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Much Ado About Nothing
2007

WHAT’S IN A NAME?

Much Ado About Nothing is not only one of Shakespeare’s best-loved and most frequently performed plays, but it is also one of his most popular and appealing titles. The name suggests content of happy insignificance; that any trials and troubles befalling the characters will turn out to be trivial. Shakespeare certainly provides an appropriate setting for such a light comedy: attractive young lovers, bumbling constables, and a warm and pleasant setting. But we soon discover that a lot of quite unpleasant things indeed do happen - so many, in fact, that critics have debated whether the play is more a comedy with serious elements or a serious play containing humor. That’s the way it is with Shakespeare: there’s always more than meets the eye.

There’s also more to the title. In Shakespeare’s day, nothing would have been pronounced like noting, a word that meant overhearing or eavesdropping. In that sense, then, there is indeed much ado about nothing. Virtually the entire action of the play originates from deception and misinformation, from characters sneaking about to listen and lurking in the shadows to overhear. Some of this “noting’ is innocent and well-intentioned, as is the duping of Benedick and Beatrice; John’s intentions, on the other hand, are malicious and almost lethal. Such distinctions begin to blur as untruths drive the plot. What is real and what is not? Who is virtuous and who is not? Does anyone know the truth?

There are masks, too. They add to the fun at the dance and help teach a young man a needed lesson. But real masks can’t be seen. They are the ones we wear to face the world each day, hiding what we don’t want to be seen. Beatrice’s is crafted of sarcasm and Benedick’s of jokes, both disguises to protect their hearts. Hero wears beauty and Claudio his glory, masks so slight that whispers can blow them away.

What’s in a name? With Shakespeare, it’s a lot more than meets the eye. Much Ado About Nothing indeed.

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