Much Ado Abt Nothing

Shakespeares sly dig at homosexual affairs and hu composition meddling in Much Ado about zip is certainly something I enjoy very much. As the deed of conveyance proclaims, Much Ado about Nothing is a play which foregrounds the point that much of human affairs and busy scurry around amounts to vain activity, albeit in a comic fashion and without the dark brooding misery that circulates around the nothing[ness] of Lear or Hamlet. Indeed, what I appreciate about the play is that it points out like Lear, though without the anguished moral vision, two central themes that runs through Shakespeares plays (especially the posterior ones): the futility of much of human run as well as the gap between words and honesty. The theme of the futility of human action (in this comedy limited to the villainous diagramting of fool John and not his brother) certainly comes across after the repeated and quick failures of Don Johns various plots. Don Johns attempt to create a breakout between Claudio and Don Pedro is quickly foiled; whilst his later plot to foil Claudios wedding plans is quickly defeated as well.

era my enjoyment of the play lies in my awareness that the play is imbued with right themes, what creates the most enjoyment for me lies in the gap between reality and the words of the various actors of the drama and the pleasure which the various characters (and Shakespeare himself) patently takes in words. Beatrice, the highly witty counterpoint to Benedict and in my view, the main figure around which the play revolves, charmingly and quickwittedly retorts to her uncles discomforted translation to the messenger of the verbal conflicts between Beatrice and Benedict: Alas! he gets nothing by that. In our last conflict quaternity of his five wits went halting off, and now is the whole man governed with...

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