Summary Analysis The play “Much Ado about Nothing” by William Shakespeare is a love story that he incorporated deception in which the characters engage in humorously. Don Pedro, the Prince of Aragon, plays Cupid in this seemingly multi-sided romance between Claudio and Hero, as well as Beatrice and Benedick. Claudio, who seems to fall in love with Hero in an instant, implores Don Pedro to woo Hero for him. Don Pedro obliges his protégé. However, the first deception happens at the party when Don John, Don Pedro’s evil illegitimate half-brother, tells Claudio that Don Pedro is double crossing him.
The Friar responds with, “Young men’s love then lies/ Not truly in their hearts but, in their eyes jesu maria, what the deal of brine/ Hath washes thy sallow cheeks for Rosaline!”(2.3.68-90). In the first act, Romeo thought himself to be in love with Rosaline. Romeo had been distraught over the fact that his beloved Rosaline was going to become a nun. Romeo would never be able to love Rosoline, or be with her. Friar Lawrence makes fun of Romeo saying that young men only love what they see.
When Juliet objected to Lord Capulet’s decision of marrying her to Paris, the nurse advised Juliet to do as her father said (Act III, scene v, lines 213-226). Juliet was already married to Romeo and refused to go against her wedding vows. Without the support from her nurse, Juliet goes to the Friar. He gives her a potion that allows Juliet to fake her death and live happily ever after with Romeo. The Friar and Juliet devise a plan, and the Friar sends a letter that informs Romeo of the plan.
The trickery of love plays a proverbial role in “Much Ado About Nothing”. Beatrice and Benedick, having initially an antagonistic view on marriage, are deceived into loving one another, whilst Claudio deceives himself by allowing Don Pedro to woo Hero for him and by believing Don John the Bastard that Hero had been unfaithful the night before they wed. This portrays young Claudio as passive, flippant and inexperienced. The love between Hero and Claudio begins almost immediately when the young soldier Claudio returns from war, realising that he is deeply in love with Hero and wants to ask her father for permission to marry her. It is evident women in the early 1600’s
Joe * Joe shows Janie that he loves her in many different ways. * Joe takes Janie from Logan and she runs away and lives with Joe. * Joe loves Janie but uses her in a way for status/reputation for himself because of how beautiful she was to the men. * Joe was very impulsive toward Janie and wanted to control everything she did he was selfish and wanted Janie all to himself and he only let Janie have limited freedom. * Janie has love for Joe but not so much after the year’s progress because of domestic abuse Joe does toward Janie to better himself and his status/reputation.
Perhaps she only needed him in case she was found out; after all, no-one would have believed that a weak, caring woman could have murdered the king. If they had been discovered, they would have surely blamed Macbeth. Perhaps she is not wholly disturbed after all, and retains a good deal of wit and intelligence for a time. Though an intelligent woman at the time would probably have been considered disturbed. After Macbeth has returned, she reinforces her control over him; accusing him of cowardice and being dishonourable by saying ‘I have given suck, and know/How tender ‘tis to love the babe that milks me.
Iago’s realisation of Cassio’s unusually hyperbolic gracefulness towards Desdemona allows him to twist reality. He shares his deceitful distorted imagery with Othello, “I’ll pour this pestilence into his ear” Act 2 Scene 3. Pestilence, which is a fatal epidemic disease is related to Iago’s a flow of deceptive conspiracies into Othello’s mind, “the moor already changes with my poison” Act 3 Scene 3. The poison metaphorically represents the infectious thoughts planted in the mind of Othello. Iago’s final deceptive actions, “I’ll turn her virtue into pitch” Act 2 Scene 3 express an artificial darkness being forced upon an innocent cause and his toying with Othello’s psychological thoughts.
This change of emotions is caused by her overpowering love for Romeo. Her intense love for Romeo gives her to forgive him, as she thinks of reasons to justify Romeo’s actions. From “That villain cousin would have killed my husband” and “My husband lives, that Tybalt would have slain, / And Tybalt’s dead, that would have slain my husband.”, she convinces herself that Tybalt would have killed Romeo even if he did not die first, hence showing her loyalties lie with Romeo, not Tybalt or the Capulets any longer. Therefore eventually she reaches a conclusion, “Back foolish tears, back to your native spring”, that “All this is comfort, wherefore I weep then?” that it should be a good thing that Tybalt is dead so that Romeo can live and they can be
At the scene of the party, Benedict pretended to be someone else when talking to Beatrice. It did not produce either desirable or undesirable outcomes, though the scene did provide mild amusement for the reader. Leonato forced Claudio, out of guilt, to announce Hero’s innocence and marry Lenoato’s “niece,”who was actually Hero. This trick was beneficial because Hero was liberated from her accusations, and Leonato’s honor was restored. However, it was unfair of Lenoato to make Claudio believe he had to spend the rest of his life with a complete stranger.
Then Iago says: “Who, certain of his fate, loves not his wronger, / …… / yet soundly loves!” (Line 169-172) the first half sentence refers to Iago and Iago’s wife who is suspected by Iago with no reason of her unfaithfulness. And the rest of the words represent Othello and Desdemona. Iago, by these words, wants to emphasize the impression that Desdemona betrays Othello and he successfully makes Othello become angrier with Desdemona. After next few lines, Othello says: “This fellow’s of exceeding honesty / …… / Of human dealings.” (Line 260-262) These descriptions of Iago from Othello turn out that Iago has already succeeded in making himself an extremely faithful figure in Othello’s mind. Ironically, Iago wins Othello’s trust with no evidence; however, Desdemona is distrusted by Othello without any proof.