Much Ado About Nothing Pt. III

Much Ado About Nothing Acts 4 & 5

Probably my absolute two favorite characters in Shakespeare are Beatrice and Benedick. There's a certain realness to them as lovers that is different from all the other lovers in his plays. They are flawed, but not in the dramatic way that Othello and Desdemona are, rather they are relatable and human even. Beatrice's pride and witiness promotes the usage of defense mechanisms; likewise, Benedick also protects his heart in the same way. Personally, I see these two character traits as very normal and prominent among people today. I enjoy seeing their banter, all the while knowing that the mere effort exists because they have feelings for one another. Unlike many other characters who either fall in love all too easily, such as Claudio and Hero or Miranda and Ferdinand, Beatrice and Benedick seem like they truly fall for each other. Even when one removes the tricks posed upon them by their friends, I believe that they truly did already love each other. Their denial of marriage in the beginning, serves as a sign of self-protection against any harm. Their friends' actions of removing these walls only made their love for each be known, freely and without any harm of judgement. I see Benedick and Beatrice as the couple who grows old happily with each other; they may still banter with each and have personal pride, but the knowledge of their love for one another will aid them in having a happy marriage.

I also love the casting of Benedick and Beatrice in the 1993 version of Much Ado About Nothing. Emma Thompson and Kenneth Branagh truly capture the wit, banter, insecurity, and love that happens among the two characters.

Much Ado About Nothing Pt. II

Much Ado About Nothing Acts 2 & 3

In Acts II and III, we discover certain character flaws of Claudio. He is quick to believe Don John about Don Pedro wanting to court Hero for himself. He acts rashly and believes his friend would betray him, instead of carefully seeking out the truth. This may be due to the fact that Claudio is obsessedly in love with Hero, to the point of being blinded with any speck of suspicion. Benedick does imply that love has changed Claudio from being a serious soldier, to being a boy in love. This does not excuse such distrust towards Hero, especially when Don John comes along in Act III scene ii, when Don John tells Don Pedro and Claudio that he has proof regarding Hero's unfaithfulness, and Claudio goes with Don John so willingly. The mere action of Claudio accompanying Don John to see if Hero was in fact being unfaithful, shows how little thought Claudio truly puts into making decisions which may affect his whole life.

Much Ado About Nothing Pt. I

Much Ado About Nothing Act 1

Don John's villainy, although he states he is "plain villain", goes deeper than him simply possessing a malicious nature. He is the illegitimate son of a nobleman, also father of Don Pedro. Because of this position he is in, he will never be his father's real heir, nor be able to enjoy the privileges that Don Pedro can enjoy. All he can do all day is behave well, and live in his brother's shadow. He believes he has been put in a cage and in a muzzle, and therefore, cannot live freely or as successfully as his brother. This peek into Don John's past, allows the reader to understand more fully why is he is so prone to wish chaos amongst his brother and Claudio. I cannot say that I excuse the villains throughout Shakespeare's plays, but Don John possibly more than any other, is a character I at least sympathize with a bit. Whether it was optimism, joy, or patience, Don John's perception of life was skewed because of his situation and to be honest, if Don Pedro would've been in his shoes, he probably would have had the same malicious thoughts. I can imagine it is hard to have to be strong for such a long time without getting much more than the basics out of life whilst seeing others living joyously and abundantly with others who celebrate your success. Then again, it could have been worse. Don John's father and brother could've ignored him and not brought him along at all. It is those facts that then bring me back to sympathize with all other characters.

Othello Pt. III

Othello Acts 4 & 5

One of the themes that most intrigued me, especially towards the end, was that the insider versus outsider. Othello is treated as a Venetian because of his tales and his loyalty to protect the land, yet at any moment, his differences can make him become an outsider. Perhaps this is why he was so easily manipulated by Iago; he had little trust in his society's acceptance and loyalty to him, Desdemona included. Even at the end, Othello assumes that perhaps Desdemona was unfaithful because he was different compared to Cassio. Othello was walking on a thin social thread that would snap with the help of anyone as seemingly trustworthy as Iago. All Othello's confidence needed was a push from someone wishing him misfortunes. I suppose in a sense we are all a bit like this. We walk around seemingly confident until something or someone challenges our truth, even if there are no bad intentions coming from other people or the universe itself. If that person is already teetering on social inclusion and exclusion, that frail confidence goes out the window. Othello didn't really have family or kinsmen who were undoubtedly loyal to him, and the second best whom he thought could fill that void was Desdemona. It is no wonder he reacts with such disparity to the point of throwing away his respectable reputation. 

Othello Pt. II

Othello Acts 2 & 3

It seems almost inevitable for any of the characters, at this point, to stop Iago's schemes. Since his loyalty is only to himself, and no one knows of his real plans to bring down Othello, no one can really stop the unraveling of these terrible events. Everyone is slave to his hidden intentions and there is no escape for them or their destinies. Perhaps the only way to stop Iago, was if Othello wasn't led so easily by Iago's comments and assumed well-thought of opinions instead. In this way, I consider Othello a bit weak-minded. However, in his defense, if a person such as Iago has never really shown his true evil before, why wouldn't one believe the things they say... especially if it even seems as though they don't want to point fingers and come off as innocent. Iago, being a person driven by greed and vengeance, is still admirably clear-headed even in all of his evil doings. He doesn't burst, accidentally showing his true intentions, he remains calm and patient for the results. In a way he can be described as a controlled evil, instead of completely mad.