1. Much Ado About Nothing William Shakespeare

2. I. Language - Historians often research this aspect of plays first in order to date the plays.

3. During Elizabethan times, there were no copyright laws. Thus, Shakespeare’s plays are often not dated.

4. A. Modern English This period of development within the English language begin in 1580 and continues until present day

5. Very little changes made between the Shakespeare's English and with our own Ex. Thee = The, Thou = you

6. B. Style Iambic Pentameter - Stress, unstressed unit that repeats 5 times within a line This is used less than 1/3 of the time in the play

7. Blank Verse - Unrhymed, iambic verse Rhyme - found only in couplets

8. Shakespeare threw rhyming and iambic verse to the wind This gave him freedom, power, and flexibility in his writing

9. The move to a less constraining format indexes Shakespeare’s growth from dramatist to master of expression

10. C. Allusions 1. Classical/ Biblical Main reference is to the character of Beatrice. This also helps to date the play.

11. II. Shakespeare’s Writing A. A collection of Shakespeare’s works were complied in a folio in 1623.

12. B. Borrow Stories In order to keep the audience interested and the theater popular, Shakespeare often borrowed his ideas from other playwrights.

13. The audience might have already known the story, but Shakespeare give it his own twist.

14. 1. Bandello This was an Italian poet/storyteller who printed a version in 1554. The names and the plot are similar to Shakespeare's.

15. 2. Belleforest This was a French storyteller who also produced a version in 1582 that was very similar to Bandello.

16. However, since there were no copyright laws in Shakespeare’s time, borrowing a plot idea from one playwright to another was acceptable. He was able to shed new light on the treatment of the characters and the incidents.

17. In addition, the two previous versions were considered to be “lost plays”. This means that they were destroyed and the only reference to them is in other manuscripts.

18. C. Imagery Motifs - imaginative pictures created by repetitive references

19. 1. Setting - Create a Italian country life - Swift movement with dancing and music

20. 2. Stage directions -Within the dialogue -Language - Lyrical ballads = background sound

21. 3. Levels of meaning -With word choice especially when Beatrice and Benedict give their lines -Highly insightful, yet can quickly be missed

22. D. Types 1. Comedy - No ones dies, all the lovers marry and are happy 2. Tragedy - 1 man brought down by his tragic flaw

23. 3. History - Reference to historical place or event 4. Romance - Music, Magic, Masque

24. III. “Much Ado” Success This version was published in 1598. First of three comedies at the height of his career.

25. During this period, Shakespeare’s female characters are portrayed as strong figures who “save the day” yet are submissive in some other fashion. Ex. Viola in “12th Night” or Rosalind in “As You Like It”

26. A. Three Plots Hero/Claudio Beatrice / Benedict Dogberry

27. 1. Hero and Claudio Oldest story : Boy likes Girl, Girl likes boy, Boy betrays Girl, Girl goes into despair, Boy changes mind, Boy and Girl together again

28. Hero’s name is ironic considering she is the heroine that is fair, virtuous, and meek. Claudio is shallow and falls instantly in love. Yet, he is quick tempered which leads him to be careless with his love. No great prize.

29. 2. Beatrice and Benedict Love/Hate relationship Beatrice’s name means “she who makes happy”. She is witty, high spirited, and an independent woman.

30. Benedict’s name means “blessed”. He enjoys being a part of the “merry war” with Beatrice. Often he is reluctant and cynical.

31. 3. Dogberry Town watchman. Shakespeare’s most famous character for his humor. Incompetent, bumbling, slow, and foolish. Yet, he is the fool that saves the day.

32. IV. Problems There are many discrepancies throughout the play. Therefore, the audience needs to have a certain amount of fate that things just “worked out” automatically.

33. A. Lack of development for the character of Margaret B. Lack of motivation presented for the villain, Don John C. Does not follow the traditional unfolding of a comedy (happy, despair, happy)

34. V. Fame Constantly performed in contemporary America (traditional to unconventional) Relationship between Beatrice and Benedict

35. VI. Title (Pun) “Much Ado about Nothing” In Elizabethan times, “nothing” and “noting” were pronounced in a similar tone

36. “Noting” = to notice, to watch others around you