1. Or How to read Shakespeare.
Much Ado about Nothing Or
How to read Shakespeare.

2. The Title Question
Even though the play was first performed in 1598, it is not mentioned in Palladis Tamia, by Frances Meres (1598):
. . . for Comedy, witness his Gentlemen of Verona, his Errors, his Love['s] Labours Lost, his Love Labours Won, his Midsummer Night's Dream, and his Merchant of Venice; for Tragedy his Richard the 2, Richard the 3, Henry the 4, King John, Titus Andronicus, and Romeo and Juliet.
Although there are reports of a quarto published, no copy with that title has survived.
Thus the RSC’s Director, Gregory Doran has chosen to perform Much Ado about Nothing as Love’s Labours Won: “So strong is my sense, that I am sticking my neck out to say that we have come to the conclusion that ‘Much Ado About Nothing’ may have also been known during Shakespeare’s lifetime as ‘Love’s Labour’s Won’. We know Shakespeare wrote a play under this name, and scholars have debated whether this is indeed a “lost” work, or an alternative title to an existing play, just as ‘What You Will’ is the alternative title to ‘Twelfth Night”’ This pairing, cross-cast and with a single director Christopher Luscombe, will test out this theory.”

3. Importance of Form
Critics describe Much Ado about Nothing as a largely prose comedy; prose not reserved only for low comedy or burlesque; instead poetry is the “marked form.” ( in Arden Edition)
BEATRICE
What should I do with him? Dress him in my apparel and make him my waiting-gentlewoman? He that hath a beard is more than a youth, and he that hath no beard is less than a man; and he that is more than a youth is not for me, and he that is less than a man, I am not for him: therefore, I will even take sixpence in earnest of the bear-ward, and lead his apes into hell.
LEONATO
Well, then, go you into hell?
No, but to the gate; and there will the devil meet me, like an old cuckold, with horns on his head, and say 'Get you to heaven, Beatrice, get you to heaven; here's no place for you maids:' so deliver I up my apes, and away to Saint Peter for the heavens; he shows me where the bachelors sit, and there live we as merry as the day is long.

4. Euphuistic Style
Euphuistic style based on John Lyly’s Euphues: An Anatomy of Wit (1578): “…a style characterized by techniques of amplification such as parallelism and antithesis, chiasmus, strings of rhetorical questions, structural symmetries and turns of logic, and full of internal poetic effects generated by alliteration, syllabic echoing, the repetition of verbal roots, rhyme, puns, phrases patterned on sound and syntax, and myriad rhetorical figures only to the connoisseur. Crowning these aural effects were displays of humanist learning: epigrams, aphorisms, proverbs, classical allusions and examples, fables, and information from natural and unnatural history” (68).

5. Example from Benedick
BENEDICK I do much wonder that one man, seeing how much another man is a fool when he dedicates his behaviors to love, will, after he hath laughed at such shallow follies in others, become the argument of his own scorn by failing in love: and such a man is Claudio. I have known when there was no music with him but the drum and the fife; and now had he rather hear the tabour and the pipe: I have known when he would have walked ten mile a-foot to see a good armour; and now will he lie ten nights awake, carving the fashion of a new doublet. He was wont to speak plain and to the purpose, like an honest man and a soldier; and now is he turned orthography; his words are a very fantastical banquet, just so many strange dishes. May I be so converted and see with these eyes? I cannot tell; I think not: I will not be sworn, but love may transform me to an oyster; but I'll take my oath on it, till he have made an oyster of me, he shall never make me such a fool. One woman is fair, yet I am well; another is wise, yet I am well; another virtuous, yet I am well; but till all graces be in one woman, one woman shall not come in my grace. Rich she shall be, that's certain; wise, or I'll none; virtuous, or I'll never cheapen her; fair, or I'll never look on her; mild, or come not near me; noble, or not I for an angel; of good discourse, an excellent musician, and her hair shall be of what colour it please God. Ha! the prince and Monsieur Love! I will hide me in the arbour.

6. What about the verse?
Verse marked to signal major structural moments or for moments of gravity :
BEATRICE What fire is in mine ears? Can this be true? Stand I condemn'd for pride and scorn so much? Contempt, farewell! and maiden pride, adieu! No glory lives behind the back of such. And, Benedick, love on; I will requite thee, Taming my wild heart to thy loving hand: If thou dost love, my kindness shall incite thee To bind our loves up in a holy band; For others say thou dost deserve, and I Believe it better than reportingly. ( )

7. BENEDICK Signor Leonato, let the friar advise you: And though you know my inwardness and love Is very much unto the prince and Claudio, Yet, by mine honour, I will deal in this As secretly and justly as your soul Should with your body. LEONATO Being that I flow in grief, The smallest twine may lead me.

8. “The Keystone Cops”
The night watch invert all the euphuistic style we see earlier; the corollary to euphuism is malapropism: DOGBERRY Dost thou not suspect my place? dost thou not suspect my years? O that he were here to write me down an ass! But, masters, remember that I am an ass; though it be not written down, yet forget not that I am an ass. No, thou villain, thou art full of piety, as shall be proved upon thee by good witness. I am a wise fellow, and, which is more, an officer, and, which is more, a householder, and, which is more, as pretty a piece of flesh as any is in Messina, and one that knows the law, go to; and a rich fellow enough, go to; and a fellow that hath had losses, and one that hath two gowns and every thing handsome about him. Bring him away. O that I had been writ down an ass!

9. Important Resources For You
Oxford Companion to Shakespeare:
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Oxford English Dictionary:
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