how to write an essay on much ado about nothing

Much Ado About Nothing Essay

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Much ado about nothing is a romantic intriguing comedy written by William Shakespeare. By focusing on relationships, the author of the play highlights the impact of deception to unity, love and happiness. Deceitfulness is the device the characters use to either destroy or improve each other’s lives. The love relationships are either build or destroyed due to tricks, envy or mere bad luck.

Similarly, some of the characters find joy in lying or playing tricks to their friends or lovers in order to achieve their personal selfish ambitions. Surprisingly, the aspect of self-deceitfulness arises among a few characters. Succinctly, the theme of deceit revolves around love relationships in the play.

Therefore, the elusive bonds created between different characters are weak mainly because they are build on the foundation of deceitfulness as expounded in the next discussion.

According to Shakespeare, a love relationship is like fate and therefore, only a self-deceptive person can separate two people who have a common interest. Set in a royal environment, Claudio announces his intention of courting and eventually, marrying Hero who has royal blood. Luckily, Don Pedro the Spanish prince encourages Claudio to go ahead with his plans.

Although Benedick is against Claudio’s intentions of dating Hero, Claudio puts him off by saying “in mine eye she is the sweetest lady that ever I looked on” (Shakespeare Act I scene I 135-137). Benedick deceives himself when he thinks that he can change Claudio’s mind/intentions not to date Hero. For instance, he says, “God forbid it should be so” (Shakespeare Act I scene I 140).

During his conversation with Don Pedro, Benedick’s announces that he does not intend to marry either. However, he does not know what lies ahead (fate carries). Therefore, Benedick’s compact mind or inability to accept other people’s opinions or intentions motivates him to lie continuously to himself. Benedick’s fights to change Claudio’s intentions to marry Hero but he does not succeed.

Similarly, Beatrice practices self-deceit, when she also proclaims that she is better of single than married. For example in Act II she says “Just if he sends me no husband; for the, which blessing I am upon my knees every morning and evening” (Shakespeare Scene I 137-140). Although Beatrice’s prayer is to remain single, she ironically goes against her wish and finally marries Benedick.

Thus, her prayer/wish is a proof of self-deceit among characters. Eventually, due to fate, Claudio and Hero embark on a love Journey and Benedick’s and Beatrice find themselves in a love relationship. Therefore, Shakespeare shows self-deceit is a behavior, which may encourage people to live in a denial, as it is the case with Benedick and Beatrice.

In addition, self-deceit can be the only the channel people can use to build strong bonds. More over, through focusing on self-deceit Shakespeare discourages people in the contemporary society against undermining their potential or God’s intention.

Another case of deceitfulness in the story arises when Don Pedro assigns himself the duty of wooing Hero for Claudio. However, Claudio does not trust Don Pedro mainly because of his earlier elusive interaction with Don John. Although Don John is Don Pedro’s brother, he lies to Claudio that his brother loves Hero. Eventually, a disagreement ensues between Don Pedro and Claudio.

Due to the constant practice of deceit among the characters, Claudio believes that Don Pedro is wooing Hero for himself. The constant practices of self-deceit among the characters push them to view all other people as deceitful. Nevertheless, Claudio’s relationship with Hero begins. Therefore, Shakespeare enlightens the contemporary society that deceit can lead to disunity, family break up and fights.

Furthermore, some people use the element of deceit to revenge or fulfill their self-ambitions, as it is the case with Don John. When Claudio starts dating Hero, it is a lesson to the audience or reader that people should not be quick to judge, believe or trust any negative thoughts/ words from friends, family members and partners.

People should not deny themselves happiness because of mere allegations from third parties. Therefore, sometimes deceit can be a form of encouragement to the affected parties and thus, people should use that chance to achieve their personal ambitions.

According to Shakespeare, deceit can be the only way to solve social problems. For instance, through lies/deception Don John achieves his intention of breaking the relationship or wedding between Claudio and Hero. Claudio humiliates Hero at the wedding when he realizes or believes that she is unfaithful (through deception).

Don Pedro and Claudio also unite in the public humiliation of Hero while Margret the proprietor of the break up shamelessly watches the fall of Hero especially when she faints during the wedding. However, Leonato and the Friar fake Hero’s death in order to ascertain the truth. Through sympathy, Claudio accepts to marry Leonato’s niece (who actually is Hero).

Due to deception and its eventual impact, Claudio accepts to marry a stranger. Surprisingly, the congregation (women) appears in masks and Claudio has to wear a mask during the wedding. This form of deception is beneficial to both Claudio and Hero who end up establishing a solid relationship. During the wedding, Claudio asks, “Which is the lady I must seize upon” (Shakespeare Act V scene IV 53)?

This shows that Claudio is ready to marry any woman even if he does not love her. Consequently, the author shows that deceit is the only way, which can assist in solving challenging situations especially, which comes about due to deceit. Therefore, according to Shakespeare marriage is a social institution that may not necessarily be build on love.

Claudio’s decision to marry a stranger is to enable him socially fit in the society. Thus, guilt or remorseful may not necessarily be the main motivation behind his act.

Thus, deceit creates illusion that eventually, benefits both parties. In addition, the author also proves that most relationships especially marriages are broke or build based on deceit. However, the manner in, which an individual handles the lies/deceits may build or destroy his or her future.

In brief, the main theme highlighted in the play is deceit. Most of the relationships are either build or destroyed because of deceitfulness. However, behind any form of lie or deceit always a lasting solution to a conflict or problem emerges. When Shakespeare focuses on the element of self-deceit among his characters especially Beatrice and Benedick, he discourages the audience against living in self-denial.

Both Beatrice and Benedick do not believe in love or marriage relationship but eventually they end up marrying each other. Secondly, Shakespeare shows that through deceit individuals can solve their social problems especially regarding love relationships, as it is the case with Claudio and Hero.

Therefore, deceit is part of the society. However, people should learn to solve positively a problem build on basis of deceit. Finally, although deceit creates tension in the play, the relationship build on lies end up stronger.

Works Cited

Shakespeare, William. Much Ado about Nothing . New York: Penguin press, 1998. Print

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Bibliography

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A Summary and Analysis of William Shakespeare’s Much Ado about Nothing

By Dr Oliver Tearle (Loughborough University)

Much Ado about Nothing is one of Shakespeare’s finest and best-loved comedies. With the battle of wits between Beatrice and Benedick and the plot involving young lovers Claudio and Hero, the play touches upon sexual jealousy, trust, and the importance of separating illusion from reality, among other prominent themes. Before we offer some words of analysis of Much Ado about Nothing , it might be worth briefly recapping the plot of the play.

Much Ado about Nothing : plot summary

At the centre of Much Ado about Nothing are two couples: Beatrice and Benedick and their friends, Hero and Claudio. The play takes place in Messina on the Italian island of Sicily.

Don Pedro has defeated his evil brother Don John in battle, but has allowed him to live and has pardoned him. However, Don John is jealous of his brother and his brother’s friends and followers, and seeks to cause trouble. The play opens with Don Pedro being welcomed to Messina by Leonato, the governor of Sicily.

Claudio, a young friend of Don Pedro, takes a shine to a beautiful young woman, Hero. Don Pedro woos Hero for Claudio, and Claudio and Hero arrange to be married. Don John sets about trying to drive division between the happy couple.

While Claudio and Hero are finding love, Claudio’s friend Benedick and Hero’s friend Beatrice are engaged in a battle of wits, insulting each other in public and trying to give the impression that they cannot stand each other. However, their friends see through this and realise – even if Beatrice and Benedick aren’t fully aware of it themselves – that they are only pretending to hate each other because, deep down, they fancy each other.

At a masked ball, Don Pedro, Claudio, and Hero therefore decide to trick Beatrice and Benedick into falling for each other. Meanwhile, Don John hatches a plan to drive a wedge between Claudio and Hero. He gets his henchman Borachio to woo Hero’s gentlewoman, Margaret, on hero’s balcony, with Margaret made up to look like Hero. Don John then makes sure that Claudio witnesses this, so the young lover is convinced his wife-to-be is unfaithful.

At Claudio and Hero’s wedding, Claudio denounces his bride as unfaithful, and she faints in shock at being (falsely) accused. Leonato tells everyone to pretend that Hero is dead. Benedick, having been gulled by his friends into thinking Beatrice secretly loves him, declares his love for her, and she reciprocates. But she tells him to prove his love by killing Claudio, for what he has done to her friend, Hero.

Meanwhile, Borachio’s big mouth gets him into trouble: the local constable of the night watch, Dogberry (whose speech is marked by comical malapropisms), overhears him boasting about Don John’s scheme and arrests him. Dogberry and his sidekick, Verges, reveal Borachio’s – and, by association, Don John’s – guilt, just after Benedick has challenged Claudio to a duel.

Claudio, realising he unjustly denounced the innocent Hero, agrees, as penance, to marry Leonato’s niece (whom conveniently no one has seen before). When she is brought out for the wedding, she is revealed to be Hero, alive and well. They marry, everyone celebrates, Don John is punished, and Beatrice and Benedick appear to be finally overcoming their verbal chafing and will get together.

Much Ado about Nothing : analysis

Let’s begin with the title of Shakespeare’s comedy: Much Ado about Nothing . It’s well-known that ‘nothing’ was Elizabethan slang for the female genitals, so Shakespeare’s title is, on one level, a bawdy pun: the whole play is a load of fuss over sex.

This is certainly true of many Shakespeare comedies, where lust and love uneasily coexist: Claudio’s attraction to Hero is a result of her beauty, rather than anything deeper, and as soon as he suspects her virginity is non-existent (or has been reduced to ‘nothing’) – a suspicion he is suspiciously quick to adopt – he denounces her vehemently in public at what should have been their wedding.

By contrast, Benedick (his own name can perhaps be translated into another dirty pun, i.e. ‘well-dicked’ or well-endowed?) actively seeks to de- sex or unsex Beatrice as a woman, showing how plot and subplot work together, as Shakespeare uses the second, and secondary, romantic couple to offset but also complement the qualities found in the primary couple of Claudio and Hero.

There’s a paradox at work here, though, for in doing his best to undermine Beatrice’s eligibility as wife material, he is actually, unbeknownst to himself (or perhaps only partly beknownst), highlighting or even elevating her suitability as a mate for himself. Her ability to keep up with his witty putdowns confirms that she is easily a match for him, not only as a verbal sparring partner but as a partner in the broader romantic sense.

People don’t go and see revivals of Much Ado about Nothing for Claudio and Hero, but for Beatrice and Benedick and their flyting-as-flirting.

Indeed, the title Much Ado about Nothing is also thought to hide another pun, on the word ‘noting’, which referred to the sort of banter or repartee which Beatrice and Benedick engage in.

Whilst we’re delving into the wordplay and verbal significance of titles and names, it’s worth mentioning that ‘Benedick’ also summons benediction or blessing, while ‘Beatrice’ means ‘blessed’, showing that the two are etymologically as well as literally made for each other. Although since ‘Beatrice’ is sometimes taken to mean ‘one who makes [somebody] blessed’, we might ask, of the two of them, who is the benefactor and who is the beneficiary?

One final twist on that multifaceted, multi-punning title, Much Ado about Nothing . ‘Noting’ also referred to overhearing and ‘noting’ something down, and obviously this is of significance to Shakespeare’s play in several ways.

First, Don John’s malevolent plot hinges on Claudio being made to overhear or witness ‘Hero’ (really Margaret) flirting with another man; second, Don Pedro, Claudio, and Hero’s (much more benevolent) plot to convince Beatrice and Benedick together turns on the two of them being made to overhear the three friends talking about how the other one secretly loves them: so Benedick overhears his friends talking about how much Beatrice admires him, and vice versa.

Third, Borachio is ‘noted’ or overheard bragging about his part in bringing to fruition Don John’s plot, and Dogberry’s subsequent ‘noting’ of the events and clearing up of the mystery.

Much Ado about Nothing is one of Shakespeare’s more straightforward comedies, in which the plot is simple but the fun is to be had in the skirmishes of wit between the secondary couple, who are far more interesting than the play’s nominal hero (no pun intended) and heroine. It’s hardly surprising that, for many readers and theatregoers, its unofficial alternative title is ‘the Beatrice and Benedick show’.

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Much Ado About Nothing

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2. Themes/Motifs

4. Character Analysis

5. Quote Analysis

6. Sample Essay Topics

7. A+ Essay Topic Breakdown

Much Ado About Nothing is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Much Ado About Nothing is one of Shakespeare’s classic comedies, and is in fact the most performed of his plays – even more than Hamlet or Romeo and Juliet . While it was also popular in Shakespeare’s time, its themes are still very contemporary. Much Ado About Nothing is a story of mixed-up love, lies and deceit, themes that are still prevalent in current hit movies like To All the Boys I’ve Loved Before , or 10 Things I Hate About You . The banter between Beatrice and Benedick is amusing and ridiculous, and the ensuing drama between Hero and Claudio is probably not far off the modern drama in the relationships of your friends.

Much Ado About Nothing explores themes of love, the ways that we can be opposed to love and relationships, the position of women and necessity of marriage, and the ways we can deceive each other and ourselves. If you’ve ever felt attracted to someone who really pushed your buttons, felt a spark with someone the first time you saw them, experienced your friends’ relationship drama, said you’d never have a relationship because study is too important, or even maybe tried to play matchmaker for two people, this play is for you! Love is a beautiful and yet frustratingly unavoidable part of life, and Shakespeare shows us the many ways in which people can react to this and manipulate this for their own desires. This play uses comedy to reassure us that mistakes and misunderstandings in love are an innate part of humanity, as we struggle to communicate how we feel towards another person. Further, it is a play about how we stage these relationships to one another and questions whether true love needs an audience at all. As you’ll see, it’s very much a play about appearance and reality, and deception and truth – these are the kinds of questions that humanity will always face when dealing with love.

Themes / Motifs

Marriage and its effects on freedom.

Marriage acts as the primary source of the drama that unfolds in the play, and the main factor that drives its romantic plot forward. Much Ado About Nothing explores the paramount importance the Elizabethan society placed upon the notion of marriage, and the threat this often placed upon the free will of many individuals. This is primarily perceivable in the characters of Benedick, who compares the married man to a tame and lifeless animal, and Beatrice, who disparages the idea of saccharin romance and thus ‘mocks all her wooers out of suit’.

Chastity and Family Honour

‍ Much Ado About Nothing also examines the social concept that a woman should act gracefully and stay ‘chaste' until marriage in order to bring honour to her family. Claudio’s public rejection and public humiliation of Hero during their wedding ceremony acts as the climax of the plot and a direct representation of the societal values in the Elizabethan era. Shakespeare assumes an arguably feminist stance in his implied denouncement of this despotic treatment of women, who were expected to lose all social standing if they happened to lose their virginity before marriage. The extent of this cruelty is emphasised by the harsh, obliterative words of Leonato, as in his belief that Hero is unchaste, he proclaims his own daughter as ‘stained’ and ‘fallen into a pit of ink’, having brought dishonour upon his entire family.

Much of the play’s plot is driven by both accidental and deliberate deception, of which almost every character is a victim. False language in Much Ado About Nothing is so prevalent that it obliterates the truth and forms an alternate kind of society, in which characters assume the very roles chosen for them by the lies spread about them by others. For example, the rumours that Benedick and Beatrice are in love lead to their marriage, and Hero is treated as a whore by her own father due to Claudio’s denunciation of her as ‘every man’s Hero’. Despite this, Shakespeare examines both the positive and detrimental effects of such deceit; just as the duping of Claudio and Don Pedro culminates in Hero’s social demise, her faked death also allows her to reconcile with Claudio and attain her public redemption. 

Perception and Reality

The defining characteristic of Much Ado About Nothing is that nothing of material actually happens in the plot, other than marriage. There are no real fights, deaths, trials, illnesses or sexual encounters - the only perceivable change in the play is the perception of various events and characters, such as whether Hero is a virgin, or whether Claudio and Benedick will fight - hence its name, ‘ Much Ado About Nothing’.

Used to represent the idea of perception in the play, eyes are often utilised by Shakespeare when characters’ perceptions are distorted by the deceptive actions of others. Much like Claudio’s rhetorical question, ‘Are our eyes our own?’, the play questions the extent to which others affect an individual’s way of thought. 

Beards act as a complex emblem of masculinity in Much Ado About Nothing. Benedick’s autonomous bachelorhood is symbolised by his full, rugged beard, whereas Claudio’s clean, shaven face is a token of his ‘softness’ and emotional vulnerability. In tandem with this, Beatrice’s aversion to beards represents her scorn for men in general. It is important to note that the action of shaving one’s beard is a symbol that accompanies the act of getting married - Benedick’s first action as a married man is to shave his beard, and by doing such, allowing himself to be as vulnerable with Beatrice as ‘Lord Lack-beard’ Claudio is with Hero.

The Savage Bull

Don Pedro’s taunting of Benedick that “In time the savage bull doth bear the yoke,” symbolises the act of a free-willed man succumbing to the attractive comfort of marriage. The notion that marriage can be a kind of prison to men is repeatedly alluded to in the play through the symbol of the ‘savage bull’; just as the bull is tamed by humans’ training, the free bachelor is tamed by responsibility when he is married. However, the image of marriage shifts in the play along with a transformed imagery of the bull, as Claudio assures Benedick that his horns will be ‘tipped with gold’ and love through his marriage. This suggests that while it may seem like an intimidating and suffocating prospect, marriage can also provide infinite warmth and comfort to those who embrace it. 

Character Analysis

• Niece of Leonato and cousin of Hero.
• Although kind to her loved ones and described as ‘pleasant-spirited’, she is extremely witty and cynical, particularly towards Benedick, whom she once loved but now engages in constant bickering with.
• Shakespeare’s symbol of early feminism, as she is a character of justice and female autonomy, vowing at the beginning of the play that she will never marry a man in order to keep her freedom.
• A lord, recently returned from fighting in the wars.
• Just like Beatrice, he also vows that he will never marry and stay a liberal bachelor.
• Although he often retorts Beatrice’s snide remarks and sarcastic wit with insulting retort, his observant friends perceive an underlying affection for her beneath his facade of apathy. 
• The main character through which Shakespeare explores the theme of deception and performance; as a natural entertainer, it is difficult for the audience to comprehend whether he is merely pretending to be in love with Beatrice, or genuinely in love with her. 
• The beautiful, gentle and graceful daughter of Leonato.
• The quintessential and ideal woman of the Elizabethan era, as she is obedient to her father and cherished for her perceived pureness and chastity. 
• A young, handsome and widely appraised soldier who has attained great public acclaim through his noble fighting under Don Pedro’s command. 
• Falls in love with Hero immediately upon his return to Messina.
• Although depicted as the ideal male Elizabethan hero, his suspicious and doubtful nature results in his downfall, as he is quick to fall for deliberate lies and wicked rumours, even about those closest to him.
• Sometimes referred to as ‘the Prince’, Don Pedro is an established nobleman from Aragon and longtime friend of Leonato.
• A character with two faces; although socially adept and courteous in his public actions, he is, like Claudio, quick to fall for rumours and takes hasty revenge on those who fail his expectations. Through this characteristic of Don Pedro, Shakespeare condemns the hypocrisy of societal expectations, presenting the idea that propriety can often cover devious intent. 
• Also referred to as ‘the Bastard’, Don John is the illegitimate brother of Don Pedro. 
• Perpetually melancholy and dispirited due to his social standing as an outcast, he devises a treacherous plan to ruin the happy courtship between Hero and Claudio. 
• Despite Shakespeare’s depiction of Don John as the villain of the play, many of his characteristics suggest  rather that he is merely an individual driven to commit evil deeds due to his inherent inferiority to his brother, and constant rejection by a prejudiced society. 

Quote analysis

“He that hath a beard is more than a youth, and he that hath no beard is less than a man; and he that is more than a youth is not for me; and he that is less than a man, I am not for him.”

• This quote by Beatrice represents her aversion to the idea of marriage and her belief that no man will ever be able to satisfy her. 
• As it was widely believed that the beard of a man symbolised his manliness and maturity, this conundrum suggests that Beatrice believes that no man, whether a man without a beard or a boy with one, will be able to win her love or admiration. 

“The savage bull may, but if ever the sensible Benedick bear it, pluck off the bull’s horns and set them in my forehead, and let me be vilely painted, and in such great letters as they write ‘Here is good horse to hire’ let them signify under my sign ‘Here you may see Benedick, the married man.”

• This quote is Benedick’s mocking, sarcastic reply to Don Pedro’s adage about how all men, even the wildest of them,  eventually settle down to become married. 
• The ‘sensible Benedick’ here refers to a Benedick who is too clever and pragmatic to yield to the fleeting attractions of true love, as he knows that he will be disappointed by it soon enough. His imaginative scene of himself with ‘bull’s horns’ on his head symbolise the Renaissance belief that cuckolds, or men whose wives committed adultery, grew horns on their heads due to their futility. Thus, Benedick here is implying that part of his disinclination towards marriage stems from his fear that his wife will be unfaithful to him. 

“But now I am returned and that war thoughts have left their places vacant, in their rooms come thronging soft and delicate desires, all prompting me how fair young Hero is, saying I liked her ere I went to wars.”

• Claudio here describes his swift transformation from a war hero to a passionate lover of Hero. The change that occurred in Claudio is so rapid that it is more of a passive event that occurred to him, rather than something that he chose of his own volition. 
• As such, Shakespeare uses this quote to emphasise his volatile character and foreshadow the swiftness with which Claudio later disowns his feelings for Hero and humiliates her.

Sample Essay Topics

Quote-based essay prompt.

1. "I am a plain dealing villain." Don John is the only honest character. Discuss

How-Based Essay Prompt

2. How does Shakespeare use music and poetry to convey love and the intricacies of communication?

Metalanguage-Based Essay Prompt

3. Discuss Shakespeare's use of symbols throughout the play and how they relate to the concepts of appearance and reality.

Note: You’ll notice that each essay (or prompt, as we like to use interchangeably), has been labelled a particular type of prompt (theme-based, character-based, etc.). While we won’t go into detail with the types of prompts in this blog, in LSG’s How To Write A Killer Text Response , we explore the five different types of essay prompts. By identifying the type of essay prompt, you’ll immediately understand how you should answer the essay prompt so that you satisfy the VCAA criteria for your SACs and exams. This approach to essays is incredibly valuable as it saves you precious time during assessments, while ensuring you don’t go off topic.

Essay Topic Breakdowns

Character-based essay prompt  .

Much Ado About Nothing is primarily Shakespeare’s strong argument for feminism and female autonomy.

1. Shakespeare in Much Ado About Nothing utilises the character of Beatrice as the quintessential strong female hero, and thus encourages female autonomy. 

• Beatrice’ strong, independent spirit and fierce wit defines her as the most powerful female character in the play. Her desire to remain a ‘maid’, uncommon in the times as every woman was expected to aspire to marriage, is a striking emblem of feminism, as her self-governance and liberated spirit is depicted.
• Beatrice is also perceivably masculine - she even expresses her desire to have been born a man in her patriarchal society, stating, ’I cannot be a man with wishing, therefore I will die a woman with grieving.’ As such, Shakespeare advocates that society should accept a more diverse range of women, including those with more masculine characteristics. 

2. In tandem with this, the character of Hero is employed as an instrument through which Shakespeare condemns the harsh societal expectations of women. 

• The public humiliation of Hero as ‘unchaste’, or sexually loose, results in her rejection both from society and her own family, including her previously doting father, Leonato. 
• As such, Hero’s devastating plight reminds the audience that being a woman in the Renaissance meant that one was constantly vulnerable to inferior treatment compared to men, and their harsh judgments - even from male relatives or close ones.

3. Ultimately, the repeatedly negative connotations of marriage expressed by female characters highlights the lack of autonomy women possessed in the Shakespearean era.

• Beatrice’s extreme aversion to marriage, as she ‘cannot endure to hear tell of a husband’, suggests that it was not all women’s choice to marry but rather a heavy societal burden placed over their heads.
• Hero is perceived to have almost no agency or self-determination when choosing a life partner, perceivable by Leonato’s reminder to her, 'Daughter, remember what I told you. If the Prince do solicit you in that kind, you know your answer.’ As Hero expresses that her heart is ‘exceedingly heavy’ on her wedding day, the audience is positioned to question the extent of power that fathers held over their daughter’s fates in the Elizabethan era.

Theme-based essay prompt

In Much Ado About Nothing, Shakespeare argues that deception always results in negative consequences. 

1. Deception is portrayed as a negative tool in Much Ado About Nothing , as trickery leads to tragic events, as Don John’s lies directly results in Hero’s social demise and the destruction of her relationship with Claudio. 

• Don John’s deceitful words to Claudio before their wedding, “I came hither to tell you, and, circumstances shortened—for[Hero] has been too long a-talking of—the lady is disloyal,” lead to Claudio’s public humiliation of Hero as every man’s Hero’ - an unfaithful woman.
• The catastrophic outcome of this highlights the negative power of deception and the danger of being swayed by mere hearsay, as Hero is not only scorned by all of society, but also disowned by her own father, who wishes death upon himself and his ‘stained’ daughter.

2. Despite this, deception is not always detrimental in Much Ado About Nothing , in which deliberate trickery leads to the resolution of the main romantic conflict between Beatrice and Benedick. 

• The act of deceiving Benedick and Beatrice that the other is in love with them eventually leads to their marriage - the resolution of the main conflict of the play. 
• Although Benedick is firmly against the idea of being contained by marriage in the beginning of the play, he becomes a passionate lover as soon as he hears the false words, “Did you know Beatrice is madly in love with Benedick?”, declaring that he ‘will be horribly in love with her’ thenceforth. 
• Similarly, Beatrice is also positively influenced by deceptive words, as the audience can discern her transformation from a ‘flighty maid’ to a woman full of genuine affection of Benedick - perceivable by the end of the play, in which she delivers the lines, ‘Benedick, love on, I will requite thee, taming my wild heart to thy loving hand,’ as if releasing the very last fragment of her stubborn heart to him. 

3.  In a similar vein, Hero’s staged and thus deceptive death results in her social and familial redemption, as well as the saving of her marriage with Claudio. 

• In order to punish Claudio for his mistakes, Leonato’s household publicly ‘publishes’ that Hero has died. 
• The idea of Hero’s death brings so much guilt to Claudio that he begins to remember all of her benevolent qualities in a fit of misery, delivering the lines, ‘Sweet Hero, now thy image doth appear / In the rare semblance that I loved it first.’ 
• Leonato asks Claudio to marry his niece (Hero in disguise) instead of the ‘dead’ Hero, and as Claudio tearfully agrees, the redemptive masquerade through which Hero and Claudio reconcile symbolises the positive factors of deception. 

Now it's your turn! Give these essay topics a go. If you're you’d like to read completed A+ essays based off the two essay topics above, as well as the ones listed below,  complete with annotations on HOW and WHY the essays achieved A+ so you can emulate this same success, then I would highly recommend checking out LSG's Killer Text Guide: Much Ado About Nothing . In it, we also cover themes, characters, views and values, metalanguage and have 4 other sample A+ essays completely annotated so you can smash your next SAC or exam! Check it out here.

‍ Extra Resources

The Ultimate Guide to VCE Text Response

How To Write A Killer Text Response Study Guide

How to embed quotes in your essay like a boss

How to turn your Text Response essays from average to A+

5 Tips for a mic drop worthy essay conclusion

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Whether you’re studying english, literature or even language it’s hard to avoid Shakespeare. So, we’re going to take a broad look at: Shakespeare’s historical context, his language, and of course, what this means for interpreting his plays. Since Shakespeare has so many plays chances are your text will be excluded. Instead I’m going to use Othello as a case study.

Before you start reading, LSG's Ultimate Guide to VCE Text Response is a must-read for anybody studying VCE English.

Othello follows the Moorish general Othello and his relationship with his wife, Desdemona. The antagonist Iago is jealous that Cassio was made Lieutenant instead of him, and seeks vengeance on Othello. Iago attempts to destroy Othello’s reputation, and uses the rich but foolish Roderigo to fund his revenge plot. Through careful manipulation of his Wife Emilia, Roderigo, Cassio, and Othello, Iago convinces Othello that Desdemona is unfaithful, sending him into an obsessive jealousy. When Emilia steals Desdemona’s handkerchief, a token of Othello’s love, and Desdemona cannot produce it, Othello believes he has all the information necessary to condemn Desdemona. He smothers her to death, before Emilia reveals Iago’s involvement. Othello, struck by regret, stabs himself, declaring that he “loved not wisely but too well”

So who is this Shakespeare guy? And more importantly, what kind of a world did he live in?

Shakespeare was born in England in 1564, in the middle of the Renaissance Period. This period of “rebirth” was categorised by the increasing reliance on ancient classical authors for information about the world. This is why Shakespeare plots are famously reinterpretations of Ancient histories and Roman plays. Changes in education resulted in the Elizabethan moral and social customs being questioned. This included the Divine Right of Kings, and notions of gender and identity.

Religion is also significant in this period, and the Protestant Reformation is a subject often alluded to by Shakespeare. It is necessary to contextualise Shakespeare within the Renaissance period, because as you will see, themes, words, and references that make very little sense to us were common knowledge in Shakespeare’s time, and understanding them boosts our appreciation of his work.

The context and intent of the author are important considerations when studying VCE English or Literature. For more on this, read Context and Authorial Intention in VCE English .

The Language

Now that we understand when Shakespeare was writing, let’s look at how.

Starting as broadly as possible, Shakespeare’s difficult-to-read language is actually Early-Modern English, and so many words Shakespeare used are either lost or unused in modern English. Any good copy of Shakespeare will have definitions of these words in the margin or opposite page.

Moving in closer, we have the two types of plays, Tragedy and Comedy.

Comedy is tonally more light-hearted, and has an apparently happy-ending. These are Twelfth Night , Much Ado About Nothing, or As You Like It among others. Despite being made to entertain, they are rarely unsophisticated, and the genre may mask something more sinister. For example, the character of Malvolio in Twelfth Night is entertaining and presented as self-obsessed, but could be used as an example of Shakespeare critiquing masculinity in Elizabethan society, as Malvolio feels entitled to Olivia’s affections.

Tragedies cannot be defined by their tone, however. They are defined by a tragic hero, who has a fatal flaw or Hamartia that results in their downfall. This may be Othello’s Jealousy, Macbeth’s ambition, or Brutus’ naivety in Julius Caesar . These traits all cause the tragic heroes’ demise, as their hamartia leads them to make bad decisions or fail to address the real evil. Tragedies will usually end in the unnecessary loss of lives and an unhappy ending for all involved. Most of Shakespeare’s plays fit into tragedy, including most of those based on historical figures. An analysis considering the conventions of Tragedy--like hamartia and tragic heroes--is a great way to stand out when discussing Shakespeare, and so when interpreting a tragedy you should consider what about it is tragic. For example, is Othello a tragedy because Iago is able to manipulate Othello, or is Othello’s jealousy and mistrust ever-present? Either of these options reveals Othello to be a tragedy, however they both say different things about the characters and plot. If Iago manipulates Othello, the tragedy is because a fundamental good person is corrupted. However if Othello was always mistrusting, the play becomes tragic as the audience must watch an unloving marriage slowly dissolve.

Next, we have the two ways Shakespeare formats his dialogue. Students will often focus on what the characters say without considering how it is said. Knowing the difference between Verse and Prose and how they are used is an easy way to stand out in an essay.

Verse is essentially poetry, where one line follows another. It can rhyme, but often doesn’t. What Shakespeare verse will ALWAYS do, however, is follow the Iambic Pentameter. This is a line of poetry with 10 syllables where every second syllable is stressed. This creates a kind of bounce or flow like a heartbeat. The easiest way to recognise this is to count the syllables in each line: thus / do / i / ev / er / make / my / fool / my / purse. Pay attention to when it is not followed, or when characters are interrupted during the pentameter. When the pentameter is interrupted by another character, look at who is interrupting it. It is likely to reveal a power dynamic between the two characters. Alternatively, a character finishing the pentameter, literally finishing their sentence, could be a symbol of love or affection between them. Using linguistic devices like the iambic pentameter as evidence shows an understanding of the text beyond the words spoken

The alternative format is prose . It’s used quite sparingly so look out for it. Is the way we speak normally in conversation, or how a normal novel is written. You can tell a character is speaking in prose as it’s usually just a big chunk of text. Shakespeare’s prose can reveal different things, so it depends on the context and the character using it. In act 1 scene 3 of Othello, Iago speaks to Roderigo in prose and then transitions to verse once Roderigo leaves. This displays Iago’s ability to code-switch and manipulate those around him with words. Prose is considered more simplistic, so in order to control Roderigo, who is presented as quite dumb, Iago relies on simple language, bringing himself to Roderigo’s level. This is directly contrasted with Iago’s use of the complex verse form, which he uses at all other times.

Interpreting Shakespeare

We’ve now covered Shakespeare’s historical context, his play styles, and his dialogue, but what should we look for when reading Shakespeare that allows us to use this information in a text response or close passage analysis. I’ve already given some examples of how Shakespeare’s language is relevant to his themes, but I’m going to give a rough guide of what themes are common in Shakespeare’s plays, and how they are shown in the language.

Fate versus free-will

This is a theme that can lead to a long discussion and gives you the opportunity to express your own opinion. Are the characters acting with free-will, or is some other force impacting their fate? This isn’t really in Othello, so let’s look quickly at Macbeth; if we consider fate versus free-will with the characteristics of a tragedy in mind, then the tragic hero must act freely even though his ‘fatal flaw’ will lead to his demise. However, the inclusion of the witches in Macbeth subverts the tragic structure and implies Macbeth is being toyed with. Even though Macbeth believes he is in control his fate is met, so is it a coincidence that his decisions fulfill his fate, or was the Witches’ prophecy real?

Appearance versus reality

The different uses of verse and prose are a good way to show when characters are genuine or performing for others. I have already mentioned how Iago ‘code-switches’ by using prose to speak to Roderigo, appearing simple and ‘laid-back,’ but his revelatory soliloquy in verse displays his true nature, both in the content of the speech, and the way it is presented.

Order and disorder

In Othello, disorder could be represented by Iago, destabilising the lives of those around him through his use of rhetoric and manipulation. Order is then returned when Iago is revealed and Othello takes his life, recognising himself as tragically misused. Analysing the theme of order and disorder would support the interpretation that Othello is a good man controlled and abused by disorder and manipulation.

So, hopefully this very brief introduction helps you get into Shakespeare! Even if I didn’t cover your text, the use of tragic heroes, prose, verse, and iambic pentameter are things evident in all Shakespeare plays, so you just have to make it relevant to your text. And remember that in order to read Shakespeare, one must first read Shakespeare. It may take several readings or viewings to grasp what is happening in the play, only after that can you start to analyse in the way I have today.

Measure for Measure is currently studied in VCE English under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

INTRODUCTION ‍

Ahh William Shakespeare. That guy. You’re probably thinking, “Great. More fancy language. Hasn’t he been dead for centuries? Why does he keep popping up in our English curriculum?”

At least, that’s how I reacted.

Shakespeare is actually a huge figure in the history of the English language, and really no high school English curriculum is complete without a mandatory dose of him. In fact, the current VCAA study design demands that one of his texts must be on the text list. What a legend.

Shakespeare doesn’t only influence our world in the classroom. The Bard coined many words and phrases that we use today. We can thank this playwright for “be -all, end-all”, “good riddance”, and my personal favourite, “swagger”.

The Bard’s play “Measure for Measure” was first performed in 1604; over 400 years ago. So why do we still study his works today? In fact, the ideas and themes that are evoked in his plays are universal and timeless; pertinent to his contemporary counterparts, as well as today’s audience. Shakespeare’s plays are like soup (bear with me, this is going somewhere). One could say the playwright is a master chef; he mixes tales of the human condition and experience and asks us to question people and ideas. Everyone, regardless of their time, will gobble up the story.

So, what is this soup- I mean ‘Measure for Measure’ about? The play is known as a “problem play” and/or “tragicomedy”. That’s right, it’s both a tragedy and a comedy. Dire trials and tribulations are intertwined with humorous gags and jokesters. I guess Shakespeare couldn’t choose just one.  

‘Measure for Measure’ is also a problem play. Critic W.W Lawrence defined a problem play as one in which "a perplexing and distressing complication in human life is presented in a spirit of high seriousness ... the theme is handled so as to arouse not merely interest or excitement, or pity or amusement, but to probe the complicated interrelations of character and action, in a situation admitting of different ethical interpretations".

Ok, crazy, but he also said that "the 'problem' is not like one in mathematics, to which there is a single true solution, but is one of conduct, as to which there are no fixed and immutable laws. Often it cannot be reduced to any formula, any one question, since human life is too complex to be so neatly simplified.”

In short, a problem play presents lots of complications and issues that are open to different ethical interpretations. As in “Measure for Measure”, the “problem(s)” is/are not always solved.

So, what actually happens in this play that is problematic? What are our ingredients in this problem soup?

‍ P(L)OT SUMMARY

Get it? Cause soup is cooked in a pot. Sorry.

The Duke of Vienna appoints his deputy, Angelo, as the temporary leader. This Duke then pretends to leave town but instead dresses up as a friar to observe what happens in his absence. Angelo, strict and unwavering in his dedication to following the rules, decides to rid Vienna of all the unlawful sexual activity; including shutting down the brothels. Prostitutes like Mistress Overdone (pun alert) and her pimp Pompey are poised to lose their livelihoods. Laws against this activity exist, but they’ve gotten lax over the years. Angelo, a stickler for the rules, has Claudio arrested because young Claudio has gotten his engaged wife-to-be (Juliet) pregnant before they were officially married. Claudio is to be executed.

The virtuous Isabella, Claudio’s sister, is poised to enter a nunnery. Upon hearing of her brother’s arrest and sentence, she goes to Angelo to beg him for mercy. He hypocritically, in an absolutely dog move, propositions her, saying he’ll pardon her brother if she sleeps with him (with Angelo, not Claudio). She immediately refuses, being the religious and chaste woman that she is. At first Claudio is upset because he wants to live, but then he calms down and accepts death.

Luckily, the Duke (secretly dressed as a friar) helps in their sticky situation. He brews up a plan; Angelo’s former flame Mariana was engaged to him, but he broke off their engagement after she lost her dowry in a shipwreck. The Friar (Duke) plans to have Isabella agree to sleep with Angelo, but then send Mariana in her place. In theory, Angelo would pardon Claudio and be forced to marry Mariana by law.

The old switcheroo goes off without a hitch. But come morning, Angelo refuses to pardon Claudio, fearing he will seek revenge. The Duke, in collaboration with the Provost, send Angelo the head of a dead pirate (Ragozine) who died of natural causes. They claim that it’s Claudio’s head, and Angelo is satisfied, thinking him to be dead. Isabella is also told that her brother is dead and is encouraged by the Friar (Duke) to complain about Angelo to the Duke, who is returning home.  

The Duke makes a grand return to Vienna, saying he will hear any complaints immediately. Isabella tells her story, and the Duke feigns disbelief, despite having orchestrated the plan himself. In an act filled with more twists and turns than a Marvel movie, everything comes out; the Duke reveals he was a friar all along, Angelo is forced to confess, and Claudio is pardoned amongst other things. To top it all off, the Duke proposes to Isabella. Crazy!

HISTORICAL CONTEXT

It’s important to acknowledge what was going on in the world during the writing of a text. This may help give insight into why the author has included (or not included) some aspect of their work.

The Divine Right of Kings

This holy mandate states that a monarch derives his right to rule from the will of God and is not subject to earthly authority. The “king” or monarch is hence practically divine, and questioning his orders is also questioning god; blasphemy.

The Great Chain of Being/Class divides

This chain is a hierarchy of all life forms and matter in the following order:

• Kings & Royalty
• Commoners (Gentry, Merchants, Yeoman, Laborers)
• Non-living things

Hence, alongside The Divine Right of Kings, this ideal gave monarchs huge power over their subjects.

In early 1600s England, there was a defined social hierarchy and class system. Everyone had a place in the hierarchy, and there was little movement between the classes. Within each class, men were considered superior to women.

Shakespeare encourages us to ask a few questions of our supposedly holy leader and his actions. According to the Divine Right of Kings, the Duke is god’s right-hand man, and thus all his decisions are holy and backed by heaven. However, the Duke is pretty shady when he plots his bed-trick plan with Isabella and Mariana. Is this deceptive behavior still holy? Furthermore, is it not sacrilege to pretend to be a holy friar when one is not truly a holy man?

Moreover, when the Duke assigns Angelo as his deputy, would this transform Angelo into a divine ruler too? Could he be divine, considering his cruel rule and despicable request to Isabella?

Women were considered subservient, lower class citizens then men. Alliances were forged between powerful families through arranged marriages of daughters. These girls may have received an education through tutors attending their homes (there were no schools for girls), but their endgame would be marriage, children and maintaining the home. Women and girls of a lower class did not receive any formal education but would have learned how to govern a household and become skilled in all housewifely duties. Impoverished and desperate women (Mistress Overdone) would turn to prostitution to stay alive.

Shakespeare perhaps highlights the struggle of women in his female characters; Isabella, Mistress Overdone, Juliet, and Kate Keepdown. Their futures appear bleak; Isabella is poised to enter a nunnery, Juliet’s husband (her only source of income and protection) is to be executed, while the brothels that facilitate Mistress Overdone and Kate Keepdown’s livelihoods are being closed down by Angelo.

Jacobean Audience

It was a tumultuous time when Shakespeare penned ‘Measure for Measure’ in 1604. A year earlier came the end of the 45 year long Elizabethan era and began the Jacobean era under the rule of King James. Since the late Queen Elizabeth had no direct heirs, King James of Scotland (a relative) took to the throne. Little was known by the English people of this foreign king.

Perhaps, as Shakespeare portrays the ruler in ‘Measure for Measure’ as clever and good-hearted, the Bard sought to appease the king by calming the people and encouraging them to trust in their new monarch.

The playwright characterizes the Duke as loving his people, but not enjoying being before their eyes and in the spotlight; much like King James, a quiet ruler who relished studying privately in his great library.

‍ Playhouses and Brothels

The general public (commoners) paid a penny (could buy you a loaf of bread back in the day) to see Shakespeare’s plays, standing in the “yard”; on the ground, at eye-level of the stage. The rich (gentry) paid 2 pennies for seating in the galleries, often using cushions. The really rich (nobles) could watch the play from a chair set on the side of the stage itself. Shakespeare’s plays were performed at the Globe Theatre. Playhouses in Shakespeare's time were often close to brothels, both in terms of their physical locations in the suburbs and the way they were viewed by some of polite society. Thus, Shakespeare's relatively sympathetic portrayal of sexual deviance in ‘Measure for Measure’ may also constitute a defence of other suburban entertainment—his plays—and a way to humanize lower classes who patronized them.

WRITING ABOUT 'MEASURE FOR MEASURE'

If you’re lucky enough to study this interesting piece, the study design requires you to prepare “sustained analytical interpretations…discussing how features of the text create meaning and using textual evidence to support (your) reasons”. Basically, you’ll be given a topic; this topic could surround themes, characters, etc., and you must write analytically.

While you may choose to structure paragraphs around themes, ideas or characters, make sure to embed some historical context in there; that’ll show the examiner that you’ve done your research and have a thorough and deeper understanding of why Shakespeare put this or that in. Talking about authorial intent in your analytical essay leads to a more in-depth analysis.

“Shakespeare portrays characters that are flawed as a result of pre-destined circumstances. These characters, such as bawd Pompey and prostitute Mistress Overdone, lived in a time when there existed strong class divides, and movement within the social hierarchy was rare. As per the “Great Chain of Being”, a contemporary religious dogma, there was a hierarchy of all living things and matter, from lofty God and his angels down through the ranks of men and finally to animals and non-living things. In some cases, attempting to move up the social ranks was even considered a blasphemous rejection of the fate chosen by God.”

- embedding historical context (The Great Chain of Being) into a paragraph that discusses characters being flawed because of their circumstances

“Shakespeare offers characters such as Isabella and The Duke who strive for self-improvement through understanding and temperance. Perhaps the playwright suggests that perfection is very difficult if not impossible to attain, even for a ruler like the Duke and a pure soul like Isabella. However, he posits that it can be strived for and that perhaps this attempt to become better is what truly matters.”

- talking about authorial intent - what is Shakespeare trying to tell us?

Think of it as an opportunity to make your very own soup! Add some themes, stir in character analysis, sprinkle in some quotes and serve with historical context and authorial intent. Just like with a soup, there’s got be a good balance of all your ingredients; test out different structures during the year to find what works for you. (Just try not to overcook it, like I have done with this soup metaphor). If you need more help, How To Write a Standout Measure for Measure by William Shakespeare Essay is for you!

So, you see, there’s more to Shakespeare and ‘Measure for Measure’ than just fancy old language and iambic pentameter (What’s that? Well...). Keep on reading this blog post, where we’ll delve into themes, characters and symbols/motifs. In the meantime, let’s have a break. Grab a snack, a drink, and enjoy this tasty Shakespeare meme.

...Aaaaand we’re back!

Are you ready for part 2 of the Shakespeare train? Hop on board as we explore themes, characters and symbols/motifs. ‍ ‍

These are the major themes in ‘Measure for Measure’.

As you can see, the themes are interconnected. (Do you like the diagram? Made it myself :)) Why does this matter? Well, if you get an essay topic about Justice, for instance, you can also link it to Sexual and Gender Politics as well as Social Decay/Cohesion.

So, why is any one theme an important theme?

Which moments and characters are these themes related to?

Is there a link to historical context?

What are some key quotes?

What could be Shakespeare’s potential message? (Keep in mind that depending which pieces of evidence you look at, the Bard could be saying something different. In this piece, we’ll only discuss one or two authorial messages. The beauty of Shakespeare is that much is open to interpretation. You can interpret characters and ideas in so many different ways!)

Those are some great questions. Let’s explore some of the biggest themes...

Power and Authority

Power not only dictates the Viennese society, but we see it is a basis for moral corruption (I’m looking at you, Angelo!). The Duke is the leader of Vienna, ordained by God. He hands this power to his deputy Angelo, who misuses it in his request of Isabella. Now consider Isabella - she has power too, but a different kind… Also consider characters who have little to no power - Mistress Overdone, Pompey etc.

This theme could be linked to the Divine Right of Kings, the Great Chain of Being and Women.

• “O, it is excellent to have a giant’s strength, but it is tyrannous to use it like a giant” - Isabella when she pleads to Angelo to not kill her brother (Act 2, Scene 2, Line 130-132)
• “He who the sword of heaven will bear should be as holy as severe” - The Friar (Duke) to himself, not happy with Angelo’s dog move (Act 3, Scene 1, 538-539)
• “When maidens sue, men give like gods” - Lucio to Isabella, encouraging her to convince Angelo not to kill Claudio (Act 2, Scene 1, Line 87-88)
• "Hence we shall see, if power change purpose, what our seemers be.” - The Duke lowkey suggesting that once Angelo gets power, he’ll change into something evil (Act 1, Scene 4, Line 57)
• “Some rise by sin, and some by virtue fall.” - Escalus is sneakily hating on Angelo. This quote shows that power and authority often involve corruption (Act 2, Scene 1, Line 41)

Perhaps Shakespeare is suggesting that power is a dangerous weapon and that in the wrong hands, it could be deadly.

Morality and Sin

This is an interesting theme. What defines sin? For instance, if Isabella sleeps with Angelo she’s sinning before God. But if she doesn’t, then she’s letting her brother die, which is not good either. Bit of a pickle that one. Some characters to consider include Isabella, Angelo, The Duke, Claudio, Lucio, the Provost…. jeez just about everyone! So many of the characters take part in questionable deeds. Was it immoral for the Duke to pretend to be a holy friar? Is Claudio’s sin of impregnating Juliet really punishable by death if both parties were willing, and no one else has been punished for the same “crime”? Are Pompey and Mistress Overdone being immoral in being in the prostitution business, if it’s the only way to survive?

Deep stuff man. This can be linked back to class divides, women and the contemporary playhouses/brothels.

• “What sin you do to save a brother’s life, nature dispenses with the deed so far that it becomes a virtue” - Claudio begs his sister to sleep with Angelo (immoral, especially since she’s poised to enter a nunnery), saying that it’s for a good cause, and will actually be a virtue/good deed (Act 3, Scene 1, Line 146-148)
• “Might there not be a charity in sin to save this brother’s life?” - Angelo asking Isabella to sleep with him and trying to paint the act as a charitable deed (Act 2, Scene 4, Line 65-66)
• “I am a kind of burr, I shall stick” - Lucio, who represents sin and immorality in Vienna (we’ll talk more about this later in symbols/motifs) (Act 4, Scene 3, Line 182)
• “To bring you thus together ‘tis no sin, sith that the justice of your title to him doth flourish the deceit.” - The Friar (Duke), encouraging Isabella and Mariana to do the dodgy bed-trick and trick Angelo (Act 4, Scene 1, Line 79-81)

Perhaps Shakespeare tries to tell us that there is a fine line between something moral and something sinful. Maybe he’s asking, “who are we to judge?”, since we all do questionable things sometimes. Everyone from the almighty Duke to a lowly prostitute has committed potentially immoral acts. Perhaps audiences are encouraged to be more understanding of others, and their reasons for these deeds.

Mmm, this theme ties in nicely with just about all of the others. How does one define justice? The play explores this idea; does justice mean punishment? Or mercy? How do we balance the two to deliver the right punishment/lack thereof? Characters that dispense justice include The Duke, Angelo (although they have differing ideas of justice) and Isabella. Since Vienna is a religious place, consider the divine justice system (ie. a perfect, flawless system meted out by God) and the earthly one (ie. the flawed, human justice system). Laws exist in an attempt to ensure justice. But does it always work? Consider also the Old and New Testament ways of thinking - the former strict and punitive, while the latter is more measured and merciful (see symbols/motifs below for more info).

This theme can be linked to the Divine Right of Kings, Great Chain of Being, Women, and Jacobean Audience.

• “Justice, justice, justice, justice!” - (Wait, are you sure this quote is about justice?) Isabella pleads for (you guessed it) justice to the Duke (no longer dressed as a friar), thinking Angelo has, in fact, killed her brother (Act 5, Scene 1, Line 26)
• “The very mercy of the law cried out… ‘An Angelo for Claudio, death for death!’ Haste still pays haste, and leisure answers leisure, like doth quit like, and measure still for measure” - The Duke, explaining that it’s only fair that Angelo die for “killing” Claudio. (Act 5, Scene 1, Line 437-441)
• “liberty plucks justice by the nose” - The Duke tells Friar Thomas that the laws have slipped over the years, and the citizens of Vienna are not being punished for immoral deeds (prostitution, sex before marriage etc)

Perhaps Shakespeare says that since we humans are inevitably flawed, that any justice system created by us will too be imperfect. Who are we to decide the fates of our fellow man? Furthermore, the Bard may be encouraging us to be kind when dispensing justice, leaning more to mercy than punishment.

Sexual and Gender Politics

Who run the world? Gir- no it’s a bunch of men. This theme contributes to why ‘Measure for Measure’ is a problem play. The exploration of the female characters in this play are very interesting, and kind of sad. Of 20 named characters, only 5 are women. Together, their lines make up only 18% of the play. Yikes! There is a lot to unpack here. Our female characters are Isabella, Mariana, Mistress Overdone, Juliet, Francisca (a nun who speaks twice) and Kate Keepdown (who we never meet). Their situations: a maiden poised to enter a nunnery, a prostitute, a pregnant girl about to lose her husband, a nun, and another prostitute. Quite gloomy, isn't it? Meanwhile, the men are leaders (The Duke, deputy Angelo, and ancient lord Escalus) and gentlemen (Lucio, Claudio, and Froth). Over the course of the play, our female characters are put into worse situations by men. Their experiences are dictated by men. Consider taking a “feminist perspective” and exploring ‘Measure for Measure’ from a female point of view.

This theme links to the Great Chain of Being, Women and Playhouses/Brothels.

• “see how he goes about to abuse me!” - These are the last words we hear from Mistress Overdone, as she calls out Lucio for betraying her even though she kept secrets for him. All this happens while she’s being carted off to prison in only Act 3! What do you think Shakespeare is saying to us? (Act 3, Scene 1, Line 481)
• “Then was your sin of heavier kind than his” - The Friar (Duke) says to Juliet that she sinned more than Claudio, even though their sin was “mutually committed”. Even though they were both consenting, the woman is blamed more. Consider what would become of Juliet if Claudio was executed. She’d probably end up like Mistress Overdone... (Act 2, Scene 3, Line 31)
• “Who will believe thee, Isabel?” - Angelo says this after Isabella threatens to reveal his disgusting request. Ouch. It really goes to show how untrustworthy women are deemed.  (Act 2, Scene 4, Line 163)
• “Why, you are nothing then: neither maid, widow, nor wife?” - The Duke says this to Mariana. Basically, he says a woman can only be those 3 things. Jeez. (Act 5, Scene 1, Line 196-197)
• “When maidens sue, men give like gods” - Lucio to Isabella, encouraging her to convince Angelo not to kill Claudio. So, perhaps women do have some power. But, it’s due to their sexuality; something evaluated by men. Peachy. (Act 2, Scene 1, Line 87-88)

Perhaps Shakespeare suggests that women are treated unfairly in society. Maybe he posits that women are afforded so few opportunities in a man’s world. The Bard potentially says that such sexual and gender politics do not create a cohesive and just society.

This theme, again, connects to many others. It can link to all groups of people (The wealthy, the poor, women, criminals etc). Most of the mercy is dispensed at the end of the play when the Duke does his grand reveal. Characters who choose to mete out mercy over punishment include The Duke and Isabella. Also consider Angelo, who instead of choosing to spare Claudio, decides to kill him to uphold a law that hasn’t seen anyone punished for the same deed. We might think this is harsh, but it a legal and lawful decision.

Connect this idea with historical context, specifically Jacobean audience and playhouses/brothels.

• “I find an apt remission in myself” - Apt remission = ready forgiveness. The Duke says this after pardoning Angelo (Act 5, Scene 1, Line 539)
• “pray thee take this mercy to provide for better times to come” - The Duke pardons murderer Barnadine, asking him to use it to do better. How lovely!  (Act 5, Scene 1, Line 525-526)
• “let us be keen (shrewd/sharp), and rather cut a little than fall and bruise to death” - Escalus says this to Angelo, who wants to enact all strict laws immediately. The ever-reliable Escalus advises Angelo to be lenient and merciful. (Act 2, Scene 1, Line 6-7)
• “Mercy is not itself that oft looks so, pardon is still the nurse of second woe” - Escalus says this, defending Angelo’s decision to punish Claudio. He suggests that sometimes being merciful can encourage further wrongdoing. (Act 2, Scene 1, Line 282-283”)
• “I show it (pity) most of all when I show justice” - Angelo says to Isabella that he is showing Claudio pity/mercy by punishing him. A firm believer in the law, Angelo thinks he’s doing the right thing and teaching Claudio a lesson by punishing him.  (Act 2, Scene 2, Line 123)

Perhaps Shakespeare encourages us to look at mercy and punishment from different perspectives. Angelo believes he is punishing Claudio for his own good, and cleaning up Vienna of lechery too. Maybe we ought to be merciful in our opinion of the deputy. Nonetheless, the Bard shows that in the case of young Claudio, mercy and forgiveness is the right path to choose. Finally, consider why Shakespeare may have portrayed a merciful leader to his Jacobean audience. Maybe if he were to portray a leader as fair and merciful, the Jacobean audience would trust that their new king (a man similar in character to the Duke) could be kind and merciful too. Earning the favour of the king and writing a killer play? He’s killed two birds with one stone.

Human Frailty & Fallibility

I’ve encountered many essay topics about how humans are flawed and imperfect. It’s a pretty big theme in many texts, not just in our friend William Shakespeare’s. Human fallibility is to blame for a lot of the going-ons in ‘Measure for Measure’. Angelo takes the law too seriously, he gets heart eyes for Isabella and kills Claudio even though he thinks he’s slept with Isabella. Why? He wants to save his own ass, fearing Claudio will seek vengeance. The Duke is flawed too. He’s a leader, but he just avoids his problems, leaving Angelo in charge to deal with them. Then he plans to swoop in and look like a hero. Kinda dodgy. Consider Claudio and Juliet too. They, like Angelo, succumbed to lust and slept together before they were officially married. (Sigh, humans just can’t get it right.) It’s also worth thinking about the “low-lives” and poorer characters. Are the poor frail in a different way? For example, Mistress Overdone keeps Lucio’s secrets for him. In that way she is virtuous. However, she sells her body to survive. Perhaps she is not prone to desire like Angelo, but serves another desire - a desire to survive?

In terms of historical context, consider the Divine Right of Kings, the Great Chain of Being and Playhouses/Brothels.

• “They say best men are moulded out of faults, and for the most become much more the better for being a little bad” - Mariana pleads to Isabella to support her in begging the Duke to pardon (her new husband) Angelo. She is optimistic for man, believing our bad deeds can lead to self-improvement. (Act 5, Scene 5, Line 473-475)
• “Why, all the souls that were were forfeit once” - Isabella pleads to Angelo to pardon Claudio. She states that all souls were flawed before Christ offered redemption. (Act 2, Scene 2, Line 93)
• “I speak not as desiring more, but rather wishing a more strict restraint” - Isabella is speaking to a nun as she is poised to enter the ranks of the nunnery. We usually think of a nun as living a very strict life, but Isabella wants it even stricter! Here we see her flaw is that her thinking is too singular and blinkered. (Act 1, Scene 5, Line 3-4)
• “Lord Angelo is precise, stands at guard with envy, scarce confesses that his blood flows, or that his appetite is more to bread than stone.” - The Duke talks about how unhuman Angelo is. The deputy follows rules very closely, almost to the point where he’s like a machine. His nature is too strict.  (Act 1, Scene 5, Line 53-56)
• “I love the people, but do not like to stage me to their eyes” - The Duke says this to Angelo and Escalus as he hands over power to his deputy. Even the Duke is not perfect, in that he does not like being before crowds of his people (Act 1, Scene 2, Line 72-73)

Perhaps Shakespeare suggests that no one is truly perfect, not even a leader supposedly ordained by God, a law-abiding deputy, or a maiden who is poised to enter a nunnery. Yet while Angelo is overcome by his lust and emotion, the Duke and Isabella attempt to better themselves by showing mercy and temperance. Maybe Shakespeare suggests trying to improve one’s flawed self is most important.

God, Religion and Spirituality

Phew, we’re at our last theme. So, society in Vienna is very much religious. Their beliefs dictate actions and laws within the city. Some very religious characters include Isabella and Angelo. However, our novice nun, who is obsessed with virtue and chastity, agrees to and takes part in the bed-trick, a deception that is not particularly Christian. Our lusty deputy also succumbs, hellishly propositioning a maiden to sleep with him in exchange for her brother’s life. Even The Duke, supposedly semi-divine, makes some dubious choices. He spends most of the play posed as a holy man, even though he is not. He plans the bed-trick to deceive Angelo and lets poor Isabella think her poor brother is dead, instead of saving her so much pain. Furthermore, the title of the tale, ‘Measure for Measure’, comes from the Gospel of Matthew. (See symbols/motifs for more deets). The question of how much we should let religion dictate us is another reason this piece is a problem play.

The theme of God and Religion can link to historical context such as the Divine Right of Kings.

• “more than our brother is our chastity” - (Act 3, Scene 1, Line 194) and “Better it were a brother died at once, than that a sister by redeeming him should die forever” - (Act 2, Scene 4, Line 111-113) show that Isabella values her chastity and virtue over her brother!! Damn girl!
• “Ay, but to die, and go we know not where, to lie in cold obstruction and to rot” - Claudio tells Isabella that he fears the uncertainty of death. Perhaps his belief in a heaven has left him in the wake of his impending death? (Act 3, Scene 1, Line 129-130)
• “Let’s write good angel on the devil’s horns - ‘tis not the devil's crest” - Angelo is talking to himself about his lust for Isabella. It’s an appearance vs reality (ooh another theme!) kind of idea, where you can try to pretend something is something else (ie. Angelo doesn't lust after Isabella), but it doesn't change the thing (ie. he’s still keen). The deputy is comparing his emotions to these religious extremes. (Act 2, Scene 4, Line 16-17)

Perhaps Shakespeare criticises religious extremism in his portrayal of characters like Isabella and Angelo. Or maybe he just wants us to remain open-minded about ideas and our spirituality.

Yikes, there are so many themes in this play! Let’s move it along, and talk a little bit about characters.

Each character can be viewed in different lights, even more so than themes can be. We’re going to discuss characters very briefly because it’s up to you how you want to read them.

Here are the characters, in order of how much they speak in the play. To keep things short, let’s pretend these are all tinder bios. Who would you swipe right on? (Hint: not Lucio)

• super chill (the benevolent ruler of Vienna who’s let the laws slip a little)
• loves dressing up (actually spends most of the play disguised as a friar)
• clever/cunning (secretly counteracts the injustices decreed by Angelo)
• strong morals (would rather her brother die than she lives in shame)
• can get wild (conspires with the Duke to complete the bed-trick)
• holy gal (poised to enter a nunnery)
• a gentleman (well, his title is. He’s rude about the Duke and abandoned a prostitute that he got pregnant, so maybe he’s not that kind of gentleman)
• loves attention (legit! He’s a minor character but he has the third most lines of them all! Lucio loves to stir the pot!)
• loves some symbolism (Lucio represents all the bad stuff in Vienna…..see symbols/motifs)
• plays by the rules (a little too much)
• hypocrite (Sentences Claudio to death for sex before marriage, while asking the same thing of Isabella…. wow we’ve found our antagonist)
• Deep (Angelo is a bit of a complex character. He seems aware of his misdeeds and struggles to deal with these desires. It’s hard not to pity him at times)
• reliable (consistently counsels Angelo against acting too harshly)
• virtuous (he’s merciful, lets Pompey go with a warning in Act 2 Scene 1)
• loyal (trusts in the Duke)
• hard worker (he’s a prison ward)
• virtuous (does what’s right by him, disobeying Angelo’s orders to behead Claudio)
• magician (not really, but he makes Angelo believe that pirate Ragozine’s head is Claudio’s)
• clever (philosophically debates whether prostitution is worse than murder)
• funny (his character is the clown, and he’s got some sassy comebacks)
• poor (Pompey is a bawd employed by Mistress Overdone. Not the best dating bio)
• down for a good time ;) (impregnates Juliet before they are officially married)
• cool family (he’s Isabella’s brother)
• good hearted (initially is horrified at Angelo’s request of Isabella, saying she shouldn’t do it. Unfortunately, his fear of death get’s to him. After he’s calmed down, he’s accepting of death)
• a man in uniform (a policeman)
• a little dumb (he speaks a lot of malapropisms - hilariously using similar but incorrect words)
• not like Pompey (Pompey is a clever poor man, while Elbow is a policeman who’s a little bit all over the place)
• dedicated (still in love with Angelo even though he called off their engagement because her dowry was lost)
• a willing accomplice (participates in the bed-trick)

Mistress Overdone

• poor (she’s a prostitute, who fears for her livelihood when Angelo announces he’s destroying all the brothels)
• good hearted (kept Lucio’s secret. What secret? Read on…)
• works for the Duke (as an executioner…. there’s no way to make that sound nice)
• doesn't have a great name (c’mon it’s true)
• also likes to have a good time ;) (pregnant before official marriage)
• dependent (if Claudio dies she will probably end up as a prostitute to survive)
• can sing (Mariana asks him to sing a sad song about how she lost her beloved Angelo)
• holy gal (she is a nun)

Kate Keepdown (we never actually meet this character)

• a colleague of Mistress Overdone (a prostitute)
• single mum (Lucio got her pregnant and then ran away. He thinks marrying a prostitute is akin to whipping and hanging)

Ragozine (we never actually meet this character)

• dies (legit that’s all he does)

SYMBOLS & MOTIFS

These are people, objects, words etc that represent a theme or idea. For instance, the fact that I’ve used a bad soup metaphor AND a tinder reference means I need to go outside more. But let’s move on…

The title, “Measure for Measure” draws from the gospel of Matthew. The idea of heavenly justice vs earthly justice is prominent throughout the text. Moreover, it’s worth exploring the Old Testament ways of “an eye for an eye” and “measure for measure” in comparison to the New Testament teachings which lean towards forgiveness and mercy. Now, where do the Duke’s actions fit in? Is he harsh and equalising? Is he just and sympathetic?  

New Testament vs. Old Testament

When the Duke sentences Angelo to death, he makes a fancy speech which includes the play’s title.

“‘An Angelo for Claudio, death for death!

Haste still pays haste, and leisure answers leisure.

Like doth quit like, and measure still for measure.”

Act 5, Scene 1, Line 439-441

This mimics the Old Testament views, which famously states “eye for eye, tooth for tooth” (Exodus 21:24). These ideals teach that the person who committed a misdeed shall have the same misdeed done unto them. (For example, if you don’t like my new Facebook profile picture, I’m not liking yours…..but way more severe.)

In comparison, the New Testament states that we “Be merciful, just as your Father is merciful. Do not judge, and you will not be judged. Do not condemn, and you will not be condemned. Forgive, and you will be forgiven.” (Luke 6:36-37)

So, when sentencing Angelo the Duke employs the words of the Old Testament. However, he doesn’t go through with Angelo’s execution, instead showing the mercy encouraged by the New Testament. He’s not really following either way. Perhaps he’s instead choosing a middle road; one of temperance and justice.

Wait, who? We haven’t mentioned the “gentleman” Lucio much in the plot and in this blog post. That’s because he doesn’t really do that much other than buzz around and annoy everyone. Maybe that’s why his name rhymes with mosquito….

Regardless, we do see enough of Lucio’s character to learn that he’s not a very nice person. He treats Mistress Overdone and Pompey poorly, makes visits to the brothel, doesn’t take responsibility for his actions (getting Kate Keepdown pregnant) and bad-mouths the Duke. So yeah, we don’t like Lucio, what’s the big deal? Well, in Act 4, Scene 4 Line 182, Lucio says something very intriguing.

“I am a kind of burr, I shall stick.”

Burr - those little brown prickly things that get stuck to you.

We can think of Lucio as representing all the sins and misdeeds in Vienna - lechery, immorality, lack of justice, selfishness etc. Hence, Lucio is saying that these shortcomings and flaws will always be present to people and in Vienna, sticking to the city like a nasty burr. Damn, that’s deep.

Prose/Verse

The metre of the verse (ie. the classic Shakespeare writing) in ‘‘Measure for Measure”  is iambic pentameter. This means that each line is divided into 5 feet. Within each foot, there is one unstressed syllable followed by a stressed one.

I’ll TELL him YET of ANgelO’S reQUEST, And FIT his MIND to DEATH, for HIS soul’s REST. (Act 2, Scene 4, Line 195-196)

Verse does not have to rhyme, as the above lines do. Shakespeare often employs a rhyming couplet to close a scene and add some drama.

Verse is usually reserved for the higher class citizens, with those who are less fortunate speaking in prose.

Prose is language in its ordinary form, with no metre.

Certain characters, such as Lucio, switch between verse and prose depending on who they are speaking to. This could allude to Lucio’s duplicity, or perhaps a deep understanding of class divides in Vienna.

Names: Escalus and Angelo

Escalus is the ever reasonable and loyal lord and close confidant of the Duke. His name gives connotations of scales and balance - characteristic of the rational man.

Angelo’s name has connotations of “angel”. If we judge him only by his name, he should be a pure and heavenly being. Bah! That’s so fake! We can see that appearance is very different from reality. Isabella notices this too, stating that “this outward-sainted deputy...is yet a devil” (Act 3, Scene 1, Line 95-98).

Angelo’s Words/Actions

There is so much to unpack about this douchebag. Let us briefly consider 2 ideas. When he propositions Isabella to sleep with him, he requests that she “lay down the treasures of (her) body” (Act 2, Scene 4, Line 100).

Firstly, that’s weird. Perhaps Angelo can be seen as someone who is obsessed with the physical - Isabella’s body and treasure. Maybe this obsession leads to his immorality and poor leadership.

Secondly, Angelo struggles to directly say, “hey, let’s sleep together”. He weaves his way around the request, propositioning Isabella so indirectly that at first, she does not even seem to understand his request! However, once she threatens to tell everyone about his vile demand, he speaks bluntly; “Who will believe thee, Isabel?” (Act 2, Scene 4, Line 163). Perhaps this shows Angelo is self-aware that he’s being an ass. Or maybe this scene is yet more evidence of a patriarchal society, with the men knowing very well the power they hold.

We never actually meet this fellow. Ragozine is a pirate who dies in jail while “Measure for Measure” unfolds. His head is used in place of Claudio’s to convince Angelo of the former’s execution. Fascinatingly, Ragozine is the only person who dies in the entire play. ALSO, he dies of natural causes. Interesting. It feels like the play is full of death, grief and many heads on the chopping block. But curiously, there is only one death, of a minor character, of natural causes. Perhaps this says something about fate and justice or offers some commentary on life and hope.

Elbow vs. Pompey

Elbow is a silly policeman who speaks in malapropisms (using a similar but incorrect word for humorous effect). Pompey is a clever pimp who seems to have a deep understanding of justice and the Viennese people. The comparison of these characters, fortunate and dumb to unfortunate and clever, perhaps serves to show that the law is not always apt and that sometimes those who break the law are more clever than it.

Mistress Overdone (or lack thereof)

Mistress Overdone is a pitiable prostitute. She worries for her survival when Angelo begins pulling down the brothels, and she keeps Lucio’s bastard child a secret, only for him to throw her under the bus to save his own skin. The last we see of Mistress Overdone is her getting carted off to prison, crying “See how he goes about to abuse me!” (Act 3, Scene 1, Line 481) Yes, the last we witness of one of five speaking female characters is of her imminent incarceration. Furthermore, this happens in Act 3 of 5, around halfway through the play! The audience never hears from Mistress Overdone again, and her future is left uncertain. Even Barnadine, a convicted murderer, is given freedom and a happy ending.

Consider writing a few sentences of your essay from a feminist’s perspective. Think about the events of the play from the female characters’ points of view. What is Shakespeare saying by portraying Mistress Overdone (and other women) in such a way? Perhaps he is pointing out the injustices of the patriarchal system, or how uncertain a woman’s life was in his contemporary time.

“Measure for Measure” truly is an incredible text. This blog post is by no means an exhaustive list of all its quirks and complexities. This play’s relevance has survived centuries, and I believe it will continue to be pertinent to audiences well into the future. You are very lucky to be studying a text with such universal themes and ideas that you can carry with you even after high school.

Finding out that your school has selected to study a Shakespeare play as your section A text can be a pretty daunting prospect. If I’m honest, I wasn’t all too thrilled upon discovering this either...it seemed as though I now not only had to worry about analysing my text, but also understanding what Shakespeare was saying through all of his old-fashioned words. 

However, let’s not fret - in this post, I’ll share with you some Measure for Measure specific advice and tactics, alongside excerpts of an essay of mine as a reference. 

Before you start reading, How To Approach Shakespeare: A Guide To Studying Shakespeare is a must read for any student studying Shakespeare.

Historical Context 

Having a basic understanding of the historical context of the play is an integral part of developing your understanding of Measure for Measure (and is explored further in Measure for Measure by William Shakespeare ). For example, for prompts that open with “What does Shakespeare suggest about…?” or “How does Measure for Measure reflect Shakespeare’s ideas about…?” it can be really helpful to understand Shakespeare’s own position in society and how that influenced his writing. 

There’s no need to memorise certain parts of Shakespeare’s history - as that would serve no purpose - just try to gauge an understanding of what life was like in his time. Through understanding Shakespeare’s position in society, we are able to infer his stances on various characters/ideologies in the play. 

• Measure for Measure is often regarded as an anti-Puritan satire. Although Shakespeare’s religion has been a subject of much debate and research, with many theories about his faith being brought forward, many believe that he was a secret Catholic. He is believed to be a ‘ secret’ Catholic, as he lived during the rise of the Puritans - those who wished to reform the Church of England and create more of a focus on Protestant teachings, as opposed to Catholic teachings. It was often difficult for Catholics to practice their faith at this time. 
• Angelo and Isabella - particularly Angelo, are believed to embody puritanism, as shown through their excessive piety. By revealing Angelo to be “yet a devil,” though “angel on the outward side,” Shakespeare critiques Puritans, perhaps branding them as hypocritical or even unhuman; those “not born of man and woman.” Thus, we can assume that Shakespeare would take a similar stance to most of us - that Angelo wasn’t the greatest guy and that his excessive, unnatural and puritanical nature was more of a flaw than a virtue. 

Tips for Moving Past the Generic Examples/Evidence Found in the Play 

It’s important to try and stand out with your examples in your body paragraphs. If you’re writing the same, simple ideas as everyone else, it will be hard for VCAA assessors to reward you for that. Your ideas are the most important part of your essay because they show how well you’ve understood and analysed the text - which is what they are asking from you, it’s called an ‘analytical interpretation of a text,’ not ‘how many big words can you write in this essay.’ You can stand out in Measure for Measure by: 

1. Taking Note of Stage Directions and Structure of Speech

Many students tend to simply focus on the dialogue in the play, but stage directions can tell you so much about what Shakespeare was really trying to illustrate in his characters. 

• For example, in his monologue, I would often reference how Angelo is alone on stage, appearing at his most uninhibited, with his self-interrogation revealing his internal struggle over his newfound lust for Isabella. I would also reference how Shakespeare’s choice of syntax and structure of speech reveal Angelo’s moral turmoil as he repetitively asks himself “what’s this?” indicating his confusion and disgust for his feelings which “unshapes” him. 
• Isabella is shown to “[kneel]” by Mariana at the conclusion of the play, in order to ask for Angelo’s forgiveness. This detail is one that is easily missed, but it is an important one, as it is an obvious reference to Christianity, and symbolises Isabella’s return to her “gentle and fair” and “saint” like nature. 

2. Drawing Connections Between Characters - Analyse Their Similarities and Differences. 

Drawing these connections can be a useful way to incorporate other characters not necessarily mentioned in your prompt. For example, in my own English exam last year, I chose the prompt “ ...Power corrupts both Angelo and the Duke. Do you agree? ” and tried to pair Angelo and Isabella, in order to incorporate another character into my essay (so that my entire essay wasn’t just about two characters).

• A favourite pair of mine to analyse together was Angelo and Isabella. Although at first glance they seem quite different, when you read into the text a little deeper you can find many similarities. For example, while Angelo lives alone in his garden, “succumbed by brick,” requiring “two keys” to enter, “nun,” Isabella, wishes to join the nuns of Saint Clare where she “must not speak with men” or “show [her] face.” Shakespeare’s depiction of the two, stresses their seclusion, piety and restriction from the “vice” plaguing Vienna. What’s important about this point is that you can alter your wording of it to fit various points that you may make. For example, you could use this example to prove to your assessor how Isabella’s alignment with Angelo signals Shakespeare’s condemnation of her excessive puritanical nature (as I did in my body paragraph below) or, you could use these same points to argue how Angelo was once indeed a virtuous man who was similar to the “saint” Isabella, and that it was the power that corrupted him (as you could argue in the 2019 prompt). 
• Another great pair is the Duke and Angelo. Although they certainly are different in many ways, an interesting argument that I used frequently, was that they both were selfish characters who abused their power as men and as leaders in a patriarchal society. It is obvious where Angelo did this - through his cruel bribery of Isabella to “lay down the treasures of [her] body,” however the Duke’s behaviour is more subtle. The Duke’s proposal to Isabella at the conclusion of the play, as he asks her to “give [him her] hand,” in marriage, coincides with the revelation that Claudio is indeed alive. It appears that the Duke has orchestrated the timing of his proposal to most forcefully secure Isabella and in this sense, his abuse of power can be likened to Angelo’s “devilish” bribery. This is as, through Shakespeare’s depiction of Isabella, it is evident that she has little interest in marriage; she simply wishes to join a convent where she “must not speak with men,” as she lives a life of “strict restraint.” The Duke is aware of this, yet he demands Isabella to “be [his]”-  wishing to take her from her true desire and Shakespeare is able to elucidate Isabella’s distaste through her response to this: silence. By contrasting Isabella’s once powerful voice - her “speechless dialect” that can “move men” - with her silence in response to the Duke’s proposal, Shakespeare is able to convey the depth of the Duke’s selfishness and thus his similarity to Angelo.

We've got a character list for you in Measure for Measure by William Shakespeare (just scroll down to the Character section).

What’s important to realise about these bits of evidence is that you can use them in so many different prompts, provided that you tailor your wording to best answer the topic. For example, you could try fitting at least one of the above examples in these prompts: 

• ‘Give me your hand and say you will be mine…’ The characters in ‘ Measure for Measure’ are more interested in taking than giving. Discuss. 
• ‘More than our brother is our chastity.' Explore how Shakespeare presents Isabella's attitude to chastity throughout Measure for Measure .
• ‘I have seen corruption boil …' To what extent does Shakespeare explore corruption in Measure for Measure , and by what means? 
• ‘Measure or Measure presents a society in which women are denied power.’ Discuss.

How To Kick Start Your Essay with a Smashing Introduction

There’s no set way on how to write an introduction. Lots of people write them in many different ways and these can all do well! This is the best part about English - you don’t have to be writing like the person sitting next to you in order to get a good mark. I personally preferred writing short and sweet introductions, just because they were quick to write and easy to understand. 

For example, for the prompt...

“...women are frail too.” 

To what extent does ‘Measure for Measure’ examine the flaws of Isabella? 

...my topic sentences were...

• Isabella is depicted as a moral, virtuous and pious woman, but it is this aspect of her nature that paradoxically aligns her with the “tyrannous” Angelo. 
• Shakespeare explores the hypocrisy and corruption of Isabella as a flaw, as she deviates from her initially “gentle and fair” nature.
• Despite exploring Isabella’s flaws to a large degree, Shakespeare does indeed present her redemption at the denouement of the play. 

...and my introduction was: 

William Shakespeare’s play, ‘Measure for Measure’ depicts a seventeenth century Viennese society in which disease, misconduct and licentiousness are rife. It is upon a backdrop of such ordeals that Shakespeare presents the character of Isabella, who is initially depicted as of stark contrast to the libertine populate of Vienna. To a considerable extent, ‘Measure for Measure’ does indeed examine the flaws of the “gentle and fair” Isabella, but Shakespeare suggests that perhaps she is not “saint” nor “devil,” rather that she is a human with her own flaws and with her own redeeming qualities. 

Instead of rewording my topic sentences, I touched on them more vaguely, because I knew that I wouldn’t get any ‘extra’ points for repeating them twice, essentially.  However, if you feel more confident in touching on your topic sentences more specifically - go ahead!! There are so many different ways to write an introduction! Do what works for you! 

Body Paragraphs 

This body paragraph included my pairing between Angelo and Isabella. My advice would be to continue to incorporate the language used in the prompt. In this paragraph, you can see me use the word “flaw” quite a bit, just in order to ensure that I’m actually answering the prompt , not a prompt that I have studied before. 

Isabella is depicted as a moral, virtuous and pious woman, but it is this aspect of her nature that paradoxically aligns her with the “tyrannous” Angelo. Where Angelo is “of ample grace and honour,” Isabella is “gentle and fair.” Where Angelo believes in “stricture and firm abstinence,” Isabella too believes that “most desire should meet the full blow of justice.” This similarity is enhanced by their seclusion from the lecherous society in which they reside. Angelo lives alone in his garden, “succumbed by brick,” requiring “two keys” to enter, whilst Isabella desires the life of a nun where she “must not speak with men” or “show [her] face.” This depiction of both Angelo and Isabella stresses their seclusion, piety and restriction from the “vice” that the libertine populate is drunk from. However, Shakespeare’s revelation that Angelo is “yet a devil” though “angel on the outward side,” is perhaps Shakespeare’s commentary on absolute stricture being yet a facade, a flaw even. Shakespeare presents Isabella’s chastity and piety as synonymous with her identity, which ultimately leaves her unable to differentiate between the two, as she states that she would “throw down [her] life,” for Claudio, yet maintains that “more than our brother is our chastity.” Though virtuous in a sense, she is cruel in another. Although at first glance, Shakespeare’s depiction of Isabella’s excessive puritanical nature appears to be her virtue, by aligning her with the “devil” that is Angelo, it appears that this is indeed her flaw. 

Conclude Your Essay by Dazzling Your Assessor!  

My main tip for a conclusion is to finish it off with a confident commentary of the entire piece and what you think that the author was trying to convey through their words (in relation to the topic). For example, in pretty much all of my essays, I would conclude with a sentence that referenced the entire play -  for example, how it appeared to be such a polarising play, with largely exaggerated, polarising characters/settings (eg. Angelo and the Duke, or the brothels that stood tall next to the monastery): 

Ultimately, Shakespeare’s play ‘Measure for Measure,’ depicts Isabella as a multifaceted character. She is not simply one thing - not simply good nor bad -  her character’s depiction continues to oscillate between the polar ends of the spectrum. Although yes, she does have flaws, so too does she have redeeming qualities. Though at times deceitful and hypocritical, she too is forgiving and gentle. Thus, as Shakespeare’s play, ‘Measure for Measure,’ does centre on polarising characters in a polarising setting, perhaps through his exploration of Isabella’s flaws alongside her virtues, he suggests that both the good and the bad inhabit us.

Measure for Measure is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

You can find the VCAA exam 2009  here .

Have a go at analysing it yourself first, then see how I've interpreted the article below! For a detailed guide on Language Analysis including how to prepare for your SAC and exam, check out our Ultimate Guide to VCE Language Analysis .

Information

Author:  Voxi

Type of article:  Opinion piece

Publisher:  Clt Alt

Date of publication:  23rd of May, 2009

Contention:  We should embrace the digital technology as it has, and will continue to revolutionise our lives in regards to intelligence, convenience, communication and more.

Number of article(s):  1

Number of image(s):  1 (not disclosed on VCAA website due to copyright laws)

Source:  VCAA website

Note:  Persuasive techniques can be interpreted in many ways. The examples given below are not the single correct answer. Only a selected number of persuasive techniques have been identified in this guide.

Persuasive technique:  Imagery

Example:  ‘Keyed In’

Analysis:  The term ‘keyed in’ depicts an image of keys on a laptop or computer – one of the important inventions in regards to digital technology as well as the idea that those who are ‘keyed in’ are ‘up-to-date’ with its progression. This invites support from the reader since it is desirable to be ‘up-to-speed’ with the latest developments and trends – especially since new technology allows such accessibility.

Persuasive technique:  Type of publication

Example:  Online journal

Analysis:  By publishing the article on an online platform, Voxi aims to target ‘tech-savvy’ readers who are more inclined to appreciate technology than those who read other publication avenues such as newspapers.

Persuasive technique:  Acknowledging the opposition

Example:  ‘Some people are naturally afraid of the new, challenged by the discomfort of being dislodged from the known, the safe, the predictable, the tried and the tested – in short, their comfort zone.’

Analysis:  Voxi invites readers to view him as someone who is considerate and rational by displaying an understanding front towards those opposed to the use of technology, ‘some people are naturally afraid of the new.’

Example:  ‘…maybe they have a point – sometimes it’s good to take time out and just enjoy what you’ve got.’

Analysis:  Through admitting that perhaps those opposed to the development of technology may ‘have a point’, Voxi aims to manipulate readers into trusting him since he appears genuine and fair towards the issue.

Persuasive technique: Positioning advocators in a positive light

Example:  ‘They see possibilities for making things better where other people want to chill, just responding to the pleasure of the moment.’

Analysis:  By positioning technology advocates as people who ‘see possibilities for making things better,’ Voxi attempts to coax readers into support since readers tend to respect and admire those who take action, rather than someone who is static and merely wants to ‘chill.’

Persuasive technique:  Characterisation of supporters as heroes

Example:  ‘History’s full of moments though, when human beings have been moved forward by people who have been like the grit in an oyster. Gritty people produce pearls.’

Analysis:  Though the characterisation of technology advocators as ‘gritty people,’ Voxi urges readers to view those people with admiration as their determination and dedication has lead to the ‘produc[tion of] pearls’ or in other words, valuable inventions.

Persuasive technique:  Colloquial Language

Example:  ‘Well, sort of.’

Analysis:  The use of colloquial language, ‘well, sort of,’ is intended to position Voxi as a someone who appears to be a ‘friend’ as he attempts to display a light conversational tone. As a result, readers may be more inclined to support his opinion since they are more likely to listen to a ‘friend’ than a formal authority figure.

Persuasive technique:  Characterisation of advocates as hard workers

Example:  They’re the ones who ask questions, who tinker away in the garage, who turn up on ‘The Inventors.’

Analysis:  By characterising advocates of technology as hard-working, ‘tinker[ing] away in the garage’, , Voxi relies on the readers’ compassion to embrace modern technology as it is clear that much effort and time has been placed in these inventions and therefore shouldn’t be immediately disregarded.

Persuasive technique:  Appeal to a sense of failure

Example:  ‘In our lifetime we haven’t had a Copernicus or Galileo reorganising the cosmos, or a Darwin challenging us with a radically new theory of evolution.’

Analysis:  Voxi tries to influence readers to step up to past generations’ successes such as ‘Copernicus [and] Galileo reorganising the cosmos, or a Darwin challenging us with a radically new theory of evolution’ through the depiction that the current population has failed to produce any great intellectuals.

Persuasive technique:  Repetition

Example:  ‘…revolutionise…’

Analysis:  The repeated word ‘revolutionise’ is an attempt to instill into readers’ minds that there is a dramatic change currently occurring in society and as a result, they should try to keep ‘up to date’ with ‘the new world’.

Persuasive technique:  Rhetorical question

Example:  ‘Why wouldn’t you want it in your life?’

Analysis:  The rhetorical question, ‘why wouldn’t you want it in your life?’ urges readers’ support since it is apparent that there is no reason why people should not accept technology, especially since in the future, readers will be able to ‘lead happy, safe and fulfilling lives in a free and peaceful world’ – something that would result in satisfaction.

Persuasive technique:  Appeal to a sense of youth

Example:  ‘It’s older people who are less familiar with it who are suspicious about it, or even

Analysis:  By creating a dichotomy between the ‘older people’ and the younger generation, Voxi aims to manipulate readers into believing that only the elderly are ‘suspicious…or even afraid’ of technology, whereas all other generations should have no issues and welcome the ‘digital world’ with open arms.

Persuasive technique:  Reference to modern activities

Example:  ‘Global shopping, online banking, working out the itinerary for your holiday, looking up Google Maps and Street View to check out where your friends live, and that’s not to mention Facebook.’

Analysis:  Through referencing to everyday, modern activities such as : ‘Global shopping…looking up Google Maps and Street View…not to mention Facebook’, readers may be compelled to join the population in using technology since they are aware that many people do find these digital advances convenient and applicable to their daily lives.

Persuasive technique:  Use of logic and reasoning

Example:  ‘Sure, some people stress about privacy issues, but these can be resolved. Google is not allowed to film defence sites from Google cars and Google bikes. Let’s face it, the pictures we see are not real-time images. You can protest about them anyway and get them removed or pixellated if you’re really worried.’

Analysis:  Readers are encouraged to support Voxi’s stance since his use of logic, ‘you can protest about them anyway’ and reason, ‘let’s face it, the pictures we see are not real-time images’ makes clear that ‘privacy issues’ is not a valid point to denounce technology.

Persuasive technique:  Humourous tone

Example:  ‘Besides, the hot air balloon people are always hovering over my back yard and looking into my windows too.’

Analysis:  Through adopting a humourous tone in pointing out the irony of people’s concerns about ‘privacy issues’ when ‘hot air balloon people are always hovering over my back yard and looking into my windows too,’ Voxi attempts to assure readers that online privacy is no less risky than their privacy at home.

Persuasive technique:  Appeal to convenience

Example:  ‘Why go to a library when you can sit at your desk and look up Wikipedia or Google Scholar, or Ask Jeeves?’

Analysis:  Through posing the rhetorical question, ‘Why go to a library when you can sit at your desk and look up Wikipedia or Google Scholar, or Ask Jeeves?’, Voxi appeals to readers’ sense of convenience since the benefits of merely ‘sitting’ at home clearly outweighs the effort of travelling to a library.

Persuasive technique:  Inclusive language

Example:  ‘Let’s be excited – keep being excited.’

Analysis:  The incorporation of inclusive language, ‘let’s’ urges readers to feel as though they are directly part of the issue or somehow responsible for the outcome and thus, may lead readers to become advocators of technology.

Persuasive technique:  Juxtaposition

Example:  ‘We’d still be swinging in the trees or huddling in caves if we’d taken the view that new things are harmful or dangerous or unpredictable.’

Analysis:  Through the juxtaposition of current society and history when ‘we…sw[u]ng in the trees or huddl[ed] in caves’, Voxi intends to demonstrate that without taking some risks and disregarding that ‘new things are harmful or dangerous or unpredictable’, society would not have come as far as it has now, and thus, readers should continue to push forward with the new digital age.

In your Language Analysis (or Analysing Argument) SAC, you will be required to analyse how language is used to persuade in three or more texts. While this may seem a bit daunting at first, it really isn’t much harder than a single text analysis once you know how to approach it. Of course, there are multiple ways to tackle this task, but here is just one possible method!

Introduction:

Begin with a sentence that briefly describes the incident that sparked the debate or the nature/context of the debate. Remember to use the background information already provided for you on the task book!

Next, introduce the texts one at a time, including the main aspects for each (eg. title, writer, source, form, tone, contention and target audience). You want to show the examiner that you are comparing the articles, rather than analysing them separately. To do this, use appropriate linking words as you move onto your outline of each new text.

Consider significant features for comparison, for example:

• Is the tone/style the same?
• Is there a different target audience?
• How do their key persuasive strategies differ?

You may choose to finish your introduction with a brief comment on any key difference or similarity.

Sample introduction: The recent return to vinyls and decline in CD sales has sparked discussion about the merits of the two forms of recorded sound. In his feature article, For the Record, published in the monthly magazine Audioworld in June 2015, Robert Tan contends that vinyls, as the more traditional form, are preferable to CDs. He utilises a disparaging tone within his article to criticise CDs as less functional than vinyls. In response to Tan’s article, reader Julie Parker uses a condescending and mocking tone to lampoon Tan for his point of view, in a letter published in the same magazine one month later.

Body paragraphs:

Block structure

Spend the first half of your essay focused on Article 1, then move into Article 2 for the second half of your essay (and, for those doing three articles, the later part of your essay based on Article 3). This structure is the most simple of all, and unfortunately does not offer you ample opportunity to delve into an insightful analysis. Hence, we would not recommend this structure for you. If possible, adopt the Bridge or Integrated structures discussed below.

Bridge structure

Analyse the first text, including any visuals that may accompany it. Students often spend too long on the first text and leave too little time to analyse the remaining texts in sufficient depth, so try to keep your analysis specific and concise! Remember to focus on the effects on the reader, rather than having a broad discussion of persuasive techniques.

Linking is essential in body paragraphs! Begin your analysis of each new text with a linking sentence to enable a smooth transition and to provide a specific point of contrast. Continue to link the texts throughout your analysis, for example, you could compare:

• The techniques of each writer and how these aim to position the reader in different ways.

Often your second and/or third texts will be a direct response to the first, so you could pick up on how the author rebuts or agrees with the arguments of the first text.

Integrated structure

In this type of structure, you will analyse both articles in each body paragraph.

For a detailed guide on Language Analysis including how to prepare for your SAC and exam, check out our Ultimate Guide to VCE Language Analysis .

If you'd like to see an in-depth explanation of these different essay structures with sample A+ annotated essays as examples, check out our How To Write A Killer Language Analysis ebook! This study guide includes heaps of other valuable content too, including the SIMPLICITY and SPECIFICITY strategy, which has helped hundreds of students achieve A+ in their assessments.

Conclusion:

In Lisa's videos above, she suggests a short and sweet summary in your conclusion by incorporating some quotes from the author's own conclusion. 

Alternatively, you could opt for a different approach. In your conclusion, aim to focus on how each text differs from the others in terms of the main techniques used by the author, and more importantly, the effect of these techniques on the reader or audience. You should summarise the main similarities and differences of each text without indicating any personal bias (ie. you should not state whether one text might be more or less persuasive than another). For example, a point of comparison could be the audience appeal - will any particular audience group be particularly engaged or offended? Why?

Finally, finish with a sentence suggesting a possible outlook for the issue.

Next Steps:

Watch our 'Language Analysis' playlist where Lisa analyses the VCAA 2016 exam over the span of 7 videos. From the first read all the way through to writing up the full essay, Lisa shows you step by step how you can improve your Language Analysis marks.

*This blog post was originally created by Christine Liu, with additions made by Lisa Tran to suit the new modifications in the English study design.

Introduction

If you, like me, grew up Asian in Australia, you might think you already know a thing or two about, well, growing up Asian in Australia. Our stories can be pretty similar—just have a scroll through the ‘subtle asian traits’ Facebook group, or have a conversation with literally any Asian Australian about their parents.

At the same time, it’s also important to recognise that everyone’s experiences are diverse, especially given how broad an identity ‘Asian’ can be. Also important is to recognise how broad and intersectional identity can be in general—intersectional meaning that race isn’t the only thing that defines any one of us. Things like gender, socio-economic status, ability, sexual orientation and religion can also be really central, for example. Each of these things can impact the way we navigate the world.

Covering a broad range of these stories is Alice Pung’s anthology, Growing Up Asian In Australia . Some of the contributors in this volume include Sunil Badami , Matt Huynh , Bon-Wai Chou , Diana Nguyen , Michelle and Benjamin Law, and Shaun Tan , and already this cross-section is fairly diverse in nature. You can also click on their names to find out a bit more about each of their work. I think this is worth a few minutes, just to get acquainted with the sheer range of Asian-Australian creatives who are represented in this book, and to locate their work within the themes they write about—in other words, having a think about the ways that cultural heritage, or experiences with family, or economic hardship permeate their work, both in the anthology and in their lives outside it.

The anthology is (perhaps quite helpfully) divided into sections which revolve around key themes, which is also going to inform the structure of this guide. I’ll be using this guide to go through an exercise that I found really helpful when learning the text, which involves:

• taking two stories per section and drawing up some dot-point similarities and differences
• translating two of those points into paragraphs, a bit like a ‘mini-essay’

We’ll go through some an example of what this might look like, and why it’s a helpful exercise to try.

Before we start diving into Growing Up Asian in Australia , I'd highly recommend checking out LSG's Ultimate Guide to VCE Text Response .

Strine (Badami & Tseng)

Strine is what’s called a syncope , a shortened way of pronouncing Australian (a bit like ‘Straya’)—it refers to Australian English as it’s spoken by locals. This section of the book is all about language , and about the difficulties of juggling two languages growing up, and Badami and Tseng’s stories are great examples of this.

1. Similarity: connections to one’s mother tongue fade over time. Tseng recounts how, one by one, she and her sisters stopped learning Chinese as they progressed through their Australian education. Badami on the other hand compromises his name which stood out as too Indian when he “just wanted to fit in.”

2. Similarity: for ‘third-culture kids’, losing knowledge of their language also strains their relationship with their forebears. Badami’s mother is shocked to hear the anglicisation of his name despite the significance it carrie for her (“she spat my unreal new name out like something bitter and stringy”), and Tseng describes the experience of communicating with her father in “Chinglish” so that they can both understand each other.

3. Difference: language can be an internalised, personal experience, or a highly exposed and interpersonal one. While Tseng feels her loss of her language as a “sense of shame, a vague unease”, Badami is almost bullied into changing his name, “Sunil? Like banana peel?”

The Clan (Law & Chau)

This section delves into the complex ties that hold migrant families together. Chau’s poems are starkly different to Law’s story, so it’ll be interesting to compare how these different narrative forms work to explore those ideas.

1. Similarity : it can take at least one generation for migrant families to dig their roots into their new home. While Law’s parents are proud tourists at Queensland theme parks, he and his siblings “groan” at their comportment. Chau’s poem ‘The Firstborn’ traces his ancestry forward until he arrived, “an ABC” and his son “by amniotic sea”, both of them born into Australia.

2 . Similarity: family dynamics are still traditional and therefore gendered. Law notes how his mother’s health suffered when divorcing his father, and Chau notes that the women members of his family were “cast off” the family tree “as if they were never born.

3. Difference: family history and heritage can vary in importance. Chau’s family traces back “twenty-eight generations” of history, whereas Law’s family very much lives in the present, the only tie to older generations being his “Ma-Ma”, or grandma.

4. Difference: families show their love in different ways. Whether it’s dedicating a poem to his son about his life as one of “ten thousand rivers” of Chinese diaspora into the Australian sea, or taking the kids to theme parks on weekends, all sorts of affection can hold families together.

Putting it together

So I’ve tried to choose two sections (and four stories) that are all a bit different to try and mix it up and get some rich comparative discussion out of these. You might be studying this text alone, but even as one text, remember that there’s a lot of diverse experiences being represented in it, so discussing how stories connect, compare and contrast is just as important as discussing the content of individual stories themselves.

If we do a mini-essay, we might as well go about it properly and pick some sort of contention. Without a fixed prompt though, it might be easier to start with those dot points and pick which ones we want to write out and string together. Let’s pick two—connections to mother tongue fading over time (Strine similarity 1) and digging roots into Australia over time (The Clan similarity 1). A contention covering these points might look like:

While second generation migrants may struggle with loss of culture, they also constitute a unique and significant part of the diaspora.

Many migrants lose connections to their heritage over time, and these connections are often in the form of language. Particularly for Asian migrants, there is not as strong a need to preserve their mother tongue in the English-speaking Australia, and as such their knowledge of those languages can be easily lost. Ivy Tseng, for instance, recalls how she was never able to “grasp the significance” of learning Chinese as a child, and eventually she and her sisters would prioritise “study” and other academic pursuits over learning Chinese. Because tertiary study and education as an institution generally carry a lot of weight in migrant cultures, there is often a compromise made at the expense of heritage and language. These compromises can come from other factors as well, particularly the group dynamics of being in white-dominated Australia. Bullying is a frequent culprit, and Badami for example is indeed peer-pressured into resenting—and ultimately anglicising—his name, “Sunil? Like banana peel?” More generally speaking, a sense of shame for one’s difference is a common part of the migrant experience—Law experiences it as well at theme parks, where he and his siblings attempt to “set [them]selves apart” from the faux-pas of their parents. Not always an intentional goal, but a general willingness to compromise connections to heritage underscores many Asian Australian migrant stories, particularly of second-generation migrants.

However, the extent to which migrants feel socially integrated in society shifts generationally and over time as well. Second generation migrants are thus unique in that they have the closest connection to their heritage while also initiating this process of integration. Law and his siblings exemplify this, with their “Australian accents” and “proper grammar and syntax.” While some loss of their native Cantonese takes place, they are also the first in their family to sound Australian, one step closer to being Australian. They constitute part of the distinct, third culture of “ABC”—Australian-born Chinese—to which Chau alludes in his poem, ‘The Firstborn’. Distinct from first-generation migrants, ABCs are a product of diaspora and spend their formative years immersed in the Australian way of life. Chau’s poem goes on to highlight how sizeable this demographic now is—“the sea is awash with the unfathomable Chinese sons.” Thus, we can see how ABCs, or second generation Asian migrants, represent a unique and significant social group exemplified by great compromise, but also great change.

Why is this useful?/How can I apply this?

I like this exercise because it gets you thinking creatively about the key implications of the stories. Within a section or theme, you want to identify similarities in how both stories contribute to our understanding of that theme . You also want to identify differences to explore how stories can be unique and nuanced , which will provide your essay with more depth when you ultimately need it. Then, putting it all together helps you synthesise new connections between themes .

For an analytical study of this text, you’d flesh out those ideas until they become paragraphs, introducing relevant evidence and mixing it up with explanatory sentences as you go. Explanatory sentences keep you analysing rather than story-telling, and they usually don’t have any quotes—an example from above might be “because tertiary study and education as an institution generally carry a lot of weight in migrant cultures, there is often a compromise made at the expense of heritage and language.”

For a creative study, you’d take away those ideas and look at how else you might explore them in other stories. Feel free to challenge yourself for this; I remember falling back on more personal writing when studying this creatively, but don’t neglect other genres or forms! If second generation migrants are in fact more on their way to belonging, write a speculative story about how an apocalypse tests those connections to white Australians. I dunno, but don’t be afraid to really push the boundaries here and test the implications you draw from the stories.

Give it a go

Try it for some of these:

• UnAustralian? (Loewald & Law) and Leaving Home (Diana Nguyen & Paul Nguyen)
• Battlers (Dac & Law/Huynh) and Mates (Phommavanh & Ahmed)
• The Folks (Lazaroo & Tran) and Homecoming (Beeby & Larkin)

Growing Up Asian in Australia Essay Prompt Breakdown

Video Transcription

The essay topic we’ll be looking at today is short and sweet;

To belong is to sacrifice. Discuss. 

The key terms are evidently “to belong” and “to sacrifice”, so these are the words and definitions that we’ll have to interrogate. 

Belonging is a feeling of being accepted by someone or being a member of something, so we’d have to ask who is doing the accepting, and what are the writers seeking to be members of. On the other hand, sacrifice is loss, it’s giving something up—it’s implied that seeking belonging means you may have to navigate compromises to what you have, how you live, or maybe, who you are. Have a think about what sacrifices are made by whom, and why.

With that in mind, let’s brainstorm a contention . We usually want to avoid going fully agree or fully disagree to create a bit more ‘grit’ for the essay—and in this case, the prompt is pretty deterministic or absolute; it’s saying that belonging is all about sacrifice. 

I’d probably argue that belonging is sometimes about sacrifice, and for migrant children they often give up some of their culture or heritage for Western lifestyle or values. That being said, belonging in these cases is probably more about synthesis than sacrifice—it’s about being able to negotiate and bring heritage into increasingly Australian ways of life.

The brainstorming section of writing a killer essay is where my THINK and EXECUTE strategy comes in. If you haven’t heard of it before, essentially, it’s a method of essay writing that emphasises the importance of really thinking about all aspects of a prompt and exploring all the different avenues you can go down. To be able to EXECUTE a well-reasoned, coherent and articulate essay that contains enough nitty-gritty analysis, you have to do enough THINKing to get some meat on the essay’s skeleton, so to speak. To learn more, check out my top selling eBook, How To Write A Killer Text Response .

In paragraphs , we could start by looking at some of the sacrifices people make in order to belong . The poem, ’Be Good, Little Migrants’ has a more of a cynical take on this, suggesting that migrant groups are expected to sacrifice economic mobility and even personal dignity in order to gain favour with locals: “give us your faithful service”, “display your gratitude but don’t be heard, don’t be seen.” 

Economic sacrifices are seen across many stories, from the working class “decent enough income” in ‘Family Life’ to the failing business in ‘ABC Supermarket’. Other forms of sacrifice might be less material—for example Benjamin Law’s sacrifice of his Mariah Carey cassettes in an attempt to fit in at school from the story ‘Towards Manhood’. This example is interesting because it isn’t a cultural sacrifice, but a gendered one—it’s a good reminder that identity is always multi-layered. 

For migrant children though, the sacrifices usually revolve around their race and culture . Diana Nguyen for example notes language as a key sacrifice: she quits Vietnamese school because she didn’t feel like she belonged with the grade ones in her class, and her ultimate “lack of interest in learning [Vietnamese] created a lasting barrier” between her mother and her. In Sunil Badami’s story, ‘Sticks and Stones and Such-Like’, the sacrifice is his name, as he Anglicises it to Neil. When his mother finds out, “she spat my unreal new name out like something bitter and stringy, too difficult to swallow.” The common denominator here is that Asians growing up in Australia often have to navigate sacrificing some of their heritage in order to belong in western society. 

However, the challenges faced by the Asian diaspora growing up abroad are more complex and more nuanced than just sacrifice. More often than not, they’re required to synthesise a ‘third culture’ identity that balances their heritage with western values and lifestyles. 

Diana Nguyen goes on to discuss her career trajectory in becoming a “working actor” in Melbourne’s entertainment industry, carving out a path for herself in spite of her parents’ disapproval, and going on to represent a new generation of Asian Australians in the media. The story ‘Wei-Lei and Me’ also points to this shifting demographic in Australia, as Gouvernel and her best friend stave off a racist primary school bully only to see their home change for the better as they grew up, with new restaurants from their home cuisines opening up. At the same time, they “had become what [they] thought [they] could never be: Australian,” describing a way of life in Canberra that is unmistakably Australian. 

So, belonging isn’t necessarily all about sacrifice—it doesn’t mean you can’t pursue your passions or become ‘Australian’. Sure, sometimes sacrifice is necessary, but ‘third culture kids’ synthesise conflicting identities in order to belong. 

Having arrived at the contention, let’s just have another think about the takeaway message - being able to bring other themes into an essay topic that only really raises one theme. To answer this topic fully, a good essay wouldn’t just discuss belonging and sacrifice, but it would also bring in discussion about family, friends, careers and cultures, just to name a few. Hopefully this is something you can translate into your own future work!

Growing Up Asian In Australia is an anthology with a lot to unpack, but there are plenty of unique stories with plenty of interesting links to be made. However you’re learning this text, being able to draw conclusions from stories and extrapolate them into your writing is a really important skill.

As you go, ask yourself about the implications: ‘so what?’ and ‘why?’. These sorts of questions will help you get richer insights and write about the anthology in a more interesting way.

We've curated essay prompts based off our All the Light We Cannot See Study Guide which explores themes, characters, and quotes.

LSG-curated All the Light We Cannot See Essay Topics

• Contrary to what the title might suggest, All the Light We Cannot See explores light more so than darkness. Is this true?
• How does Doerr’s narrative structure highlight the similarities and differences between Marie Laure and Werner in All the Light We Cannot See?
• All the Light We Cannot See demonstrates that war brings out the best and worst in humanity. Discuss.
• Explore the forms of courage demonstrated in All the Light We Cannot See.
• What is the role of family in All the Light We Cannot See?
• Werner’s character is defined by his cowardly and harmful conformity to the Nazi regime. To what extent do you agree?
• All the Light We Cannot See is a warning against unethical and selfish scientific pursuits. Discuss.
• Who deserves our sympathy in All the Light We Cannot See and why?
• Throughout All the Light We Cannot See, various forms of guilt are shown to be emotionally crushing. Is this true?
• “Don’t you want to be alive before you die?” Explore the value and meaning of human life as evinced in All the Light We Cannot See.
• No character from All the Light We Cannot See is totally monstrous, just as no character is totally pure. Do you agree?
• In All the Light We Cannot See , Doerr suggests that nobody truly has agency over themselves. Discuss.
• More so than any other object, it is the radio which drives the plot of All the Light We Cannot See . Is this an accurate statement?
• All the Light We Cannot See posits that strength must come from within. Discuss.
• “Open your eyes and see what you can see with them before they close forever.” To what extent do characters exhibit this sentiment in All the Light We Cannot See ?

If you'd like to see a fully planned, written and annotated essay, see our All the Light We Cannot See Essay Topic Breakdown .

All the Light We Cannot See is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

2. EAL Study Design

3. Listening Component Marking Criteria

4. Listening Component Tips

5. Reading Comprehension

6. Time Management

7. English Fluency and Proficiency

As you all know, English subjects are integral to VCE studies, since it is compulsory that at least all four units of an English subject be done in order for you to reach that ATAR goal at the end of the VCE tunnel. Given the richness in cultural backgrounds of VCE students cohort, EAL is designed to mend the linguistic gaps between local students and those from non-English speaking backgrounds. Students eligible to complete EAL are those who have no more than 7 years residency in a predominately English-speaking country AND no more than 7 years having English as their main language of instructions.

According to the study design published by VCAA, both English subjects:

‘"[contribute] to the development of literate individuals capable of critical and creative thinking, aesthetic appreciation and creativity…"

‍ It might sound complex, but this basically just means that these subjects enable us to enhance our understanding and usage of the English language, which serves to support our daily English communication. This purpose holds even greater significance to students from non-English speaking backgrounds, as those skills offered by English subjects are essential to their life in Australia. That’s said, EAL can be different from mainstream English in the sense that it also assists students whose mother tongue is not English in adapting to the predominately English-speaking community, via developing their language skills.

EAL Study Design

Both EAL and English assess students on multiple areas, including: Text Response , Creative writing, Argument Analysis, and Comparative . We highly recommend you have a read of the links above so you've got all your English/EAL areas covered!

One major difference is in Unit 3 , where EAL students are required to do a Listening task , whereas mainstream students study an additional text. For a detailed comparison on VCE EAL vs VCE English , read Cynthia's blog post here.

Shown below is the Unit 3 coursework from the VCAA EAL study design, taken from the VCAA website :

Now that we know the similarities and differences, let's focus primarily on the Listening Component of the EAL Exam for the rest of this blog.

Listening Component Marking Criteria

For the listening component of the exam/SAC the examiners (and your own teachers) will be marking your answers base on TWO main points:

• Your ability to understand and convey general and specific parts of the listening track
• Your ability to convey information accurately and appropriately

Some of you out there might be thinking “Listening is easy! I just need to write down the correct answer, it's a piece of cake.” Unfortunately, this isn’t the case for EAL listening or any VCE Language listening SAC or exam. The VCAA examiners will be looking for appropriateness of vocabulary and the accurate use of grammar, spelling and punctuation. They even look at how well you phrase your response!

For more information on the the exam, read Rachel's blog on how to Nail that VCE EAL Exam Listening Component. She offers her tips for the exam, including taking advantage of bringing bilingual dictionaries into the exam!

Listening Component Tips

Listening is also the easiest section for students to lose marks as many of them may carelessly misread the question and/or comprehensively fail to answer the question. Listening may also be challenging as it requires you to concentrate on multiple things at the same time, for example, the characters’ main contention, emotions, tone shift, and the context of the recording. However, as long as you do more practice, you will soon be able to master the listening skills! Here are the 4 steps that you will have to know if you want to do well in listening!

1. Read The Background Information Of The Text

Use your reading time (15 minutes) wisely and spend around 2-3 minutes in the listening section. The background information of the text is extremely important as it tells you the context of the recording which can also give you a basic idea of the characters involved in the text and the content they will be talking about.

2. Scan Through The Questions Carefully

Look for the keywords in the question, such as the 5W1H (Who, When, Where, What, Which, How), the character names, and the number of points that needs to be answered in each question.

Examples of the 5W1H Questions

• Who is he referring to when he says “You”?
• When did he open his first bookshop?
• Where did he go after his graduation?
• What message is he trying to convey in his speech?
• Which phrase did he use to express how dry it was in the desert?
• How does he express his anger?

3. Note Taking

You should be using the spaces provided in the exam answer booklet to jot down any key words and phrases that are related to the questions. Do not bother to fill in the answers on the answer line just yet, as you are very likely to get distracted, hence, it may increase the risk of missing the answer for the next question. Remember that your notes should be as concise and clear as possible so you will be able to write down the answers immediately once the recording stops.

4. Focus On The Questions That You’ve Missed

Bear in mind that you will have the chance to listen to the recording two times in total so please DO NOT stress if you miss out any answers or you are not sure about the answers after the first time. Highlight the questions that you have trouble with and focus on them when the recording is played the second time.

For more detail on each of these tips, and information on the types of questions you may be asked , read Pallas' blog on How to ACE the EAL Listening Exam .

For Listening practice, head to EAL Listening Practice and Resources (Part 1) and EAL Listening Practice (Part 2), and get tips on EAL Listening and note-taking during the Listening component of the VCE EAL exam/SAC.

Reading Comprehension (Language Analysis)

Section C, Question 1 requires students to write short answers, in note form or sentences, which altogether will make up of 50% of the marks in Section C. For a lot of student, getting good marks for Question 1 is much easier than getting good marks for Question 2, which requires you to write a full language analysis essay. This is why it is important that you are able to maximise your marks in this question because they are purported to be easier marks to get! Some of the questions will ask the students for factual information but more difficult questions will require to think about that is contained in the text and make an interpretation based on your understanding.

1. Question words

To know what sort of answer you are expected to give before looking for details from the article, you need to be familiar with question words.

• WHO - A particular person or group of people impacted by an incident or involved in a situation
• WHAT - This really depends. It might require you to give out information about something or to identify reasons for the writer’s opinions (which is good it might make it easier for you to find the writer’s arguments)
• WHEN - The timeframe within which an issue or event occurred (date, day, etc)
• WHERE - The location of an event
• WHY - The reasons for something
• HOW - How a problem can be resolved

2. Direction words

Unfortunately, not all questions in this section have “question words” and examiners usually give out questions that are broader using “direction words” or “task words”, making this section more challenging for students. EAL is not the only subject that requires students to know their direction words well so it is definitely worthwhile learning these words to improve your performance. These are the most common direction words used in Section C (see below!).

• Describe - Giving information about something or to identify the writer’s opinions
• Explain - This requires you to give out information in your own words and elaborate
• Identify - Students will be required to find what is asked from the article and write them down in the briefest form possible
• List - Usually in note forms – to answer this you need to identify what is asked and briefly noting them down
• Summarise - Retelling something in a succinct and concise ways in your own words, it should only be enough to highlight key ideas
• Support - Finding evidence from the text to justify a statement or opinions

3. Marks allocation

Another super helpful tip is to pay extra attention to the marks allocation of the questions. It usually gives you a fairly accurate indication of how much you should write. The general rule of thumb would be that the number of marks tell students how many sentences or points they should be making.

Identify the reasons why the writer loves travelling (2 marks)

Students should be writing down 2 reasons why the writer loves travelling ‍

The editor strongly opposes the use of plastic bag. Support this statement (3 marks) ‍

In this case, it is probably best to find 3 pieces of evidence from the article that justify the statement stated to make sure you do not lose any marks by not writing enough.

For sample questions and responses with annotations, read Lindsey's blog on EAL Reading Comprehension here.

Time Management

Time management during the exam is as important as studying and preparing. Here are some tips to help you manage your time during your exam so you can achieve maximum marks!

1. Look at the comprehension questions during reading time

2. look for key features instead of analysing and finding techniques straight away.

You can also use the reading time to find the contention, determine what type of article it was and the source, etc. The following acronym might help you! Try identifying all of the features below as it also helps you plan your introduction within reading time.

• C ontention ‍
• A udience ‍

For a detailed guide on writing Language Analysis Introductions, check out our advice here (for both English & EAL students) and here (specifically for EAL students). We recommend reading both blog posts!

3. Set out a detailed time management plan for your essay the night before the SAC or exams (or earlier if possible)

4. stick with one introduction’s structure/format.

Introductions for EAL Language Analysis, To Write or Not To Write? teaches you a great template approach you can use for your introductions.

5. Not be way too thorough with annotation

6. create your own glossary of words ‍, 7. practice.

To understand each of these time management tips in detail, read Lindsey's blog on EAL Time Management here.

English Fluency and Proficiency

As non-native speakers living and studying in Australia, we would want nothing more than to improve our English skills both for the comfort of living in an English-speaking country and our career prospects. Here are some tips to help you better their writing skills in EAL.

1. Knowing Your Sentence Structure

I cannot stress how important it really is to really know your sentence structure and grammar because, without a solid understanding of how it is supposed to be structured, grammatical errors can easily be made which will preclude you from articulating your ideas in the clearest manner possible.

Simplest form: Subject + Verb + Object

To see an example of structuring sentences together, read Lindsey's blog here.

2. Expand Your vocabulary

While it is sometimes helpful to memorise words from glossaries found on the Internet, it is not the most the effective way to thoroughly improve your vocabulary. In fact, learning words from a glossary or dictionary by heart can often lead to students misusing the words due to their misinterpretation of the new words.

The best way to upgrade your word bank for your essays is to slowly word up from what you already know. Start off with a simple paragraph and you will see your writing get better after every time you edit or rewrite your paragraphs. Therefore you should:

• Avoid generic verbs
• Know the word’s connotations
• Use strong adjectives

English grammar is often seen as one of the more challenging one due to it having so many tenses and irregular cases. However, if you know how to break it down, it is not that scary because there are actually only 13 tenses and future, past and present tenses. Plus, in our EAL exams, we rarely need to use any other tenses aside from the present tenses anyway.

4. Build Your Own 'Essay Formulas'

For each Area of Study, I have a revision document that contains the following:

• Introduction ‘formula’
• Sample paragraph
• Super extensive word bank (my own thesaurus)
• Practice essays and sample essays

To see an example of an 'essay formula' in action, read Lindsey's blog on The Keys to English Fluency and Proficiency here. ‍

The Importance of the Introduction

‍ Exam Tips From VCE EAL Examination Reports

Study Techniques: How To Approach a Text That You Hate

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A Modern Perspective: Much Ado About Nothing

By Gail Kern Paster

Cuckoldry jokes are in the air in Messina. Its governor, Leonato, snatches one out of it when he jokes feebly about having to ask his wife repeatedly for reassurance as to his daughter’s legitimacy:

PRINCE   I think this is your daughter.

LEONATO   Her mother hath many times told me so. 1

( 1.1.102 –3)

Benedick draws our attention to this trace of an old suspicion: “Were you in doubt, sir, that you asked her?” ( 1.1.104 ). But Benedick, we soon learn, is also suspicious of women as the agents of men’s humiliation and defeat. He expresses an almost pathological fear of betrayal in marriage: to be married is to wear the conventional horns of a cuckold, to have one’s own military bugle snatched away, to have it sounded in one’s own face:

That a woman conceived me, I thank her; that she

brought me up, I likewise give her most humble

thanks. But that I will have a recheat winded [i.e., a

bugle-call blown] in my forehead or hang my bugle

in an invisible baldrick, all women shall pardon

me. Because I will not do them the wrong to

mistrust any, I will do myself the right to trust none.

( 1.1.234 –40)

Benedick’s extraordinary self-portrait of his relations with women yields readily to a psychoanalytic reading. Moving without pause from his conception to his upbringing to his cuckolding, he conflates his relations to mother and to wife, collapses past and future, memories and fears. 2 What seems to unify all these stages of a man’s life, for Benedick, is humiliating dependence on women, beginning with the infant’s dependence on maternal women for life and nurture. But that early dependence, instead of being outgrown, is seen here as forerunner to the later sexual humiliations of the adult male. Furthermore, Benedick’s dismissive mention of his mother as the “woman [who] conceived me” betrays her real importance to the structure of repressed memory. In psychoanalytic narratives of male repression, the mother’s lack of the phallus is a disturbing image for the child—an image of his own fear of castration and of his overmastering by another male. But for Benedick, the returning soldier, this fear of women seems less generic than personal: the cuckold’s horns that he envisions as his own future headdress are specifically those of a defeated soldier who has lost his bugle to another soldier. It is not surprising, then, that Benedick’s anticipation of a farewell to arms here parallels Othello’s lament for the loss of heroic identity through an imagined sexual betrayal by Desdemona:

Farewell the tranquil mind! Farewell content!

Farewell the plumèd troops and the big wars

That makes ambition virtue! O, farewell!

Farewell the neighing steed and the shrill trump,

The spirit-stirring drum, th’ ear-piercing fife,

The royal banner, and all quality,

Pride, pomp, and circumstance of glorious war!

( Othello 3.3.400–6)

For soldiers like Benedick and Othello, marriage threatens loss of a valued form of masculine singleness, a loss of control.

More interesting, perhaps, in a comic action like Much Ado ’s which is organized around the imagining of sexual betrayal, is that the fear of being associated with the cuckold’s horns is not peculiar to men nor is resistance to marriage a symptom of only masculine identity. Though her uncles worry that Beatrice’s sharp tongue makes her “too curst” ( 2.1.20 ) to get a husband, she jokes that she will thereby avoid making her husband wear horns: “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” ( 2.1.21 –24). Even the devil, no mere mortal, wears the signs of betrayal; Beatrice imagines having him meet her looking “like an old cuckold with horns on his head” ( 2.1.44 –45). The horn motif continues to sound in the play even after it ostensibly has been silenced by the exposure of Don John’s sexual slander against Hero. Thus Benedick, though converted to love in the person of Beatrice, nonetheless misogynistically urges the play’s remaining eligible bachelor, Don Pedro, to join in the march to the altar in the spirit of accepting a universal, age-old humiliation: “Get thee a wife, get thee a wife. There is no staff more reverend than one tipped with horn” ( 5.4.126 –28). If betrayal is the universal fate of the married, it is no wonder that Beatrice regards marriage as a form of repentance:

 . . . wooing, wedding, and repenting is as a Scotch jig, a

measure, and a cinquepace. The first suit is hot and

hasty like a Scotch jig, and full as fantastical; the

wedding, mannerly modest as a measure, full of

state and ancientry; and then comes repentance,

and with his bad legs falls into the cinquepace faster

and faster till he sink into his grave.

( 2.1.72 –78) 3

As all these quotations suggest, anxiety about sexual betrayal in marriage seems endemic in Messina, sparing neither the old nor the young, neither male nor female. What is clear in the men’s cuckoldry jokes is their willful silence, for the sake of male friendship and preservation of the status quo, about the male betrayer and a contrasting emphasis on his female partner. It is not the desires of other men that Benedick mistrusts but those of womenkind. It is only when they are among themselves that the Men’s Club of Messina—to borrow Harry Berger’s wonderful appellation—allows Balthasar’s song to register an alternative truth: “Sigh no more, ladies, sigh no more, / Men were deceivers ever, / One foot in sea and one on shore, / To one thing constant never” ( 2.3.64 –67). 4

Much Ado is not unusual in its reiterated wordplay on horns, since jokes about the wearing of cuckolds’ horns are commonplace throughout the literature of this period. But, in the drama of the period, there is a marked disparity between the frequency of the jokes and the infrequency of wifely infidelity. Many more wives are falsely accused than are, in fact, guilty. This discrepancy between fears of betrayal and actual guilt suggests that we should focus less on the infidelity itself than on the real source of patriarchal anxiety, which was patriarchy’s inevitable dependence on (and inability to verify) the chastity of wives and mothers. For only such chastity secured a social structure based on legitimate inheritance of lands, wealth, property, rank, and name.

In Much Ado , I want to suggest, this patriarchal anxiety gives cuckoldry jokes a particular, local function. They work to resolve a social contradiction in Elizabethan society, a moment of double bind in the cultural history of marriage in which an authoritarian official tradition collided with an emergent ideal. Sixteenth-century English society had not yet dispensed with forms of overt, virulent misogyny inherited from medieval Catholicism which made marriage, especially for men, a less perfect way of life than celibacy. But it could not readily accommodate these inherited forms of misogyny to a post-Reformation celebration of marriage, particularly in its modern form of companionate, consensual unions in which the emotional satisfaction of both partners assumes new importance. Elizabethan society could not dispense with misogyny because the most general, even ancient function of antifeminist discourse is to justify patriarchy’s unequal distribution of power and property, its subordination of women. But virulent suspicion of wifely chastity—the kind of suspicion that destroys lives and marriages in Othello and The Winter’s Tale , for example—must have seemed incompatible with an emergent theory of marriage focused upon the initial consent of both partners and upon their long-term fulfillment of a set of mutual obligations which were in part material, in part emotional. 5 Even Don Pedro, in seeking to promote the marriage of Hero and Claudio, assumes that winning the consent of Hero comes before anything else: “I will break with her and with her father” ( 1.1.304 ), while Beatrice slyly urges her cousin not to say “Father, as it please you” but rather “Father, as it please me” ( 2.1.53 , 55 –56). If women’s feelings matter, then so, it would seem, do feelings about women: medieval misogyny and post-Reformation marriage theory could not comfortably coexist. From the tension between them, the double plots of Shakespeare’s comedy come into being.

Perhaps such a reading of Much Ado seems obvious. Any reader of the play can see how much of its action is devoted to overcoming, through Don Pedro’s theatrical manipulations, the resistance to love expressed by both Beatrice and Benedick. But to follow this reading to its logical conclusion will require the replacement of a character-based interpretation of the play with one which dissolves boundaries between the text as an autonomous work of art and the culture in which it is produced. Such a reading will attend to the widely dispersed misogyny in Elizabethan culture which speaks in and through Benedick, and to the effects of that misogyny as they register in Beatrice’s resistance. Thus, where I depart from traditional critics is in refusing to accept Beatrice and Benedick’s resistance to marriage as finally psychological in significance, even if it is expressed in psychological form in their language and behavior. I do not wish to explain resistance to marriage as idiosyncratic aspects of the personalities of Beatrice and Benedick, even though such resistance is what most sets them apart from their friends and kinfolk. Nor do I wish to interpret their eventual declarations of mutual affection as the manifestation of a hidden attraction that was there all along. I take their love as the creation of Don Pedro, who would “fain have it a match,” he says, to enliven the time between Claudio’s betrothal and nuptials by accomplishing a difficult thing. And presumably he also wishes to make sure that no person in his lordly jurisdiction escapes from the paradoxical cultural requirement to pair off freely .

But the uncomfortable truth is that, in a misogynistic culture, resistance to marriage is rational, not idiosyncratic, because misogyny—defined as the systematic denigration of women—gives men and women well-founded reasons to suspect one another. Beatrice and Benedick are given the function in this play of wittily enacting for our benefit the conventional postures of mutual antagonism so that their eventual union will seem both to ratify the irrational force of desire (no matter how it is brought into being) and to dissolve the larger social tensions exemplified by their mutual mistrust. Because, even though marriage might appear incompatible with individual peace of mind, it remains the basic form of social organization, the central distribution point in Elizabethan society for the social and sexual goods of adult maturity. This paradox about marriage may serve to explain why Don Pedro, rather than take a laissez-faire position with regard to the wooing and resistance to wooing in his midst, intervenes personally as head of the social order in the double matchmakings of Hero to Claudio, Beatrice to Benedick. Indeed, he has a notable, almost quantifying pragmatism with regard to affection, assuaging Claudio’s fear that his “liking might too sudden seem” with a breezy “What need the bridge much broader than the flood? / The fairest grant is the necessity. / Look what will serve is fit” ( 1.1.311 –13).

It is important for my argument to emphasize that the history of misogyny is also the history of romantic love, that cultivation of antifeminist feeling has, since the early twelfth century in Europe, coexisted with, indeed depended upon, a counterbalancing idealization of woman. As Howard Bloch has argued, “Misogyny and courtly love are coconspiring abstractions of the feminine whose function was from the start, and continues to be, the diversion of women from history by the annihilation of the identity of individual women . . . and thus the transformation of woman into an ideal.” 6 That is to say, the idealism of romantic love and the denigration of antifeminist rhetoric are alike in functioning to erase differences between women in order to make women anonymous and invisible to historical action. Such an erasure of differences in women is precisely what occurs in Benedick’s lines quoted above, where the distinct roles of mother and wife are subsumed into the one undifferentiated category, Woman. In the logic of misogyny, if one woman is treacherous, all women are condemned: “Because I will not do them the wrong to mistrust any, I will do myself the right to trust none.” The point is not only, as Harry Berger has argued, that “the difference between men and women in this respect . . . is that women are responsible for their sins but men are not.” 7 Even more crucial is to recognize the instability between a misogyny which posits all Women-as-the-Same and an idealization which posits Women-as-Different. 8 In the conversations between Claudio and Benedick—as in the similar conversations between Romeo and Mercutio—this instability in the categorization of women is easy to detect: “Can the world buy such a jewel” as Hero, idealist Claudio asks rhetorically. “Yea,” comes the misogynist’s bawdy reply, “and a case [vagina] to put it into” ( 1.1.177 –78).

Indeed, this instability in the way women are categorized would seem to motivate the different rhetorics by which Benedick and Beatrice are each persuaded to love. While Benedick must be led to believe in Beatrice as Different from all other women, Beatrice must be brought to accept herself as just the Same. Hence Benedick is made to overhear a conversation among the men which describes Beatrice as a compendium of virtues—“an excellent sweet lady,” “out of all suspicion . . . virtuous,” “exceeding wise” ( 2.3.166 –68)—except for her dotage on Benedick. Beatrice, by contrast, learns from Hero and Ursula less about Benedick’s virtues than about her own faults, the chief of which is the nonconformity of resistance: “to be so odd and from all fashions / As Beatrice is cannot be commendable” ( 3.1.76 –77). Both resisters are asked to understand the other’s alleged passion as unwilled and uncontrollable—the real thing, in other words. Beatrice and Benedick experience their separate reactions to this surprising news as free and fortuitous. Benedick, on cue, vows to “be horribly in love with her” ( 2.3.237 ). Beatrice, stung by what she has overheard, thereupon commits herself to a course of action she names self-taming, “taming my wild heart to thy loving hand” ( 3.1.118 ). But we have heard Don Pedro gloat, “The sport will be when they hold one an opinion of another’s dotage, and no such matter” ( 2.3.218 –20), and we thus have reason to think otherwise about the relative freedom of their actions. We witness the conspirators glorying in the emotional transformations which, in the guise of “love gods” ( 2.1.377 ), they claim to have achieved; and we note in their language a deterministic vocabulary of contagion and entrapment. Claudio whispers to the Prince that Benedick has “ta’en th’ infection” ( 2.3.129 ); Hero and Ursula congratulate themselves on having “limed,” or trapped, Beatrice ( 3.1.109 ). Thus in the contrast between Beatrice and Benedick’s subjective experience of free choice in love and the undeniable presence of social manipulation in bringing them to imagine that freedom, we can recognize the powerful, because invisible, workings of ideological conditioning to make people act, so they think, naturally: “the world,” as Benedick grandiosely declares, “must be peopled” ( 2.3.244 –45).

But since early modern English patriarchy required both marriage and misogyny, the social inscription that works so hard to create romantic love works equally hard to destabilize it. Thematic links between the two institutions of marriage and misogyny are emphasized because, in the double plot of Much Ado About Nothing , the actions to make and to break nuptials employ the same kinds of theatrical means. Shakespeare assigns the function of destroyer with evident symmetry to Don Pedro’s brother, Don John the Bastard, whose sense of self-expression in trying to abort the nuptials of Claudio and Hero matches Don Pedro’s in bringing them about. If the moral differences between the two brothers seem too insistently coded, that may be—as Jean Howard has argued—because the play is ambivalent about the social and moral function of theatrical practice. 9 By making the Iago-like Don John a bastard who is so determined to avenge his defeat at the hands of Claudio that he does not scruple to scapegoat Hero in the process, Shakespeare defines one kind of theatrical manipulation as evil, that is, as motivated by the urge to destroy. But is the moral character of Don Pedro’s delight in theatrical practices thereby enhanced? The answer to that question cannot be unproblematical, given that Don Pedro’s surrogate wooing of Hero leads to a series of early misapprehensions—that the Prince woos for himself; that Hero or her father might have preferred to accept the Prince’s suit; that love of women breeds mistrust between male friends because, as Claudio says, “beauty is a witch / Against whose charms faith melteth into blood [i.e., sensual appetite]” ( 2.1.177 –78). Nor does Don Pedro’s devotion to theatrical practice give him any advantage in seeing through his brother’s deception: when the Prince and Claudio witness the scene at Hero’s chamber window in which Margaret allows herself to be courted as Hero in Hero’s clothes, they see and hear only what Don John has prepared them to: “Go but with me tonight, you shall see her chamber window entered, even the night before her wedding day” ( 3.2.105 –7). The potential moral hollowness and material harm of theatrical practices are later emblematized, in this play, when Claudio stands before what we know to be an empty tomb to read an epitaph for Hero.

The play takes pains to construct Claudio as inexperienced and to emphasize the superficiality of a love which arises, he says, at a moment of postcombat mental vacancy:

 . . . now I am returned and that war thoughts

Have left their places vacant, in their rooms

Come thronging soft and delicate desires,

All prompting me how fair young Hero is,

Saying I liked her ere I went to wars.

( 1.1.296 –300)

The prolongation of courtship—which seems the goal of Shakespeare’s other conventional lovers such as Orlando in As You Like It , or even Romeo—holds no attraction for the two-dimensional Claudio, nor does Hero use the courtship period as Rosalind does in As You Like It to investigate the quality of her lover’s desire and imagination. The too-compliant Hero accepts the marriage proposal of a man in a mask and then learns to transfer her consent from the wearer of that mask, Don Pedro, to his young favorite. Claudio does not even plan to spend much time getting acquainted with Hero after their marriage and has to be told that his astonishing plan to accompany Don Pedro home to Aragon would be a great “soil in the new gloss of your marriage” ( 3.2.5 –6). (Indeed, the lovers’ activity of courtship as mutual interrogation is taken over in this play by Beatrice and Benedick. Even though this delight in mutual interrogation is one reason why we are conditioned to expect their eventual union, it is also the case that Beatrice and Benedick use the resulting information to bolster resistance to marriage and to improve their jests at each other’s expense.) Shakespeare uses Claudio’s passivity and inexperience as a wooer to rationalize the young count’s readiness to believe Don John’s slander of Hero and to prepare us eventually to forgive the misogynistic brutality with which he shames her before the assembled wedding guests:

O, what authority and show of truth

Can cunning sin cover itself withal!

Comes not that blood as modest evidence

To witness simple virtue? Would you not swear,

All you that see her, that she were a maid,

By these exterior shows? But she is none.

( 4.1.35 –40)

Claudio’s willed commitment to reading Hero’s blush as “guiltiness, not modesty” ( 42 ) suggests that the real problem linking the two plots of the play is the collapse of the tension between women-as-different and women-as-the-same into one incoherent category of woman-as-different-from-herself. The audience then and the audience now are in a position to understand that widespread cultural suspicion of women, surrogate wooing, and Don John’s theatrical illusionism have combined to interrupt the wedding of Hero and Claudio. The audience is also in a position to appreciate the irony of Benedick and Beatrice relinquishing their resistance to marriage and exchanging protestations of love at the very moment when the grounds for mutual suspicion between the sexes seem to have widened. A subtler irony may reside in the complexities of Benedick’s situation as the lapsed misogynist learns of one danger in love he had not foreseen, one other rational reason to remain resistant. That is, even as he gives up misogyny and trusts Beatrice’s word for Hero’s innocence, he finds a new way in which love may be hazardous to one’s health: when he rashly asks Beatrice to “bid me do anything for thee,” she promptly replies, “Kill Claudio” ( 4.1.302 –3). “Ha! Not for the wide world,” comes his automatic reply.

The recuperative necessities of comic closure that will not allow Hero to die or remain dishonored by an unforgiven Claudio also prevent Benedick from having to follow up on the challenge he flings at Claudio and Don Pedro, from having to act irrevocably upon his decision to sacrifice old loyalties to male companions to new loyalties to his future companion in marriage. But the final entrance of the bridal party, with not just the reborn Hero but all the women wearing masks, suggests that the old cultural categories that produce suspicion and slander remain largely untouched by the theatrical manipulations of the Friar and the rapprochement of Beatrice and Benedick. Even the words of Claudio’s question, “Which is the lady I must seize upon?” ( 5.4.54 ) in their traditional suggestions of coercion and violence suggest the social manipulations that are required to separate men and women from the companionship of their own sex and precipitate them into the terrifying private world of heterosexual union for life. Perhaps this is why Benedick insists on ending the play not with a wedding but with the stately, regulated movements of a communal dance in which the couples move not singly, but together, and no man is yet wearing horns.

• My emphasis. Note here that the original stage directions include the entrance of Leonato’s wife, Innogen, but that editors in this text like others omit her on the plausible ground that she has no words at all, appearing in the text no place but here and in the entrance direction for 2.1. This essay is much indebted to the essays by Carol Cook, Jean E. Howard, and Claire McEachern, which are cited in full in the suggestions for further reading.
• See Carol Cook, “ ‘The Sign and Semblance of Her Honor’: Reading Gender Difference in Much Ado About Nothing ,” PMLA 101 (1986): 187.
• For a brilliant application of this speech, see Harry Berger, Jr., “Against the Sink-a-Pace: Sexual and Family Politics in Much Ado About Nothing ,” Shakespeare Quarterly 33 (1982): 302–3.
• Ibid., p. 308.
• See Ralph A. Houlbrooke, English Family Life, 1576–1716 (Oxford: Basil Blackwell, 1988), pp. 15–17. For an extended discussion of seventeenth-century discussions of marriage conduct books, see Mary Beth Rose, The Expense of Spirit: Love and Sexuality in English Renaissance Drama (Ithaca: Cornell University Press, 1988), pp. 116–31.
• Howard Bloch, Medieval Misogyny and the Invention of Western Romantic Love (Chicago: University of Chicago Press, 1991), pp. 196–97.
• Berger, “Against the Sink-a-Pace,” p. 307.
• On this categorical instability, see Peter Stallybrass, “Patriarchal Territories: The Body Enclosed,” in Rewriting the Renaissance: The Discourses of Sexual Difference in Early Modern Europe , ed. Margaret W. Ferguson, Maureen Quilligan, and Nancy Vickers (Chicago: University of Chicago Press, 1986), p. 133.
• Jean E. Howard, “Renaissance antitheatricality and the politics of gender and rank in Much Ado About Nothing ,” in Jean E. Howard and Marion F. O’Connor, eds., Shakespeare Reproduced (London: Methuen, 1987), pp. 172–73.

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Much Ado About Nothing

William shakespeare.

Ask LitCharts AI: The answer to your questions

Welcome to the LitCharts study guide on William Shakespeare's Much Ado About Nothing . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Much Ado About Nothing: Introduction

Much ado about nothing: plot summary, much ado about nothing: detailed summary & analysis, much ado about nothing: themes, much ado about nothing: quotes, much ado about nothing: characters, much ado about nothing: symbols, much ado about nothing: literary devices, much ado about nothing: quizzes, much ado about nothing: theme wheel, brief biography of william shakespeare.

Historical Context of Much Ado About Nothing

Other books related to much ado about nothing.

• Full Title: Much Ado About Nothing
• When Written: 1598-1599
• Where Written: England
• When Published: 1623
• Literary Period: Elizabethan
• Genre: Comedy
• Setting: Messina, Italy in the 16th Century
• Climax: At the altar, Claudio publicly accuses Hero of unfaithfulness, sending her into a swoon.
• Antagonist: Don John

Extra Credit for Much Ado About Nothing

Masks and Recognition. Masked balls and disguises are common in Shakespeare. During such balls, characters sometimes have trouble recognizing even their closest friends and relatives. Critics who believe in verisimilitude —the idea that a fictional story should be believable—have sometimes criticized Shakespeare because of this. The famous Russian writer Leo Tolstoy, for instance, found it completely ridiculous that characters in Shakespeare fail to recognize even each other’s voices when in disguise.

Bastards. In the Renaissance, children born out of wedlock were often considered to be naturally evil. Sir John Fortescue wrote that “If a bastard be good, that commeth to him by chance… but if hee bee evill, that commethe to hym by nature.” The evil bastard is a common character in Shakespeare and Renaissance Drama in general, and Don John is only one example—Edmund, in Shakespeare’s King Lear , is another.

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Essays on Much Ado About Nothing

Prompt examples for "much ado about nothing" essays, deception and miscommunication.

Discuss the theme of deception and miscommunication in "Much Ado About Nothing." How do misunderstandings and false appearances drive the plot, and what are the consequences of these deceptions?

Love and Relationships

Analyze the various relationships and forms of love in the play. How do characters like Beatrice and Benedick, Hero and Claudio, and others experience and express love, and how do their relationships evolve?

Gender Roles and Stereotypes

Examine the portrayal of gender roles and stereotypes in "Much Ado About Nothing." How do characters conform to or challenge traditional gender norms, and what commentary does the play offer on gender dynamics?

Humor and Wit

Discuss the use of humor and wit in the play. How do characters employ clever wordplay, puns, and humor to engage and entertain the audience, and what is the significance of humor in the story?

Conflict and Resolution

Analyze the conflicts that arise in the play and how they are ultimately resolved. What role does forgiveness and reconciliation play in the resolution of misunderstandings and disputes?

Themes of Honor and Reputation

Explore the themes of honor and reputation in "Much Ado About Nothing." How do characters' actions and choices affect their social standing and reputation, and what does the play convey about the value placed on honor in society?

Dramatic Irony in Much Ado About Nothing

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Deception in William Shakespeare's Much Ado About Nothing

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Female Heroines in The Much Ado About Nothing

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Antagonistic Relations Between Benedick and Beatrice in Much Ado About Nothing

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1598-1599, William Shakespeare

The play revolves around two romantic pairings that emerge when a group of soldiers arrive in the town. The first, between Claudio and Hero, is nearly altered by the accusations of the villain, Don John. The second romance, between Claudio's friend Benedick and Hero's cousin Beatrice, takes centre stage as the play goes on, with both characters' wit and banter providing much of the humour. Through "noting" (sounding like "nothing", and meaning gossip, rumour, overhearing), Benedick and Beatrice are tricked into confessing their love for each other, and Claudio is tricked into believing that Hero is not a maiden (virgin).

The play takes an ancient theme — that of a woman falsely accused of unfaithfulness — to brilliant comedic heights. Other important themes include gender roles, infidelity, deception, masks and mistaken identity, "nothing",

Benedick, Beatrice, Don Pedro, Don John, Claudio, Leonato, Antonio, Balthasar, Borachio, Conrade, Innogen, Hero, Margaret, Ursula, Dogberry, Verges, Friar Francis

Shakespeare used as his main source for the Claudio-Hero plot a story from Matteo Bandello’s Novelle (1554–73); he also may have consulted Ludovico Ariosto’s Orlando furioso and Edmund Spenser’s The Faerie Queene. The Beatrice-Benedick plot is essentially Shakespeare’s own, though he must have had in mind his own story of wife taming in The Taming of the Shrew.

“I had rather hear my dog bark at a crow, than a man swear he loves me.” “Let me be that I am and seek not to alter me.” “Some Cupid kills with arrows, some with traps.” “For which of my bad parts didst thou first fall in love with me?”

1. Shakespeare, W. (2019). Much ado about nothing. In One-Hour Shakespeare (pp. 147-206). Routledge. (https://www.taylorfrancis.com/chapters/edit/10.4324/9780429262630-9/much-ado-nothing-william-shakespeare) 2. Jorgensen, P. A. (1954). Much ado about nothing. Shakespeare Quarterly, 5(3), 287-295. (https://www.jstor.org/stable/2866334) 3. Straznicky, M. (1994). Shakespeare and the Government of Comedy:" Much Ado About Nothing". Shakespeare Studies, 22, 141. (https://www.proquest.com/docview/1297960936?pq-origsite=gscholar&fromopenview=true) 4. Cairncross, A. S. (1976). Shakespeare and Ariosto: Much Ado About Nothing, King Lear, and Othello. Renaissance Quarterly, 29(2), 178-182. (https://www.cambridge.org/core/journals/renaissance-quarterly/article/abs/shakespeare-and-ariosto-much-ado-about-nothing-king-lear-and-othello/25484DAC0A82A83B0092952411F3A7AF) 5. Suzuki, M. (2016). Gender, Class, and the Ideology of Comic Form: Much Ado About Nothing and Twelfth Night. A Feminist Companion to Shakespeare, 137-161. (https://onlinelibrary.wiley.com/doi/abs/10.1002/9781118501221.ch7) 6. Clegg, C. S. (2007). Truth, Lies, and the Law of Slander in Much Ado About Nothing. The Law in Shakespeare, 167-188. (https://link.springer.com/chapter/10.1057/9780230626348_10) 7. Mueller, M. (1994). Shakespeare's Sleeping Beauties: The Sources of" Much Ado about Nothing" and the Play of Their Repetitions. Modern philology, 91(3), 288-311. (https://www.journals.uchicago.edu/doi/abs/10.1086/392169?journalCode=mp) 8. Wright, N. E. (2006). Legal Interpretation of Defamation in Shakespeare’s Much Ado About Nothing. Ben Jonson Journal, 13(1), 93-108. (https://www.euppublishing.com/doi/abs/10.3366/bjj.2006.13.1.9?journalCode=bjj)

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Much Ado About Nothing William Shakespeare

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Much Ado About Nothing Essays

Much ado about nothing: a comedy or tragedy azeemah b l jaulim 12th grade, much ado about nothing.

‘Much Ado About Nothing’ is a captivating Shakespearean play which leaves the audience naturally puzzled over its genre. We keep pondering throughout the scenes whether its plot is a comedy or a tragedy. While the unfolding events underscore...

Death, Resurrection, and Fidelity in Much Ado About Nothing: The Social Construct of Feminine Marital Virtue M Callaway College

Much Ado About Nothing, a comedy by William Shakespeare, was first preformed in 1612. The play is set in Messina, Italy that follows the couple Hero and Claudio. Hero is unjustly accused of unchastity that results in her and Claudio’s separation...

The Value and Typology of Friendship in 'Much Ado About Nothing' Anonymous 12th Grade

In 'Much Ado About Nothing', friendship is personified as the male bond (shared by Claudio, Don Pedro, and Benedick), female friendship (among Hero, Margaret, and Beatrice), and cross-gender friendship (between Benedick and Beatrice). It is...

The Tale of Two Dogberrys: The Exploration of Masculinity in the Two Film Adaptations of “Much Ado About Nothing” Anonymous 11th Grade

“Much Ado About Nothing” by William Shakespeare brings to life the story of how Count Claudio and fair Hero prepare for their wedding and how Hero’s father, Leonato, and Claudio’s mentor, Don Pedro, choose to pass the time by deceiving Beatrice...

Shakespeare and Homosociality: Defying Elizabethan Comformity Huong Pham

Although considered light and delightful entertainment, Shakespeare's plays of comedy often address serious issues confronting Elizabethan values of propriety and social decorum. Anti-Semitism, death and homosexuality are frequent themes woven in...

Note Notes, Forsooth, And Nothing: Themes in Much Ado About Nothing Anonymous

At first glance, the reader is not likely to notice the immediate clue which presents itself in the title of William Shakespeare's comedy, Much Ado About Nothing. If one, however, would follow the example of a Shakespearean player in Elizabethan...

Man Is a Giddy Thing Francis Grove-White

At the end of the play, Benedick reflects that "...man is a giddy thing." Referring in your answer to two or three key scenes in the play, explain why events in Messina might lead him to that conclusion.

In a play that so clearly focuses on the...

Don John as a Threat to Comedy in Much Ado About Nothing Barret Buchholz

The world presented in Much Ado About Nothing is populated mostly by noble characters: The Prince of Aragon, Lord Claudio, Lord Benedick, The Governor of Messina and his daughter and niece. These characters embody the courtly ideas of social grace...

To Be and Not To Seem in Much Ado About Nothing Timothy Sexton

Many characters in Shakespeare's plays disguise themselves in one way or another. An important component of many of the his plays is the masked revels. A character adopting a new outward persona is not at all unusual. This use of contrasting the...

The Art of Storytelling Anonymous

Picasso once said, "Art is lies that tell the truth." Art requires the suspension of reality or rather the ability to transcend the expected. In suspending that reality, however, greater truths can be addressed without the restrictions established...

Ends and Means Anonymous

The Oxford English Dictionary defines the prefix "sub-" to be "of something immaterial, a quality, state, etc," listing the root word "plot" as a term often associated with this definition. Therefore, to be a subplot means to be an immaterial...

Trickery and Deception: A Dish Best Served by Shakespeare Robin Bates

"Though those that are betrayed Do feel the treason sharply, yet the traitor Stands in worse case of woe" (Cymbeline, III.iv). Shakespeare's carefully crafted world of deception and trickery within Much Ado About Nothing thrives on deceitful...

How is the antagonistic yet potentially loving relationship between Beatrice and Benedick quickly established in Much Ado About Nothing? Mitchell Bibby

Although set in Messina, Italy, the conventions in Much Ado About Nothing are those of Elizabethan England, where marriage was seen as a business transaction and family stability was vital. This idea is explored through the fate of Hero, who has...

A Marxist study of Much Ado About Nothing Anonymous

Using the Marxist approach to one of Shakespeare’s comedies, Much Ado About Nothing, this essay deals with the unconscious of the text in order to reveal the ideology of the text (as buried in what is not said) so as to discover the hegemony...

Male Emotional Instability and the Criticism of the Conventional Relationship in Much Ado about Nothing Anonymous

Much Ado about Nothing focuses on the emotional development of two relationships that endure various levels of deception. Although both couples marry at the end of the play, the deception that occurs during the play exploits the emotional...

Bastardy in Shakespeare Rachel Clifford College

In four of Shakespeare's plays, he introduces a character who is illegitimate. Philip Faulconbridge, Don John, Thersites, and Edmund are all children who were born out of wedlock. Also, all four characters were antagonists, if not the main...

Shakespeare's Heroines Penny Morris College

Throughout the span of the comedies, Shakespeare allows his female characters to establish a greater amount of independence and freedom than they would have actually been allowed for the time period. This freedom is not necessarily a feminist...

Conventional and Unconventional Heroines in "Much Ado about Nothing" Anonymous 10th Grade

A central theme in "Much Ado about Nothing" is that of the literary tradition of a heroine within the social conventions surrounding women. The literary tradition of the time (and indeed, in many cases, up to the present day) bestows the...

Don John in Much Ado About Nothing Jarrett M. Guyer College

In Much Ado About Nothing, love is fickle and volatile. Several pairs of characters fall in and out of love at nearly a moment’s notice and a few accept their emotions without question. Many complex events cause these sudden emotional changes to...

A Contemporary View of Benedick and Beatrice keiran Potter 12th Grade

William Shakespeare's Much Ado about Nothing, brimming with metaphors and figurative clowning walks the line of comedy and tragedy. As Shakespeare flexes his exemplary wit which brands his work as so signature and formulaic; he brings probably the...

The Couple Doth Protest Too Much: Male Maturity in "Much Ado About Nothing" Anonymous College

Elizabethan men are not entirely different from some modern men, especially when it comes to their views on marriage, love, and sex. Many men still continue the double standard of expecting their partners to be virginal while they themselves are...

The Problem with Claudio: A Unsympathetic Character in Much Ado About Nothing Anonymous 10th Grade

Shakespeare’s light-hearted ‘Much Ado About Nothing’ explores both the triumph and tragedy which presents itself in the love of Hero and Claudio, using the latter as an easily deceived character whose errors almost culminate in a tragic ending to...

Benedick as an Entertaining Outsider Leigh Ann Cowan College

Benedick as an Entertaining Outsider

One of Much Ado About Nothing’s most beloved characters is Benedick, a willful and theatrical lord who vows to never be married. Throughout the play he demonstrates himself to be an entertainer to such an...

Instructive, Flawed, Important: Character Analysis of Don Pedro Anonymous College

Don Pedro is a very important character within Much Ado About Nothing by William Shakespeare, both within his own right and in terms of how he draws Shakespeare's other characters together. Often referred to as “the Prince” from Aragon (“No Fear”...

1. Shakespeare ( AQA GCSE English Literature )

Revision note, much ado about nothing: overview.

The Much Ado About Nothing question is part of Paper 1, Section A of your GCSE. For this, you are required to write one essay-length answer to one set question. This can seem daunting at first, but this page contains some helpful information and links to more detailed revision note pages that will enable you to aim for the highest grade. This page includes:

• A summary of Much Ado About Nothing
• A brief overview of what is required in the exam

Much Ado About Nothing characters

Much Ado About Nothing context

Much Ado About Nothing themes

Much Ado About Nothing quotes

• Top tips for the highest grade

Much Ado About Nothing summary

Much Ado About Nothing is a romantic comedy written by Shakespeare in the late 1590s. It deals with love, deception and mistaken identity. 

Returning from battle, Don Pedro arrives at the house of Leonato with his men, including Claudio and Benedick. Claudio falls in love with Hero, Leonato’s daughter, and their marriage is agreed upon.

Benedick and Hero’s cousin, Beatrice, both despise love and engage in witty banter with each other. The others plot to make them fall in love with each other. Don Pedro’s illegitimate brother, Don John, contrives with his servant, Borachio, to spoil Claudio and Hero’s wedding by arranging for Claudio and Don Pedro to witness Borachio seducing Hero’s maid Margaret at Hero’s bedroom window. Mistaking Margaret to be Hero, Claudio believes he has been betrayed.

Claudio rejects Hero at the altar, but Friar Francis is convinced of Hero’s innocence and persuades Leonato to pretend that Hero is dead in order to give them time to clear her name. The nightwatchmen overhear a drunken Borachio confessing to the deception and the plot is exposed. When he hears of Hero’s innocence, Claudio, believing her to be dead, promises to make amends by agreeing to marry a cousin of Hero’s in her place. At the wedding, the bride is unmasked to be Hero herself. She and Claudio are married, and Beatrice and Benedick also confess their love for each other and agree to marry.

For a more detailed summary, please see the Much Ado About Nothing: Plot Summary page.

How is Much Ado About Nothing assessed in the exam?

• Your GCSE Paper 1 requires you to answer two questions in 1hr 45min. That means you have approximately 52 minutes to plan, write and check your Much Ado About Nothing essay
• Paper 1 is worth 64 marks and accounts for 40% of your overall GCSE grade
• The Much Ado About Nothing essay is worth 34 marks in total, because it also includes 4 marks for AO4 (spelling, punctuation and grammar)
• The Much Ado About Nothing question is in Section A of Paper 1 and you are required to answer the one available question on the play
• Your question will also include a printed extract of about 25 lines from the play
• It is a closed-book exam, which means you will not have access to a copy of the text (other than the printed extract) in your exam
• The question will require you to analyse and write in detail about an aspect of Much Ado About Nothing
• Your answer will need to address both the extract from the play that you will be given, and the play as a whole

For a much more detailed guide on answering the Much Ado About Nothing question, please see our revision notes on How to Answer the Shakespeare Essay Question .

The characters you should focus on when revising Much Ado About Nothing are:

When considering a Shakespeare play or any other text, it is crucial to remember that characters are intentionally crafted by the writer to serve a specific purpose. In many cases, these characters embody certain concepts or beliefs, and the writer, such as Shakespeare, uses them to reflect on and examine these ideas. For more details on how Shakespeare uses his characters in Much Ado About Nothing, please see the Much Ado About Nothing: Characters revision notes page. [insert link] 

Understanding what context actually is can be tricky at GCSE. Examiners understand context not as historical information or biographical facts about a writer, but as the ideas and perspectives explored by a writer through their text. Therefore, the Much Ado About Nothing context you should explore in your essay response is not information about Messina, or facts about William Shakespeare, but ideas about:

• Gender Roles
• Honour and Virtue
• Harmony and Discord

Lots of these ideas and perspectives are universal, so your own opinions of them are valid and will be rewarded in an exam. For a detailed breakdown of the contextual topics listed above, see the Much Ado About Nothing: Context page

Understanding the themes that Shakespeare explores in Much Ado About Nothing is one of the best approaches any student can take when revising the play. This is because to get the highest mark on your exam, you need to take what examiners call a “conceptualised approach”: a detailed and perceptive exploration of Shakespeare’s ideas and intentions. The main themes explored by Shakespeare in Much Ado About Nothing are:

• Gender Roles and Attitudes

Shakespeare explores numerous other themes in Much Ado About Nothing beyond those mentioned above and you are encouraged to examine these themes as well. However, the above list makes a great place to start and detailed breakdowns of each of these themes can be found on the Much Ado About Nothing: Themes page

Although you are given credit for including quotations from Much Ado About Nothing in your answer, it is not a requirement of the exam. In fact, examiners say that “references” to the rest of the play are just as valid as direct quotations: this is when students pinpoint individual moments in the play, rather than quoting what the characters say. In order to select references really successfully, it is extremely important that you know the play itself very well, including the order of the events that take place in the play. This detailed act-by-act breakdown [insert link] of the plot will help you to revise the chronology of Much Ado About Nothing.

However, it can also be useful to revise a few – very well selected – quotations from the play that can be used in a variety of essays on different themes and characters. Luckily, we have made that selection for you! For a ‘translation’ and detailed analysis of each of these quotations, see the Much Ado About Nothing: Key Quotations  page.

Top Tips for the Highest Grade

Please see our revision pages on the Shakespeare exam for guides on:

• Structuring the Much Ado About Nothing essay  
• Much Ado About Nothing methods and techniques  
• How to include context in the Much Ado About Nothing essay
• Understanding the Much Ado About Nothing mark scheme  
• A Shakespeare model answer

Much Ado About Nothing

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A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.

Before You Read

Act Summaries & Analyses

Character Analysis

Symbols & Motifs

Important Quotes

Essay Topics

Discussion Questions

Write a scene from Beatrice and Benedick’s backstory. What do you think happened between them the first time they fell in love? Draw evidence from their dialogue in Acts I and II to reconstruct their original love affair.

Don Pedro is an enigmatic figure. He is involved in the action of the plot, but also ends the play “sad” and alone. Imagine that you are playing the part of Don Pedro in a production of Much Ado About Nothing , and write an analysis of his character that explains his behavior. Why, for instance, does he offer to woo Hero for Claudio? How sincere is his proposal to Beatrice?

Why might Shakespeare have written Don John as such a broad, cartoonish villain? What purpose does his scheming serve, and how would the play work differently if he were a more rounded character? How does he compare to Borachio, who helps with his schemes but also feels guilt and regret?

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Review: MUCH ADO ABOUT NOTHING, Open Bar Theatre

There's much sunshine to be had at Open Bar Theatre's touring production

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A cast of six work incredibly hard to bring the story of merriment and mischief to life. Elizabeth Peace and Open Bar Theatre stalwart Thomas Judd have nicely spiky chemistry as Beatrice and Benedick, showing easy wit and sharply-delivered dialogue.

Peace is great in the role, never pushing the sarcasm too far and makes Beatrice all the more relatable for it. Judd is, as ever, a natural showman, who gives Benedick depth as a confirmed bachelor and then touching vulnerability as he realises his love for Beatrice. His dour portrayal of Verges is also very funny.

Peace's portrayal of Don John is less impactful; a hard character to get under the skin of, his moody demeanour is not given any real depth or meaning.

Paula Gilmour is very entertaining as Dogberry and suitably sweet and shy as Hero, really coming out of herself as she plots to bring Beatrice and Benedick together. Her chemistry with Micah Loubon's too-quiet Claudio is less convincing, with Loubon's amusing portrayal of the drunken Borachio more successful.

A vibrant Laura Harling has great fun as the saucy Margaret and brings warm joviality to the role of Leonato. Laura Cooper -Jones is commanding as Don Pedro and energetic as Hero's confidante Ursula.

Shakespeare's romcom is most successful when the comedy is dialled up to the max, as seen in this summer's Globe production . Nicky Diss' production has moments of real comedy, such as Benedick's slapstick attempts to hide while overhearing how much Beatrice loves him. However, the rest of the production doesn't always hit the same levels of fun; this means the “merry war” between the two sets of young lovers has less playfulness and when the tone abruptly changes at Hero's denouncement, the shock is less impactful. In addition, some of Dogberry's overly-long scenes could be cut down to improve the flow of the show.

Open Bar Theatre always make the most of very limited space. The set from their recent production of Vanity Fai r made use of every nook and cranny of the set. Here, the set-up is less inventive, with simple garlands of purple flowers and lemons threaded onto a three-tier scaffold to convey the heat and vitality of Messina, although the light-up cross to convey the chapel scenes is good fun.

This may not be the very best production of Much Ado this year, but it's always impressive what Open Bar Theatre can portray in a pub garden. You could do a lot worse than spend an entertaining evening in their excellent company.

Open Bar Theatre's Much Ado About Nothing is touring Fuller's pubs until 13 September

Their production of The Tempest is also touring until 31 August

Photo Credits: Robert Grooms

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