Much Ado About Nothing

These activities are designed to prepare students to read and enjoy the play and to anticipate some of its key themes.

Genre: Comedy or Tragicomedy

Reading Much Ado About Nothing is not like reading a traditional comedy; instead it has the potential to turn into a tragedy. Comedy is made up of complications, but in this play the complications could be disastrous. Therefore, before reading the play, discuss with the students the nature of comedy and tragicomedy. Suggest that students think about contemporary comedies (books, films, videos, or television shows) that use the standard boy-meets-girl format. Ask them: Which are light and humorous throughout? Which have a darker side and a potential for disaster? If students are familiar with Romeo and Juliet, they can discuss what makes it a tragedy. Ask: What would have to be changed for Romeo and Juliet to become a comedy? *

Character

As in most of Shakespeare's plays, the characters (on page 32 of the Signet Classic edition) are listed in the order of importance in the social hierarchies governing Elizabethan society. Therefore, the Prince of Aragon, Don Pedro, is listed before Leonato, Governor of Messina. It is interesting to note that the women are listed after all the male characters, except for the unnamed messengers and attendants. Students can compare this listing of characters to the modern convention of listing characters in order of appearance or importance to the film. They can discuss the implications of Shakespeare's arrangement. It is also useful for students to diagram the relationships among the characters from the information contained in the Dramatis Personae. *

Show students the roster of characters listed by relationship on page 2 of this guide. To stimulate students' thinking prior to reading the play, ask them: What possibilities are suggested by this roster of characters? They might respond: There are two sets of brothers, Don Pedro-Don John and Leonato-Antonio potentially allowing Shakespeare to contrast them. This also could allow for parallel action: what happens between one pair of brothers may mirror what is happening between the other pair. There also are two women of aristocratic family and two young lords. The relationship of one set can be compared to that of the second set. There are two sets of servants; this could lead to comparisons between the upper and lower social classes.

Plot

Although not a complicated plot, students may have some difficulty following the action as they independently read the play.

Explain to the students that the first act reveals background information, expectations about the characters and their interactions, and the nature of the conflict or complications of the plot.

Read aloud the first scene. As the students listen, suggest that they visualize the action. Ask the students: How do the characters look? What do they do as they speak? After the reading, discuss the students' images or have them draw a picture of a part of the scene. Suggest that the students not worry about their drawing skill, but instead attempt to reveal their personal impressions of the scene. They can compare their drawings in pairs or small groups and discuss similarities and differences in their responses.

Pair the students and suggest that they imagine the first scene as a ballet and themselves as choreographers. Have them discuss how the characters move in relation to each other and diagram a version of the "dance" of the main characters. With other pairs, allow students to compare their diagrams and, perhaps "dance" one version for the class. Afterwards ask: What did you learn about the characters from these activities? What kind of expectations does Shakespeare establish in this opening scene? What predictions can you make about how each character will act?

In order for students to discover the play and its richness and themes for themselves, we do not recommend viewing a film version of the play before reading and reacting to it. Instead, show the first scene after students have read and discussed their reading. A recent film version of the play begins with such delightful energy that it will whet students' appetites to read, savor, and later see the rest of the play on film. (Much Ado About Nothing: A Kenneth Branagh Film, adapted for the screen by Kenneth Branagh. A Renaissance Films Production and Samuel Goldwyn Company, 1993. Produced by Stephen Evans, David Parfitt, and Kenneth Branagh. Directed by Kenneth Branagh.)

Alternatively, a film may be shown following the reading of each act of the play. This sensitizes students to significant details in the play and interpretations made by the director. Also, this strategy allows less adept readers to keep up with the action and participate in class discussion.

It may be helpful for some readers to use the detailed synopsis of the play located at the beginning of this guide. The plot summary contained in the commentary on pp. 135-137 of the Signet Classic edition is more appropriate for mature readers. Although written in the eighteenth century, it can alert students to some of the issues of dealing with plot, characterization, and theme prior to reading the play.

Language

Even for the most experienced readers, language may be an issue when reading Shakespeare's plays. Many readers become frustrated because they do not understand every word in the text and have to refer to footnotes.

Suggest to students that they need not understand every word to experience the action. You can demonstrate this by giving students a brief passage from the play in which every third or fourth word is blocked out. Ask students to read for the main idea and later compare this passage to the original in the play. Ask: Do you understand what is happening even when you do not know all the words?

Other elements of language students may miss are puns, innuendo, and bawdy talk. Select one or two passages from the play. In pairs or small groups, have students interpret what the words say and/or imply. To help students identify contemporary double layering of language, you may want to brainstorm with them a few examples from popular culture: slang, jokes, and cartoons. Have each group list as many contemporary examples as they can. These should be shared with the class and explained.

NOTE: An additional benefit of carefully looking at several selected passages prior to reading the play is that students will see that the language makes sense. They will also recognize t|he passage and build on their knowledge of its meaning when they are reading it in context.

After students have shared contemporary examples of double layering of language and have analyzed an example you selected from the play, they can either examine more examples you provide or can search for examples on their own. *

Pun

Messenger: And a good soldier too, lady.
Beatrice: And a good soldier to a lady. But what is he to a lord?
Messenger: A lord to a lord, a man to a man; stuffed with all honorable virtues.
Beatrice: It is so, indeed; he is no less than a stuffed man. But for the stuffing-well, we are all mortal. (I, i, 51-57) [p. 35]

Clever word play

Benedick: What, my dear Lady Disdain! Are you yet living?
Beatrice: Is it possible Disdain should die while she hath such meet food to feed it as Signior Benedick? Courtesy itself must convert to Disdain if you come in her presence. (I, i, 114-119) [p. 37]

Innuendo and bawdy language

Leonato: By my troth, niece, thou wilt never get thee a husband if thou be so shrewd of thy tongue.
Antonio: In faith, she's too curst.
Beatrice: Too curst is more than curst. I shall lessen God's sending that way, for it is said, "God sends a curst cow short horns"; but to a cow too curst he sends none.
Leonato: So, by being too curst, God will send you no horns.
Beatrice: Just, if he send me no husband; for the which blessing I am at him upon my knees every morning and evening. Lord, I could not endure a husband with a beard on his face. I had rather lie in the woolen! (II, i, 18-31) [p. 49]

["Horns" in this passage is used as a phallus symbol. There are several other references to horns made by Benedick referring to the horns of a cuckold (see I, i, 191; 231-233; 253-255). Students may wonder about the prevalence of this joke about adultery and if it expresses a common behavior among spouses during Shakespeare's time. One critic suggests that the cuckold was a metaphor for the changes in social and economic class relationships of the time. In this view, the worry about becoming a cuckold expresses indirectly the anxiety the growing merchant class felt about private property. Because of this economic connection the horns of the cuckold are derived from beasts of burden, the horns of the ox and the horn-like ears of the ass (Bruster, D., " The Horn of Plenty: Cuckoldry and Capital in the Age of Shakespeare," Studies in English Literature, 1500-1900, Vol. 30, No. 2, Spring 1990.]

After examining Shakespearean language, discuss with the students attitudes of the seventeenth century towards sexuality, and how and why these attitudes have changed. *

Theme

The main themes of the play grow out of the "game of love" - the nature of attraction between man and woman, the role of marriage in society, gender roles, romance, and standards of sexual mores. A related theme, the nature of truth and reality versus appearance, explores how one lover constantly tries to determine the other lover's faithfulness through outward signs and actions. It can be helpful to have students discuss the meaning of several of these themes prior to reading the play.

Begin a discussion of themes in the play by having students complete a personal opinion survey.

What's Your Opinion?

Mark the statements as true or false:
1. Men and women should marry persons of a similar social and economic status as themselves.
2. People choose with whom they will fall in love.
3. It is better not to marry than to marry and risk being cheated on by your spouse.
4. Most people can be trusted to be faithful in marriage.
5. Men are attracted to women who are assertive and bold.
6. Jealousy in a romantic relationship is usually a sign the relationship has problems.
7. Because parents usually know what is best for their children when it comes to choosing a mate, children should go along with their parents' wishes in this regard.

Students can discuss their answers in small groups or with the whole class.

Customs pertaining to courtship and marriage of men and women differ among cultures. Students can do a mini-research project or conduct interviews within the school or community asking people from several different cultures about their customs. Following the research, ask students: What are some common customs across cultures? What differences exist? Why are customs an important part of courtship and marriage?

Students can also research the customs for courtship and marriage during Shakespeare's time, and examine how these differ from customs today. *

In small groups or pairs, students can research where the idea of romantic love originated. They can examine the origins of courtly love and the medieval courts of love. They can read courtly love poetry or a courtly love tale, such as Giovanni Boccaccio's "Federigo's Falcon" (from The Decameron, "Fifth Day, Ninth Story" trans. by Mark Musa and Peter Bondanella, Mentor Books) or Marie de France's "Guigemar" (from The Lais of Marie de France, trans. by Glyn S. Burgess and Keith Busby, Penguin Classics). The tradition of courtly love can be contrasted to the medieval laws concerning women, their dowry, and property rights. After the students have shared their research and poetry with the class, ask them: Does it seem likely that courtly love is a fantasy that does not fit within the social reality of the time? What might have been the purpose of such stories? What effect might they have had on people? Are there still remnants of courtly love literature in popular romances or in contemporary love songs? *

The old cliche "love is blind" can serve as an introduction to the theme of appearance versus reality. In small groups, have the students brainstorm and list some popular sayings about love, lovers, and marriage, such as "love at first sight," "love is in the eye of the beholder," or "marry in haste, repent in leisure." After the lists have been shared, ask the students: Is there a basis for these sayings? What is it about love that causes people to be "blind," to be "a little mad," to "lose themselves in love"?

Have students brainstorm individually and in small groups the titles of songs dealing with love and romance. After the titles have been shared, ask the students: What types of love are sung about (i.e. young love, married love, sexual desire, unfulfilled love, unfaithful love, jealous love)? What do these different kinds of love say about human nature?

Discuss with students the concept of a "double standard." Suggest that the students think about these questions: To what extent does it still operate today? Why does it still operate? How does it account for different gender-specific behaviors?

Shakespeare's Theater

"Shakespeare's Theater" in the Prefatory Remarks provides students with useful background information about Elizabethan staging practices and prepares them to visualize the action of the play more clearly. After students have read this, teachers can choose among the following activities.