Benedick, Claudio and Hero never get to develop a relationship based on respect and friendship. The romance between Claudio and
Heroes occur -- within the conventions of Western drama and Western literature more generally -- within the context of tragedy, for it is the stresses of tragic situations that (typically) allow for heroism to arise. But we can -- especially if we use the lenses of gender and queer theory -- see that Shakespeare has written a comedic play that nevertheless allows for heroism to come through. At least
The rash, brash young soldier Claudio is betrothed to Hero, who adores him, but because of the male code of the military he has been raised to believe in, he tends to assume the worst of women rather than the best. On their wedding-day, he shames Hero unjustly, even though nothing in her manner indicates she has changed: "You seem to me as Dian in her orb, / as