As a comedy of errors, Much Ado About Nothing explores the theme of deception in both its harmless and malevolent forms. The firstly is displayed in the case if Beatrice and Benedick, where deception is used to bring them together. The later is shown by the web of lies stemming from the evil Don John and his passion for pain and iniquity. The comic element can be found in the character of Dogberry and Shakespeare’s caricature of human idiocy developed throughout the play.
Benevolent deception, as seen in the Beatrice and Benedick subplot, is used to not only assist in the comic side of the play but to illustrate that sometimes lies are told for the better. Such an example in modern times would be something as simple as complimenting someone solely to give them self-confidence. This is reflected in Much Ado About Nothing in scenes akin to Act 2, Scene 3, in which the household conspires to make Benedick and Beatrice fall in love. Trickery is used to the benefit of all involved. The household is relieved from the pair’s vicious verbal sparing while they find love. Ergo deception is not always an unconstructive exploit.
Alternatively, the deceptions harboured by Don John are created merely for the sake of malice. The Character of Don John is very out of place in this dramatic comedy, a friend of such violent manner could have strode right out of one of Shakespeare’s dark tragedies such as Hamlet or Macbeth, instead he is brought to cause “much ado about nothing”. To be an illegitimate child in Elizabethan times would be a harsh lot in life and Don John has allowed the hostility of his birth and society’s scorn to manifest in him and is hence fourth a very angry man. This is demonstrated in Act 1, Scene 3, where his declares “cannot hide what I am: I must be sad when I have cause and smile at no man's jests, eat when I have stomach and wait for no man's leisure, sleep when I am drowsy and tend on no man's business, laugh when I am merry and claw no man in his humour.”
The deceptions generated by Don John among the other characters are nothing short of monstrous. Told only to cause mayhem and hurt for the protagonists. From initially giving the young and credulous Claudio doubts in the motives of Don Pedro to the later disparaging of Hero, There are no positive side effects that arise from the ashes of the disdained. There are no redeeming qualities or actions for Don John; He is merely vengeful, bitter and brutal.
Finally, the comic part of this comedy of errors is found in the ever-confusing Dogberry. From his sorrowful use of the English language to his absent-minded antics, he truly is a fool. Yet through his foolishness, it is ironically that the whole ado about nothing is resolved. Although terribly stupid and essentially impossible to understand, he manages to reveal the plot to Leonato and the other characters. An example of his atrocious abuse of language is found in Act 3, Scene 5, “It pleases your Worship to say so, but we are the poor duke's officers. But truly, for mine own part, if I were as tedious as a king, I could find it in my heart to bestow it all of your officers. But truly, for mine own part, if I were as tedious as a king, I could find it in my heart to bestow it all of your worship.”
Along side Dog berry in the roll of comic is human folly; Such as the gullibility of Claudio and his willingness to believe almost anything. This folly is seen again in the constant denial of affection from Benedick and Beatrice. Leading from their opening war of words, to the final scene, both are too proud to admit the inevitable. A final example of human folly is love. As humans we obsess over it and it has the power to turn the most grounded and serious person in to an incoherent lovesick idiot. In the words of Buffy the Vampire Slayer, “Love makes you do the wacky!”
Concluding, Deception is explored at great lengths on both its harmless and malicious in the comedy of errors that is William Shakespeare’s Much Ado About Nothing.
No comments:
Post a Comment