Much Ado About Nothing includes two quite different stories of romantic love. Hero and Claudio fall in love almost at first sight, but an outsider, Don John, strikes out at their happiness. Beatrice and Benedick are kept apart by pride and mutual antagonism until others decide to play Cupid. The authoritative edition of Much Ado About Nothing from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, is now available as an ebook. Features include: · The exact text of the printed book for easy cross-reference · Hundreds of hypertext links for instant navigation · Freshly edited text based on the best early printed version of the play · Full explanatory notes conveniently placed on pages facing the text of the play · Scene-by-scene plot summaries · A key to famous lines and phrases · An introduction to reading Shakespeare’s language · Illustrations from the Folger Shakespeare Library’s vast holdings of rare books · An essay by a leading Shakespeare scholar providing a modern perspective on the play
Studienarbeit aus dem Jahr 2000 im Fachbereich Anglistik - Literatur, Note: 1,0, Universitat Augsburg (Philologie II), Veranstaltung: Shakespeares Komodien, Sprache: Deutsch, Abstract: Much Ado about Nothing erschien erstmals im Jahre 1600 in Form eines Quartodrucks. Sowohl in dieser als auch in der Folioausgabe von 1623 wird das Stuck unbestritten als Komodie gefuhrt.1 Trotz der vermeintlich kritiklosen Einteilung von Shakespeares Dramen (in Tragodien, Komodien und Historien), wie sie seit Erscheinen der Folioausgabe ublich geworden ist, konnten die Abgrenzungen zwischen den einzelnen Dramenformen damals durchaus nicht so strikt gewesen sein. Dies wird besonders anhand eines Zitats aus der knapp zwei Jahre nach Much Ado about Nothing erschienenen Tragodie Hamlet deutlich. Shakespeare legt Polonius die Worte: The best actors in the world, either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragicalcomical- historical-pastoral, scene individable, or poem unlimited."2 in den Mund, und fuhrt mit dieser uberspitzten Klimax die Dramenunterteilung selbst ad absurdum. Er wirft dadurch die Frage auf, ob eine Abgrenzung der einzelnen Dramenformen voneinander uberhaupt sinnvoll und moglich ist. Im Folgenden soll dargelegt werden, inwiefern Much Ado about Nothing komische und tragische Elemente vereint und welcher Dramenform das Stuck am ehesten zuordnen ist. Um das Problem der Gattungszugehorigkeit aus moglichst vielen Perspektiven zu erhellen, sollen allerdings nicht nur Gemeinsamkeiten und Unterschiede mit der klassischen Komodie und Tragodie betrachtet werden, sondern auch typisch englische spatmittelalterliche und fruhneuzeitliche Dramenformen Berucksichtigung finden. [...]"
Presents the original text of Shakespeare's play side by side with a modern version.
This cutting of Shakespeare's utterly charming and popular comedy MUCH ADO ABOUT NOTHING features five key scenes, including Beatrice and Benedick's classic initial word-battle, and the uproarious hide-and-seek deception of the two ''lovers. '' The next scenes are the brutal rejection of Hero at the altar by a deceived Claudio and the timeless manhandling of the English language by the bumbling constable Dogberry. In the fifth and final scene, Shakespeare resolves the play's conflicts and confusions, and love reigns again. This cutting really tells the story, and includes some sidesplitting stage business, particularly the back-and-forth physical and verbal parrying between Benedick and Beatrice.
Much Ado About Nothing shows the violence of desire as well as its drive towards creative plotting or matchmaking. In this Handbook, Alison Findlay examines the play's comic and tragic potential in the theatre; its attempts to harmonise love and war, attraction and repulsion. The volume: * explores the play's resonance in early performances with reference to the crisis over fast-changing fashions, gendered notions of honour, and the changing personnel of Shakespeare's company * analyses the play from a performance point of view scene by scene, considering the interactions between spectators and actors * surveys key productions and films, including Barry Jackson's radical modernist production of 1919, the recently-rediscovered television film of Zeffirelli's 1965 National Theatre Production, and Kenneth Branagh's 1993 film version * outlines the play's critical history from the eighteenth century to the present day, with a focus on contemporary concerns such as genre hybridity, sources and intertexts, and the instability of signs and appearances.
Shakespeare's comedy play "Much Ado About Nothing" pivots around the impediments to love for young betrothed Hero and Claudio when Hero is falsely accused of infidelity and the "lover's trap" set for the arrogant and assured Benedick who has sworn of marriage and his gentle adversary Beatrice. The merry war between Benedick and Beatrice with the promptings of their friends soon dissolves into farcical love, while Hero's supposed infidelity is shown to be little more than "much ado about nothing."
Equal parts tragedy and history play, Richard III chronicles the rise and short reign of its diabolical title character. Of this masterful creation, esteemed critic Harold Bloom has written, The manipulative, highly self-conscious, obsessed hero-villain moves himself from being the passive sufferer of his own moral and/or physical deformity to becoming a highly active melodramatist. Portrayed as England's curse and as his own worst enemy, the jealous and ambitious Richard would find little glory or peace awaiting him upon his ascension to England's throne. This collection of critical essays about the Bard's Richard III includes classic criticism from a number of notable critics throughout the centuries. Edited by Bloom, this title also features a handy index for quick reference.
Provides a description of the major ideas about void space within and beyond the world that were formulated between the fourteenth and early eighteenth centuries.
A flexible yet structured resource package specifically targeting the GCSE and AS Assessment Objectives and the criteria for the study of Shakespeare, designed to enhance students' knowledge, understanding and response. The series covers ten of Shakespeare's most popular plays, with accompanying teacher resources.