Mla style research paper much ado about nothing

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Much Ado about Nothing

Outline

Textual Background.....................................................................................................................................2

Sources........................................................................................................................................................4

Plot..............................................................................................................................................................6

Word Study/Word Analysis.........................................................................................................................9

Works Cited...............................................................................................................................................12

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Textual Background

The modern text of the play Much Ado about Nothing disses Retrieved from the book

The Arden Shakespeare; Much Ado about Nothing, which was edited by Claire McEachern.

The book was first published in 2006 by the Arden Shakespeare, and edited in the same year by

Claire McEachern. The play itself is found in page 145 of this book. Currently, the book is over

100 years old, its earliest volume, was published in 1899 in the “first series, Edward Dowden’s

Hamlet” (McEachern, 2). After that, Arden Shakespeare ended up becoming internationally

recognized and much respected. Currently, the book is widely acknowledged as being the pre-

eminent Shakespeare series, which are highly valued by most students, current scholars, many

actors and actress, as well as those considered as being great readers. All these ids based on the

fact that, the book is readable and much reliable text. It is also considered so because of its full

annotation along withy its richly informative kind of introduction.

The quality and general character of the book’s predecessors has been maintained to

such and with the aim of preserving the commitment in the play presentation as its shaping has

been in its history. Though every individual volume is having its own emphasis, in terms of

unique possibilities along with problems that are posed by the play, just like Arden books

produced earlier on, this edition continue insisting on the highest scholarship standards along

with attractive and presentation that is accessible (Deborah, & Michael, 67).

The texts in this book are presented in a form that is fully modernized as compared to

original quarto folio editions. “It has textual apparatus that records all substantial divergences

from those early printings” (McEachern, 2). The notes as well as the introductions, mostly

concentrates on situations and probabilities of meaning, that both editors, critics, as well as

actors either on stage or screens have ended up discovering in the play. In the process of

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coming up with a very rich history of both scholarly and theoretical practices that have ended

shaping our comprehension of the texts that were played by Shakespeare, this third edition of

Arden Shakespeare, has made it necessary and far much possible by new by the current

generation’s encounter Shakespeare. This kind of engagement is through plays as well as their

complex relations with culture in which they were produced and still being produced.

In this source, in every page of the play, readers are provided with a passage of text,

which is then followed by a commentary, then lastly a textual note. The acts as well as scene

division have all been maintained in case of any reference. However, they have been given less

prominence as compared to the earlier produced series. On the other hand, Editorial indications

of places have been eliminated to pave way for textual notes or the so called commentaries.

Typographic conventions that were not familiar in the text itself were eliminated with

the aim of minimizing hindrances to these reading the book. The forms that were elided in the

former texts are spelt out in verse lines at any time they are showing a usual current modern

pronunciation that needs no special indicators, and at any time, they occur in prose. Marks of

elision are retained in verse speeches, where they occur to be significant guides to the scansion

as well as the pronunciation of the line. Final-ed in the past tense as well as participle kinds of

verbs, has been n=mostly printed as –ed with no ascent, not as –d. however, at anytime that the

pronunciation does not move in line with the modern use, attention to the fact, in the

commentaries is drawn by a note. On the other hand, in this book, in places that the fine ed is

provided with a certain syllabic value that appears to be contrary to the modern use, for

instance, “Doth Silvia know that I am banished (TGV 3.1.219)” (McEachern, 6) . The book

provides the note in the following way”219 Banished banished” (McEachern, 6)

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On the other hand, the lineation of separated verse lines that are shared between two or

even more speakers conventions, the book recognizes them and even a time rearranges them.

The exception is only for the familiar exit along with Exeunt, forms in stage directions that are

in Latin, as well as speech prefixes, have been translated into English in this book, while

maintaining Latin kinds in textual notes.

The notes outlined in commentary, are mainly sourced from Oxford English Dictionary.

They also include English discussions of theoretical interpretation, as well as relevant cases.

The editor did not offer the definition of these words that were defined in the previous editions,

however, in any case of doubting, they have included the notes. The book readers are enabled

to realizes where the edited text is not I line with earlier editions, is through the design of

textual notes. At any time this happens, notes record the rejected reading of former editions.

In the text, both commentaries and the introduction are designed in a manner that it

presents the play as a text for acting and make necessary stage references to stages, films, along

with TV versions. They also introduce 0readers to the range of critical approaches to the play.

The history of reception of the text in theaters as well as within scholars and beyond is also

discussed (Gerlach, et al, 145).

Sources

The normal definition of a source from Shakespeare, is just the work to which the plot

of the play is in somebody's debt. In the play Much Ado about Nothing, shows the coming

together of two couples. However amongst the two couples, only one ends up pairing, though

Hero and Claudio, are in possession of what in most cases taken as unadventurously a literary

source, in a sense of storyline that already exists elsewhere at the time when the play was being

composed. The traditional thought about this play is such that, the play is much debt to some

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source materials, which have been identified as Beatrice and Benedict materials as one source.

The other source has been identifies as b being the Watch. The two have been identified as

being the major origins of Shakespeare inventions]. The two have been grafted as being the

comic relief to the oft-told backbone storyline of the slandered woman together with her

deceived betrothed.

“This vision of the play’s relation to its sources locates the divergent natures of the two

different love plots in their respective origin: Hero and Claudio’s pairing, based on the pre-

existing narratives, represents ‘conventional’ romance” (McEachern, 22), on the other hand,

Beatrice and Benedict unprecedented plot, ends up representing something that can be

described as being not usual when considering both the style as well as substance, which can

end up being described as the whiz kid of Shakespeare, considering his comments on the

convention itself. This kind of discriminations appears along with a reminder that, the plot of

Hero-Claudio is the major plot, and the rest, regardless of its propensity of upstaging it, can just

be described as the mere subplot. On the other side of the page, it can be noticed that, other

than the apparent autonomy of both Beatrice as well as Benedict’s plot, that was derived from

the story of the slandered woman, the two plots in fact turns on most of the staged scenes as

well as on fabricated accounts of love “(of Don Pedro for Hero, Hero for Borachio, or

Benedict for Beatrice and she for him)” (Anthony, 35). Considering this situation, Benedict and

Beatrice also derives from materials that can be described as being calumny. Nonetheless, this

remains plot derived account indebtedness literary, now Shakespeare doubles the offering of

his source, “much as The Comedy of Errors Multiplies Plautus’ on set of twins” (Butler, 90), in

the process of multiplying the possibilities of comic.

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The notion that is plot centered of a certain source assists us in the process of getting far

with this play of Much Ado about Nothing. The tale that used to exist of the unjustly slandered

woman was in real since a very popular one during the times of Renaissance literature, as

indicated by Bullough (Smith, 100). The plot ended up appearing in lots and lots of genres

starting from disaster, romance, and circus to the homily genre. The plot at the same time also

served as a very powerful engine for several intercessions; on prove, on matters of love,

concerning the powers of the senses, looking at the rashness of the passions, along with the

madcap complications of marital intrigue. Another real concern in that same 16th century

courts, was the sexual slender, as depicted by Sharpe; Kaplan, culture. The most ancient story

of the analogue was the 15th century Greek Romance of Chariton, not forgetting Chaereas &

Kallirrhoe, Even though the more recent renditions that lay behind what Shakespeare wrote.

Amongst these, there were around more than seventeen versions, inform of both narrative as

well as dramatic, in existence, at the time when Shakespeare was composing the play of Much

Ado about Nothing. By considering the “fifth Canto of Ludovico Arioto’s ‘Orlando Furioso’”

(Calandra, 46), was maybe the most well-known condition. In itself, it was rooted probably on

the 15th century Spanish Tirant lo Blanco, which was authored by Martorell Juan.

Plot

The play by the name Much about Nothing is just a comedy written by William

Shakespeare about the two love pairs, namely; Benedict and Beatrice, along with Claudio and

Hero. Both Beatrice and Benedict are always engaged in a merry war, the two talks a mile a

minute and make a proclamation of their love scone, while in contrast, Claudio and Hero are

youngsters rendered speechless due to their love for each other.

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The play starts at a place by the name Messina, as a messenger delivers news that a

Spanish prince by the name Don Pedro from a place named Aragon, together with his officers

named, Claudio and Benedict, have all returned from successfully from a battle. The governor

of Messina by the name Leonato ends up welcoming the messenger and made an

announcement that both Don Pedro and his people will have to stay for about a month.

Leonato’s niece by the name Beatrice then asks the messenger about Benedict, while making

sarcastic remarks concerning his incompetence as an army. Leonato expounded that “There is a

kind of merry war betwixt Seignior Benedict and her” (Cook, 200).

The long time adversaries Beatrice and Benedict continued with their argument, as

Claudio’s feeling for Hero who happened to be Leonato’s only daughter , rekindle after seeing

her, as a result, Claudio announces his intention to Benedict of dating her. Benedict tried to

dissuade him with no success in the face of Don’s encouragements. Benedicts claims that, he

intents not to get married, while Don just laughs at him, tries to tell him that he will do so when

he gets the right partner. In the celebration of allowing Pedro Woo Hero on behalf of Claudio, a

masquerade ball is planned. However, John, takes advantage of the situation to revenge against

his own brother Pedro by telling Claudio that, Pedro was woo Hero just for himself. As a result,

Claudio gets furious to the point of confronting Pedro. However, the misunderstanding didn’t

last long, after which Claudio wins Hero by asking a hand in marriage (Stephanie, 123).

Both Pedro and his men, fed up with view of waiting marriage week, they ends up

harboring a plan to match make between Benedict and Beatrice. Pedro being their leader,

proclaimed Beatrice’s love for Benedict, in real sense knowing that it was just eavesdrop on

their conversation. On the other hand, women Hero being their leader did similar thing to

Beatrice. They were struck by the fact that, the two were very proud in loving each other,

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however, neither of them was willing to put up with reputation of bride. Everyone decided to

requite the love of one another.

At that time, John, who can be described as being Bustard, was just a grouch, as he was

always planning to ensure that he have ruined the wedding between Claudio and Hero, he

continued casting aspersions upon the traits of Hero. His follower Borachio ends up courting

Margaret, Hero’s chambermaid calling her ‘Hero’ at Hero’s open bedroom window while

Pedro and Claudio are lead by John to spy bellow. The latter mistaking Margaret for Hero ends

up being convinced of the infidelity of Hero.

The following, which was the wedding day, Claudio ends up refusing to marry Hero,

together with Pedro, Claudio ends up humiliating Hero in Public, in front of a stunned

congregation , and Margaret who was in the attendance of that wedding, ends up not defending

Hero over the claims. The two left, leaving the congregation in shock. Hero, who had fainted,

“revives over Pedro and Claudio leave only to be reprimanded by her father” (John, 76). The

Friar who was presiding ended up interrupting, believing that Hero was innocent. He ends up

telling the family to fake that Hero was dead, with the reason of obtaining the truth as well as

Claudio’s repentance. Prompted by the harrowing events of the day, Benedict and Beatrice

ends up confessing their love to each other; then Beatrice asks Benedict that, as prove of her

devotion, he has to kill Claudio. This is based on the fact that, he had slandered her kinswoman.

As a result, Benedict ended up being horrified and denied the request. After some time, he ends

up braking with Claudio, and challenges him for insulting Hero.

Both Leronato and Antonio, who was Hero’s uncle, subsequently blamed Claudio for

the death of Hero, and both challenges Claudio for a contest. Benedict, who was prompted by

Beatrice, does a similar thing. Luckily enough, on the day of Don John’s deceitfulness, the

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local Watch has apprehended Borachio along with his ally comrade. Regardless of the Comic

ineptness by the Watch, (which was headed by constable Dogberry, who was a master of

malapropisms), they had heard the due discussion of their evil plans. They were arrested and

eventually obtained the villains profession, informing Leonato about the innocence of Hero.

Though John Don had fled the city, a force was sent to arrest him.

Though Claudio maintained that he had an honest mistake, was a repentant; he ends up

agreeing that apart from posting a suitable epitaph for Hero, but also marry a substitute, one of

the cousin to Hero, not Beatrice in her place (Kathryn, 89).

During the second wedding of Claudio, as dancers enter, the so called “cousin” is

unmasked as Hero, which becomes a surprise and gratuity to Claudio. Another impromptu

dance is announced. Prompted by their friends’, both Benedict and Beatrice, at last confesses

their love towards each other to the group at large. As the plays draws to a close, a messenger

arrives with news of John Don’s arrest; however, his punishment was postponed till the day

after to ensure that the couples were enjoying their newly found happiness (Phillipa, 47).

Word Study/Word Analysis

By the use of word search process I traced the use of the word wit in the play,

and I found that, the word wit has bee used in the twenty five times. Among the characters that

mostly used the word include Don Pedro, Benedick and Beatrice, all of them using the word six

times. The individual to whom the word is mostly directed to was Claudio. For instance, when

Pedro was talking to Claudio he said, “What a pretty thing man is when he goes in his, doublet

and hose and leaves off his wit!” (LoMonico, 5) Also Benedick told Claudio that, “I'll tell thee

what, prince; a college of wit-crackers cannot flout me out of my humor” (LoMonico, 5).

There are some instances where the variants (cognates, different parts of speech, antonyms,

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synonyms, or word combinations) of the word are used. For instance, Leonato used the term

wit when meaning having any brain about you in line 317, “Hath the fellow any wit that told

you this” (Mueller, 26)?

The term wit is synonymous with the following words; humor, repartee, sarcasm and

irony. These nouns have been in application in different places to show the expression forms

that draw out the issue of amusement. However, going as per each noun definition, it will be

observed that, wit refers to the power of being much keen and perceiving as well as expressing

in a divert way from analogies between things that are dissimilar. On the other hand, humor

refers to the power of recognizing amusements or absurd. While on its side, the facilitation of

answering in a swift and clever manner is called Repartee. Sarcasm being a synonym of wit,

means ridiculing intentionally. Last but not least, irony is just a kind of expression in which [its

intended meaning emerges to be the opposite of the literal meaning of the words” (The Oxford

English Dictionary).

The word wit by the use of online Oxford English Dictionary from the GCU Library,

originated from the phrase denoting a faculty. According to this dictionary, this word means

“The seat of consciousness or thought; the mind: sometimes connotation one of its functions, as

memory or attention” (The Oxford English Dictionary). It can also be used to imply the point

of reasoning and thinking altogether. It has been used to reefers to the natural capability of

perceiving and understanding, which can be termed as intelligence. The term has also been

defined by others to mean the act of being capable to “perceive and express in an ingeniously

humorous manner the relationship between seemingly incongruous or disparate things” (The

Oxford English Dictionary).

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The most interesting fact that the majority have discovered about the word wit is just

that it is a card game, involving deep thinking to outwit the competitor. The word has been

used in different plays for instance Much Ado about Nothing, to show different themes, like

infidelity. Many individuals for instance seem to be much obsessed by the issue that, men have

no ways of knowing if their wives are faithful and as a result, women take full advantage of it.

There was a time when John Don plays upon Claudio’s pride and the fear of cuckoldry, which

ends up leading to disastrous first wedding. Due to their mistrust of women sexuality, many

men belied that Hero was impure, even her father was just about to condemn her with very little

evidence. This kind of motive runs throughout the play, mostly in reference to horns, which is

symbol cuckoldry.

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Works Cited

"Accord." Def. 5b. The Oxford English Dictionary. 2nd ed. 1989. Print.

Anthony, Dawson. "Much Ado about Signifying." Studies in English Literature (Rice) 22.2 (1982):

211-22. Academic Search Complete. Web. 23 Feb. 2011.

Butler, Colin. 7. Practical Shakespeare: The Plays in Practice and on the Page. Athens: Ohio

University Press, 2005. Web. 23 Feb. 2011.

Calandra, Denis. Much ado about nothing [electronic resource] : notes, including life of Shakespeare,

introduction to the play, brief synopsis of the play, list of characters, summaries and

commentaries, character. Anthens: Ohio University Press, 1984. Web. 23 Feb. 2011.

Cook, Carol. "The Sign and Semblance of Her Honor: Reading Gender Differences in Much Ado

About Nothing." JSTOR 101.2 (1986): 186-202. Web. 23 Feb. 2011. <http://www.jstor.org/pss/

Deborah, Cartmell, and Michael Scott. Talking Shakespeare: Shakespeare into the Millennium.

United Kingdom: Palgrave Macmillan, 2001. Web. 23 Feb. 2011.

Gerlach, Jeanne, Rudolph Almasy, and Rebecca Daniel. "Revisiting Shakespeare and Gender." The

Women in Literacy and Life Assembly 5 (1996): 10-12.

http://scholar.lib.vt.edu/ejournals/WILLA/. Web. 23 Feb. 2011.

John, Cox. Seeming Knowledge: Shakespeare and Skeptical Faith. Waco: Baylor University Press,

2007. Print.

Kathryn, Walls. "Shakespeare's MUCH ADO ABOUT NOTHING." Explicator 61.4 (2003): 200-02.

Academic Search Complete. Web. 23 Feb. 2011.

LoMonico, Mike. Shakespeare Book of Lists: "List, List, on List!" (Hamlet 1.5.22) the Ultimate

Guide to the Bard, His Plays & How They've Been Interpreted (& Misinterpreted) Through the

Ages. Pompton Plains: Career Press, Incorporated, 2001. Web. 17 Feb. 2011.

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McEachern, Claire., ed. The Arden Shakespeare; Much Ado about Nothing. 3rd ed. Walton-on-

Thames: Arden Shakespeare. 2006. Print.

Mueller, Martin. "4. Shakespeare's Sleeping Beauties: The sources of `Much Ado about Nothing.'"

Modern Philology 91.3 (1994): 288-312. Academic Search Complete. Web. 23 Feb. 2011.

Phillipa, Sheppard. "2. "Sigh no more ladies"-- the Song in Much Ado About Nothing:

Shakespeare." Literature Film Quarterly 33.2 (2005): 92-100. Academic Search Complete.

Web. 23 Feb. 2011.

Smith, Emma. The Cambridge Introduction to Shakespeare. United Kingdom: Cambridge University

Press, 2007. Academic Search Premier. Web.

Stephanie, Chamberlain. "1. Rotten Oranges and Other Spoiled Commodities: The Economics of

Shame in Much Ado about Nothing." Journal of the Wooden O Symposium 9 (2009): 1-10.

Academic Search Complete. Web. 23 Feb. 2011.

Mla style research paper much ado about nothing

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