Misunderstanding-
First, Antonio and Ursula- Ursala recognizes Antonio by the Wagging
of his head " Antonio tries to hide this by telling her he "
counterfeits " him, to not success as Ursula realises he is he.
Beatrice deliberately pretends that she does not recognise Benedict to
allow her to be obviously rude to him- referencing him as
" dull" and a "jester" to which he appears aggrovated.
Claudio acts as Benedict towards Don John intentionally, however Don John
knows this and uses the misunderstanding to reveal he believes Don John is
courting Hero for himself. " i heard him swear his affection "
Claudio mistakenly believes this " it is certain the prince woo's
for himself "
he becomes bitter referencing his friendship with don pedro
"friendship is constant in all other things" revealing his misplaced
trust " trust no agent " Claudio admits defeat saying " i wish
him joy for her "
Beatrice enters and Benedict begs Don Pedro to send him " to the
Antipodes "
pg 165- Beatrice explains her past with Benedict, explaining she gave
him " two hearts for one " however it is she " who lost it
" since pedro explains she has put Benedict down.
Both Beatrice, Claudio and Antonio mistakenly believe it is Don Pedro
who wants to marry Hero.
Language and Power
“the play is centrally concerned with the social nature of language - with the
power of language & with language as an
articulation of power”
Camille Wells
Slights –
Shakespeare Comic Commonwealths 1993
“By characterizing (sic) Beatrice's discourse as
emasculating aggression,
Benedick accuses her of inverting the hierarchy of
the sexes” CWS
Camille Wells
Slights –
Shakespeare Comic Commonwealths 1993
Misunderstanding and
Deception
“The
theater (sic) audience's assumption of its own privileged position as
eavesdropper is undercut
by the frequency with which the play's characters
are deceived by their
assumptions that eavesdropping offers unproblematic
access to truth.”
Nova Myhill 1999
Spectatorship
in/of Much Ado about Nothing SEL Studies in English Literature
1500-1900 39.2 (1999) 291-311
“the theater audience is denied direct access to the pivotal moments in Don
Pedro and Claudio's
courtship of Hero -- Don Pedro's wooing of her at the
masked ball and the
scene of Margaret and Borachio at Hero's window -- and
instead must cope with
multiple and contradictory narratives”
Nova Myhill 1999
Spectatorship
in/of Much Ado about Nothing SEL Studies in English Literature
1500-1900 39.2 (1999) 291-31
