much ado about nothing movie review essay

1993 Much Ado About Nothing Movie Review

Whether you’re a Shakespeare nerd, a 90s cinephile, or you just had to watch them in school, you’ve probably been exposed to Kenneth Branagh’s Shakespeare film adaptations somehow. And, if you’re lucky, one of them was his 1993 Much Ado About Nothing .

The movie’s star-studded cast should turn your head alone: a young Denzel Washington plays Don Juan, Keanu Reeves has a surly turn as Don John, Michael Keaton is an oddly Jack Sparrow-like Dogberry, the illustrious Emma Thompson is the devilishly witty Beatrice, and Branagh himself plays her stubborn love interest, Benedick.

The poster for Branagh’s 1993 Much Ado About Nothing .

Loaded cast lists like these are common of Branagh’s Shakespeare adaptations – after all, what better way to get people interested in centuries-old text than casting some of their favorite actors? For example, his 1996 Hamlet stars Kate Winslet as Ophelia, his Henry V has Robin Williams as the Fool (and slips in a very young Christian Bale!), and his 2019 Shakespeare biopic All Is True stars noteworthy actors like Judi Dench and Ian McKellen (better known as Gandalf or Magneto). In all the films, Branagh himself plays the lead male role.

But rarely is a cast so cohesive and dynamite in their performance than in his 1993 Much Ado About Nothing. First of all, this was the 90s, so all of these actors were in their prime. Branagh and Thompson, in particular, have a mature, but still heart-achingly youthful and giddy match in Beatrice and Benedick.

If you’re not familiar with the story of Much Ado , let’s fill you in really quick. Essentially, two young people, Hero (played by Kate Beckinsale) and Claudio (Robert Sean Leonard) fall in love and intend to marry. Hero’s cousin, Beatrice, is a little more resistant to love; So is Claudio’s friend, Benedick. Both Beatrice and Benedick claim they will not marry, and, through a series of verbal spars, that they do not like each other. Of course, neither of those statements turns out to be true.

Emma Thompson and Kenneth Branagh as Beatrice and Benedick in Much Ado About Nothing.

Emma Thompson and Kenneth Branagh play enemies-turned-lovers Beatrice and Benedick.

There’s a great deal of chaos when the self-proclaimed villain, Don John, stages a setup to trick Claudio into thinking that Hero has cheated on him, he leaves her at the altar, she has to pretend to be dead until her innocence is revealed, and somewhere in there Beatrice and Benedick finally admit that they love each other. Everyone gets married at the end, and there’s joy and frivolity all around.

It is this frivolity that separates the 1993 Much Ado About Nothing from many of its cinematic Shakespearean predecessors. Adaptations by greats like Laurence Olivier used to be all the rage — films whose goals were to be reverent to the Bard, to focus on the vastness of language and the impact of Shakespeare on English literature.

But Branagh’s film finds a new way of paying respect to Shakespeare. Rather than taking himself and the text too seriously, Branagh creates what Shakespeare intended: a comedy that guffaws at reverence and is pure fun. Branagh’s film is immediate. Though the setting is nebulously period, it feels like a film made in the here and now; it’s not a movie that seeks to stay in Shakespeare’s shadow, but rather to use his text to create a great work of art in itself. Branagh doesn’t tremble before Shakespeare, he embraces him and his playfulness.

In fact, somehow Branagh’s film seems even to blur the boundaries of cinema and theater. Most actors in contemporary Shakespearean films tend to act much smaller than they would on stage – mumbling monumental phrases like “to be or not to be” so that they sound more “natural,” more fitting for a close-up. Branagh ignores all of that. Instead, every emotion is displayed full-out: Hero’s rejection at the altar is portrayed with screams and cries, Don Jon’s wickedness is practically nuance-less, and Beatrice and Benedick’s sudden switch from mock hatred to love is a whiplash of heightened emotion.

Kenneth Branagh as Benedick in the 1993 Much Ado About Nothing

Benedick (Branagh) shouts with joy when he realizes he’s in love with Beatrice.

Even the film techniques seem to lend themselves more to the “unnatural” theatre. When Thompson’s Beatrice and Branagh’s Benedick finally realize independently that they love each other, even though they are not in the same physical place their images are superimposed on each other so that they can be on-screen at the same time. We see Thompson laughing with glee on a swing and Branagh dancing around a fountain, both independently ecstatic. We might see this kind of split-screen on stage, or in a much older movie, but Branagh brings Shakespeare’s theatricality into his 1993 Much Ado About Nothing .

Even the physical scope of the movie screams largess. The setting is at once small and massive; though we are usually confined to the hallways, gardens, and etc. that one might see on a stage, we also see shots of the magnificent Italian countryside these people live on – a countryside that a Shakespearean audience would have been called upon to imagine surrounding the actors onstage.

And, at the end of the film, we see a small wedding dance begin between the characters we know, the way a dance may begin onstage. But, with an arial view, the camera begins pulling back farther and farther until we see that the entire town is dancing together. Again, one person would have had to represent ten onstage to get an idea of the town all dancing together, but Branagh seizes on the opportunities afforded to him by film and creates an expansion of the written text.

Branagh uses the capabilities of film not as an alternative to the stage, but rather to fully realize its strengths. In many ways, in his 1993 Much Ado About Nothing Branagh comes closer to Shakespeare’s vision of the story than even Shakespeare was capable of creating at the time – and he does it all with a laugh.

What do you think about Branagh’s 1993 Much Ado About Nothing ? Is it your favorite film version of the play? Let us know in the comments below!

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much ado about nothing movie review essay

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Within the first 10 minutes of Joss Whedon 's " Much Ado About Nothing ," I found myself smiling with excitement, while also holding my breath in nervous anxiety. Would the film be able to sustain its confident manic tone, maintain its humor and smarts, its depth of characterization and innovative use of text and landscape? Would the magic hold? The magic holds. It holds from beginning to end.

Audiences will remember Kenneth Branagh's well-received version from 1993, with the cast of stars tumbling and laughing over bright hillsides in Tuscany, dressed in flowing period garb. Whedon takes a different approach. It's done in modern dress. There are no big stars in it, although fans of Whedon's films and television series will recognize many of his regulars. He shot in glamorous black-and-white (Jay Hunter was the cinematographer), which may seem like a serious choice for such comedic material until you remember that some of the funniest comedies ever made were filmed in black-and-white. Whedon firmly places "Much Ado About Nothing" in the screwball tradition where it belongs. He uses one main location (his own house), and much of it takes place in echoing high-end interiors, perfect for a story where everyone is constantly eavesdropping on everyone else. The acoustics in the house are very poor for anyone who wants to keep a secret. The adaptation, done by Whedon, is terrific. The play moves from comedy to tragedy and back with dizzying speed, and while you may feel like you're getting whiplash, that's the desired effect.

Whedon, beloved by television audiences for his cult favorites "Buffy the Vampire Slayer" and "Firefly" (to mention just a few), is known for creating independent and memorable female characters, and in this, Shakespeare is a perfect fit for him as a director. Shakespeare created Rosalind in "As You Like It," Katherine in "Taming of the Shrew," Lady Macbeth in " Macbeth ," Cleopatra in "Antony and Cleopatra" and a host of iconic others. Misogyny is alive and well in Shakespeare and takes on a particularly vicious aspect in "Much Ado About Nothing," when a woman's virginity is prized above her humanity, but Shakespeare, as usual, has his cake and eats it too. "Much Ado" strolls into some pretty dark forests, morally and spiritually, and while I'm not sure that Hero, the betrayed heroine, would agree with the title that it all had been "much ado about nothing," the crookedness of the universe is righted gloriously in the end.

The intrigues of Italian war and political life are merely backdrop in Shakespeare's comedy and it's backdrop here, too. The opening shows Don Pedro and Claudio ( Reed Diamond and Fran Kranz , both excellent) returning from abroad, complete with security detail and a motorcade of gleaming cars. They bring with them Benedick (the marvelous Alexis Denisof ), Don John ( Sean Maher , who looks like Robert Chambers, the Preppy Murderer, a perfect choice considering Don John's malevolent character), and Don John's cunning sidekick Conrade (played, in Whedon's version, by a woman, Riki Lindhome). They stop off at the beautiful home of Leonato ( Clark Gregg ), to celebrate with relatives and friends, all of whom have nothing else to do besides hang out in the house, drink wine, gossip, and make mischief with one another's love lives. Claudio confesses to Don Pedro that he has fallen in instant-love with Leonato's beautiful young daughter Hero (Jillian Morgese). Don Pedro immediately begins scheming on a way to bring the romance to fruition. A masked ball thrown that night gives him the opportunity he is looking for.

Hero's cousin Beatrice (played by Amy Acker ) tells anyone who will listen (and even those who tune her out) that love is not for her, and marriage is for the birds. She especially wants everyone to know that Benedick is a jerk, and he doesn't matter to her at all! Benedick returns her insults, to her face and behind her back. Of course if the two were as indifferent towards one another as they declared, then why do they keep talking incessantly about each other? Hero and her maids, along with the menfolk in the house, conspire to bring the arguing two together.

All of this love-making could have gone forward without a hitch if Don John had not been in the house. Don John is disturbed by other people's happiness. He is the evil version of the melancholy Jaques in "As You Like It". He has no purpose beyond making trouble for others. He figures out a way to make it seem as if Hero had been unfaithful to Claudio, on the night before the two were to be wed. Claudio reacts ferociously. Hero faints. Leonato screams that his daughter has besmirched his family name. Don John smiles happily. Beatrice and Benedick find themselves unlikely allies in untangling the web of intrigue and malice.

Doug Moston, acting teacher and Shakespeare scholar, had this to say to his classes about Shakespeare's language: "If you think a line is bawdy, it’s bawdy. If you don’t think it’s bawdy — it’s only because you haven’t worked it out yet." Joss Whedon and his capable cast have "worked it out." Every line shimmers with double entendre. Sex roils underneath every moment, every motivation, every misunderstanding and every rejoinder. Even the scene between Don John and Conrade, where Don John discusses how disturbed he is by joy, becomes a scene of hot foreplay between the two, where lines like, "If I had my mouth I would bite; if I had my liberty, I would do my liking" take on new worlds of meaning.

Dogberry, a policeman in charge of security at Leonato's house, enters the scene late in the game, having stumbled across the plot against Hero, and once he arrives you never want him to leave. Dogberry tries to sound smart and official, all while saying things like, "You shall comprehend all vagrom men," when he clearly means "apprehend" and "vagrant," or dispatching his security guards with the order, "Be vigitant, I beseech you." He is ridiculous, saying these mispronounced words with total confidence. He covers up his incompetence and lack of vocabulary with a bluff swaggering persona, complete with dark sunglasses, and Nathan Fillion , from "Firefly" and " Serenity ," gives a great and entertaining comedic performance.

Beatrice and Benedick steal the show, though, in this version and in every version I've seen, on film or on stage. Nobody has informed the two of them that they are not the leads, that their romance is the subplot. Their barbs are sometimes vicious, and both characters show a studied indifference towards marriage and love. Beatrice and Benedick are the patron saints of 1930s screwball comedy. Sam and Diane from "Cheers" carried on their tradition. Any rom-com we see today is haunted by the arguing defensive love-mad ghosts of Beatrice and Benedick. The two are so equally matched, so dazzlingly verbal, so witty, so "self-endeared" (as Hero calls Beatrice), and totally obsessed with each other that, frankly, who else could put up with either of them? It's no surprise that when Hector Berlioz turned "Much Ado About Nothing" into an opera in 1862, he called it "Béatrice et Bénédict". Claudio and Hero are the ostensible leads of "Much Ado About Nothing," but Beatrice and Benedick are the ones that everyone remembers.

Watching Amy Acker and Alexis Denisof battle it out, in words and in a near wrestling match near the end of the film, is a supreme pleasure. Beatrice is a tough-talkin' dame like Carole Lombard or Katharine Hepburn , and Benedick is an independent irritable guy, reminiscent of Cary Grant or William Powell . Underneath the hostility is a coursing current of love and desire, lust and fondness, which both characters struggle mightily to hide. When they finally crack, when they finally give in, it is breath-taking and emotional.

"Much Ado About Nothing" is one of the best films of the year.

Sheila O'Malley

Sheila O'Malley received a BFA in Theatre from the University of Rhode Island and a Master's in Acting from the Actors Studio MFA Program. Read her answers to our Movie Love Questionnaire here .

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Much Ado About Nothing (2013)

Rated PG-13

107 minutes

Alexis Denisof as Benedick

Amy Acker as Beatrice

Nathan Fillion as Dogberry

Ashley Johnson as Margaret

Sean Maher as Don John

Spencer Treat Clark as Borachio

Clark Gregg as Leonato

Fran Kranz as Claudio

Tom Lenk as Verges

Emma Bates as Ursula

Reed Diamond as Don Pedro

Joss Whedon
William Shakespeare

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Review: Much Ado About Nothing

By Geoffrey O’Brien in the May-June 2013 Issue

A young woman sleeps in an apartment. A young man gets dressed and leaves without saying goodbye. He steps into the city street, very much the picture of what the well-dressed ambitious young businessman is wearing. Were it not for the distancing effect of the black-and-white cinematography, this might be the opening of a new romantic comedy. In fact the woman is Beatrice, the man is Benedick, and this wordless prelude provides interpolated backstory for Joss Whedon’s adaptation of Much Ado About Nothing . The invention of a prior hookup for the couple—“too wise to woo peaceably”—who will spend much of the rest of the play engaged in a “merry war” balancing attraction and repulsion is in fact perfectly consonant with Beatrice’s statement, in their first scene together, that “I know you of old.”

Shot in less than two weeks at his home in Santa Monica, Whedon’s film is an unlooked-for pleasure. The inevitable comparison is with Kenneth Branagh’s 1993 version, a movie often highly entertaining but looking at times like a cross between a Renaissance fair and an on-location commercial for Tuscan wine, and with its air of robust joviality seeming almost desperate to solicit the audience’s amusement and goodwill. Branagh’s film is full of good performances that don’t quite connect with one another, whereas here what is notable is the coherence of the ensemble.

Whedon doesn’t build up atmosphere to prepare the audience for the exoticism of Shakespearean language. There is no attempt to “sell” the text—the play merely unfolds as if it were the most natural thing in the world for a bunch of well-heeled Californians, corporate honchos, and their associates (from the looks of them) to express themselves matter-of-factly in Elizabethan English. It is the most American Shakespeare movie I’ve seen. The cast is drawn largely from television, many of them veterans of Whedon productions such as Buffy the Vampire Slayer , Angel , Firefly , and Dollhouse , and their line readings are crisp and TV-naturalistic. That most of the play is in prose certainly helps sustain the illusion that these contemporaries find it natural to express themselves in such pointed, stylized, performative language: it seems entirely of a piece with their exquisitely tailored clothes, power ties, up-to-the-minute digital devices, and presumably well-chosen wines.

In Whedon’s hands the play becomes a romance of the one percent, set against backgrounds that look like photo spreads in GQ or Architecture Today . The masquerade during which Don Pedro woos Hero for Claudio becomes an upscale all-night lawn party, complete with acrobatic entertainment out of Cirque du Soleil, and Claudio’s subsequent recriminations take place in the context of a hung-over session in the kitchen the next morning. The luxury here does not have an aura of magic or poetic magnificence; it is merely casually moneyed, the relaxed domestic setting appropriate to a modern-day Governor of Messina or Don Pedro of Aragon. The police station where Dogberry and his fellow incompetent watchmen hang out is, by contrast, a picture of low-budget municipal furniture and obsolete desktop PCs.

The central “gulling scenes,” in which Benedick and Beatrice are each in turn made to believe that the other is in love with them, are played broadly in what looks almost like an homage to Blake Edwards, with much rolling and backward tumbling. But it is the dark side of Much Ado —everything associated with the smearing of Hero’s reputation and her lover Claudio’s savage rejection of her—that emerges most forcefully here. The modern trappings curiously erase the distance between 16th-century male sexual attitudes and today’s, with Claudio’s sudden misogynistic frenzy seeming like the erupting discontent of the Maxim -style laddishness that hovers in the air. Throughout, Whedon’s precise reading makes the play, once again, a new thing.

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Arguing Their Way Into Love

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By A.O. Scott

June 6, 2013

Joss Whedon’s adaptation of “Much Ado About Nothing” — perhaps the liveliest and most purely delightful movie I have seen so far this year — draws out the essential screwball nature of Shakespeare’s comedy. It may be the martini-toned black-and-white cinematography, the soigné Southern California setting, or the combative courtship of Amy Acker’s angular, sharp-tongued Beatrice and Alexis Denisof’s grouchy, hangdog Benedick, but from its very first scenes, Mr. Whedon’s film crackles with a busy, slightly wayward energy that recalls the classic romantic sparring of the studio era.

For Beatrice and Benedick there is a thin line between hate and love, and a clear line of succession links them to, say, Katharine Hepburn and Cary Grant in “Bringing Up Baby” and Rock Hudson and Doris Day in “Lover Come Back.” At the same time, this is a bracingly modern production, well stocked with actors, none quite household names, whose faces will be familiar to fans of Mr. Whedon’s previous work, in particular television series like “Angel” and “Firefly.”

“Much Ado” was shot cheaply and quickly while the director was occupied with the mighty labor of “The Avengers,” and it is in every way superior to that bloated, busy blockbuster. Also shorter. Do not suppose that this is reflexive literary snobbery or a preposterous apple-and-orange comparison. Shakespeare’s knotty double plot, propelled by friendships, rivalries and a blithe spirit at once romantic and cynical, is a better vehicle for Mr. Whedon’s sensibilities than the glowering revenger’s tale that every superhero movie is forced, these days, to become.

The best parts of the “Avengers” were its bouts of verbal wit and playful dueling among characters uncomfortably ranged on the same side of a battle, evidence that Mr. Whedon cares more about character than about plot. As fans of “Firefly” and “Buffy the Vampire Slayer” well know, he has a special affection for articulate rebels. The faster they talk, the more he loves them.

The most exciting action in “Much Ado” is the way Beatrice, a diva of withering disdain, and Benedick, a maestro of gruff misogyny, argue themselves into a state of starry-eyed mutual infatuation. Their amours are aided by the mischief of friends and kin — Reed Diamond’s Don Pedro is especially fine — who recognize the desire lurking behind the anti-couple’s ostentatious contempt for each other.

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Much Ado About Nothing

Review by brian eggert october 18, 2013.

Joss Whedon’s characters love to talk, and in their talk, they love to engage in battles of wit. From the verbal duels between superheroes in The Avengers to the playful banter between lovable rogues in his canceled-too-soon space cowboy TV series Firefly , Whedon’s characters are most fascinating when engaged in a playful sparring match of dialogue, and less so when pure action takes over. It’s only natural, then, that Whedon would set aside his jokey vampire hunters, intergalactic rejects, and the Marvel Universe to embrace the work of William Shakespeare. Like the Bard, Whedon’s predilection for snappy banter and a search for self-understanding has driven his work. With Much Ado About Nothing , Whedon strips down to the bare structure of what he’s been writing about for years, without the benefit of the fanboy pretense, to explore characters who love each other, especially those whose love connection is uneasy either because forces have aligned against them or they don’t yet realize how they feel.

The film, shot in 2011 during Whedon’s vacation after completing principal photography on The Avengers and released on the festival circuit in 2012, is beautifully informed by a text about the film from Titan Books, titled simply Much Ado About Nothing . The interviews and backgrounds referenced in this review are borrowed from the book ( available on Titan’s website ), which contains an introduction by Whedon, his full script, and a lengthy, enlightening interview. In the book, Whedon talks about how he came to the realization that throughout his career, he’d been writing Shakespearian characters with similar conflicts and romances, intentionally or not, inspired by material written some 400 years ago. And with the help of the book, although not exclusively because of it, one appreciates how, without the need for blockbuster production values or special FX, Whedon’s adaptation of Much Ado About Nothing creates a raw thematic template for his entire oeuvre thus far.

Indeed, his production was filmed in what Whedon calls “noir comedy” black-and-white (Whedon considers it along the lines of Billy Wilder’s The Apartment ). He completed principal photography in just 12 days, shooting on a shoestring budget—all of this a far cry from his megabudget projects. What’s more, the sole locale was Whedon’s gorgeous Santa Monica home designed by his architect wife, Kai Cole. Her focus as a designer was to have a flow between rooms, a connection where children could crawl and guests could move about freely. Colleagues would be encouraged in their artistic endeavors by the unhindered movement in the space. “The idea of this eclectic, artistic space was important,” says Whedon. Unintentionally, the home became the ideal setting for a play adaptation in which characters could engage in a walk-and-talk without feeling restricted by inhibiting walls or doors. When the house was finished, Cole suggested that they film their long-discussed adaptation of Shakespeare’s play there instead of a planned vacation to Italy.

Whedon grew up around plays, his mother directing seasons of summer stock when he was just a boy. His family read Shakespeare regularly as a Thanksgiving tradition, and he soon became “obsessed” with the playwright, at first because of the pure humor found in something like Much Ado About Nothing , but later because of Shakespeare’s deeper resonances. And though Whedon would never direct a stage play, on the set of Buffy the Vampire Slayer, he and his cast recorded casual readings of Shakespeare plays on the weekend. Given his work, it’s easy to understand why Whedon chose this play to adapt above all others. For one, the lack of verse throughout makes the transition to a modern setting much easier, despite the Shakespearian rhetoric throughout. In this most prose-heavy of the Bard’s texts, Whedon is able to draw on and underline what has always been present in his work—his chatty, mischievous style of conversation.

Following the courtships of two would-be couples, the story, for those unfamiliar, concerns devoted bachelor Benedick (Alexis Denisof) and his single-minded female opposite Beatrice (Amy Acker); and also a more infatuated pair, Claudio (Fran Kranz) and Hero (Jillian Morgese), who are destined for love yet tested by meddling parties. The villainous Don John (Sean Maher) schemes to thwart the coupling of Claudio and Hero, but his plot is finally exposed by inexpert constable Dogberry (Nathan Fillon). Meanwhile, friends and family of Beatrice and Benedick arrange for the two to realize their constant griping and battles of wit are actually symptoms of their mutual, unrealized, but wholly requited love for one another. The planned marriage of Claudio and Hero seems doomed, until, of course, in the final scenes, it is not, and both couples are joined. With all the frivolities of Shakespeare’s best comedies and the resounding profundity of his tragic dramas, the story is arguably one of his most accessible.

More than just a story of lovers uniting and villains receiving their comeuppance, Much Ado About Nothing has a rich wealth of meaning. Whedon admits to acknowledging and, with a touch of feminism and eroticism, emphasizing the implications through the title’s double entendre—“Much Ado About An O Thing”. The inference is such that women were believed—from the Elizabethan Era and beyond until just recently, historically speaking—to have nothing to say if only because of their womanhood, the “O” of the pun a reference to the vagina. Progressive as he often was, Shakespeare implies his feminist sympathies in Beatrice’s independent streak and her outright autonomy of mind, her having no use for men, save for the equally independent Benedick. As always, there are layers behind Shakespeare’s title in that the play and Whedon’s film are not about “nothing” at all. Rather, the material is about everything , which is to say everything important—family, romance, marriage, and the awakening to understand not only oneself but the embrace of love. Sex should not be excluded from this list, as Whedon incorporates sly uses of sensuality to underscore how Shakespeare disguised such themes in his title and his prose.

The adaptation, it must be said, is as brilliant a modernization of Shakespeare’s work as one is ever to find on film. As film versions of this play in particular go, there are now only two worth mentioning: Whedon’s, and the 1993 version by Kenneth Branagh. Besides reducing the play by a third and altogether removing superfluous characters, Whedon’s adaptation arrives with energy in the humor, extending from the verbal to the physical in more than one scene. Acker’s pratfall down the stairs and Denisof’s clumsy covert antics are hilarious. And while Acker (from Whedon’s co-written The Cabin in the Woods ) and Denisof (from Buffy and Angel ) may not compare to the thespian heights of Branagh and Emma Thompson, the overall casting of American-accented Whedon regulars is wonderful. Kranz (also in The Cabin in the Woods ) makes for a deeply vulnerable “yutz”; Maher (from Firefly ) is a quintessential villain; and Fillon (also Firefly ) makes a hilariously sympathetic Dogberry, complete with charming malapropisms. The sole flat note is Riki Lindhome’s uninspired Conrade.

Whedon’s Much Ado About Nothing could hardly be called traditional and should be cherished for its innovations. Consider how his first scene shows a very modern take on Benedick and Beatrice, suggesting a sexual encounter between them before the events of the story take place, thus making their relationship even more complicated than we always thought. These shots also suggest a casual visual style reminiscent of early 1990s independent cinema (such as Clerks ) that carries on throughout the film for an informal martini-and-smartphone-laden version of Shakespeare’s play, fulfilled by the rich, amusing, and affecting performances. Further reading on the subject should be sought in Titan Books’ release, but one need not read about the film to appreciate its more basic rom-com pleasures, just as one need not be a Shakespeare enthusiast to find something relatable within the material. Whedon has rendered the play so plainly funny, and yet because he never sacrifices its higher purpose, he has reinvigorated its depth and resonance for an entire generation of viewers who might not have been exposed to its complexities otherwise. To keep Shakespeare timely is the task sought after by every new adaptation, and Much Ado About Nothing belongs on a short list of films to celebrate the relevance of Shakespeare in cinema.

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English & EAL

Much Ado About Nothing

October 5, 2020

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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

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

5 Tips for a mic drop worthy essay conclusion

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Now quite sure how to nail your text response essays? Then download our free mini-guide, where we break down the art of writing the perfect text-response essay into three comprehensive steps. Click below to get your own copy today!

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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 .

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.

The new VCE English syllabus has kicked off its first year in 2016. Now, I know a lot of us are still grappling to understand the changes, and who knows? You might look like this:

...an array of bewilderedness, surprise, and perhaps even...excitement? Don't worry, we're all in the same boat. The new English syllabus is exciting, especially once we're familiar with all the changes. So, have a peek at the infographic below to get a good overview of what we're saying 'hello' and 'farewell' to:

Ok, now let's look into each of the Areas Of Study (AOS) in detail. The following breakdown focuses on Units 3 and 4 of the new English syllabus:

Area of Study 1 - Reading and Creating

Students study: 2 selected texts from Text List 1 (see the 2017 VCE English Text List here).

Purpose: To write an expository essay on the 1st text, and then a creative response on the 2nd text for Area of Study 1.

SAC 1: Write an analytical essay for Text 1 (~800-1000 words).

SAC 2: Write a creative response + a written explanation (~800-1000 words or, if in the form of an oral presentation ~4-6 minutes).

What you should aim to do: You will study both books in detail; looking at themes, characters, literary devices, author's intention and more. Know that the study of these two texts do not overlap at any point - you study them separately for two separate SACs (see below!).

Side note: The 'Writing in Context' component from the old syllabus has been semi-integrated into 'Reading and Creating'. This is the only part of the new course where you have the opportunity to experiment with your creative writing skills. Keep in mind that there will not be a creative component in your VCE English 3/4 exam ( I can hear so many sighs of relief )!

Area of study 2 - (Part I) Analysing argument

Purpose: The ultimate goal is to demonstrate your understanding of how the author constructs their argument in an attempts to persuade the reader to agree with his or her contention. Here you analyse a variety of different forms of publication, from opinion articles, editorials, speeches to cartoons and diagrams. Learn more on 'How the author intends to persuade their readers' blog post here .

SAC 3 : An analysis and comparison, in written form, of argument and the use of persuasive language in two to three texts (written or visual) that present a point of view on an issue (~800-1000 words).

What you should aim to do: The highest marks in this SAC will be rewarded to those who can clearly explain the connection between author's use of language, and how that enables the development of their ideas. Avoid listing language techniques and offering your personal judgement on whether or not the article is effective in persuading you. You goal is to objectively investigate how the author constructs their article via argument and certain language choices.

Area of study 1 - Reading and Comparing

Purpose: To explore meaningful connections between two texts. You will be using compare and contrast skills (see our blog post on Compare and Contrast Essays ).

SAC: A 900-1200 word essay offering a detailed comparison between ideas, issues, and themes of both texts.

What you should aim to do: Avoid superficial connections. Simply referring what is similar and different between the two plot events will not score you many marks. The key here is to look at the bigger picture – what are the major values and messages that the texts deliver? Are they aligned? Are they the opposite? To ensure you’ve got your Reading and Comparing at an A+ level, download my FREE Reading and Comparing sample chapter from my latest VCE English study guide.

Area of study 2 - (Part II) Presenting argument

Purpose: Students must prepare an oral presentation based on a topic debated in the media. It has to have appeared recently, which means it can only be a topic that has appeared in the media since September the previous year. This section pushes you to research and form a stance on the issue, where you will then write your own persuasive speech using the skills you have gained from studying 'Analysing Argument'. On top of that, you will need to focus on your delivery of the speech, which includes things like tone, pace, eye-contact, and much more! If you're curious to learn more, have a look through some of our posts on Oral Presentation ideas for inspiration!

SAC : A sustained oral piece (~4-6 minutes) that presents a point of view relating to an issue currently in the media + a written explanation (~300-500 words) explaining your decisions made in the planning process, and how these demonstrate your efforts in attempting to persuade the audience.

What you should aim to do: If your school hasn't made the decision for you already, it's crucial that you choose a topic that is original and offers you room for argument. This means avoiding topics where majority of the public opinion already rests on one side (e.g. does climate change exist?). Writing a fantastic oral presentation is only the job half done, you need to ensure your delivery is spot on. Watch my video on quick presentation tips which helped me score full marks in my SAC!

That's my summary and some quick tips alongside to help you cruise through the year. Best of luck!

Don't forget to also check out Our Ultimate Guide to Oral Presentations for everything you need to know for Oral Presentations.

List of topics

1. ‘implementing a sugar tax to curb australian obesity.’.

Premise: Mexico and UK have already implemented the ‘Sugar Tax’ on soft drinks to prevent obesity through the avenue of consumer choices, with this debate being sparked in Canada and Australia as to whether this is a viable solution. The World Health Organization believes this could reduce consumption of sugar by reinvesting the more expensive prices into health initiatives against ‘Childhood Obesity’. The Federal Government is facing this decision in 2019, to introduce these radical changes. Thus, whether or not the sugar tax should be implemented would be the core of your oral.

Basis of the tax

Young stakeholders ‍

Expert opinions, use this for further reading ‍

Mexico comparison, who have done this

British conversation, opposing views on sugar tax ‍

2 . ‘What can Australia do to reduce the dangers of paramedic assault and overtime?’

‍ Premise: Lately in the media, paramedic attacks and unreasonable overtime shifts means that the safety of our ambulance staff is compromised. A series of movements and a necessity for awareness has been sparked in Australia, with one paramedic being assaulted every 50 hours, and 147 assaulted in 2018. Whether or not people choose to support ambulance safety on a political front, social front or preemptive front (see Ambulance Victoria’s ‘Help keep our ambos safe at work’), action has been gaining momentum in contemporary news and campaigns. Is Australia doing enough for paramedic safety? This would be the basis of your oral.

‍ Ambulance Victoria’s campaign

Paramedics’ Union urging Political Parties in 2019

Other factors, overtime shifts

Further reading on specific cases of paramedic violence ‍

3 . ‘How are our politicians dealing with events of Melbourne CBD terrorism ?’

Premise: A series of concentrated terrorist attacks on Melbourne’s Bourke Street and around Melbourne’s CBD has led to preventative measures such as 88 concrete blocks and anti-terror speaker systems. With politicians such as Matthew Guy pushing movements such as suspects facing curfews and counselling and drones around the city being put in place to monitor events like Christmas Day and New Years, this issue is being noted. But is enough being done? How effective are these measures, and are the police and government working closely enough to avoid these situations? This would be the basis of your oral.

Victoria Police’s response to terrorism

Bourke Street incidents

Links to other attacks and opinion article ‍

Political movements from Matthew Guy ‍

Anti-terror measures

4 . ‘Are loot boxes just gaming, or gambling?’

Premise: The question of whether loot boxes being utilised in video games marketed to underage children are in fact exposing them to gambling is currently being debated at a Senate level in Australia and around the world. Whilst opinions are segregated on whether this is harmless or harmful, statistics and experts seem to believe in Europe that the detriment is too high, with 15 gambling regulators pinning game developers and publishers. Similarly, the UK and especially Australia have been making movements to rid the gaming industry of this practice. However, ‘EA Games’ is a big player against this, thriving of their sales in games such as ‘FIFA Coins’ and ‘Star Wars: Battlefront’. Thus, whether it is just gambling or gaming would form this oral.

The Senate Inquiry on loot boxes ‍

Are loot boxes gambling? ‍

Expert Opinions ‍

Age restrictions with gambling v. gaming ‍

Global statistics/reasons against

5 . ‘ Anti-vaccination movements within Australia.’

Premise: The anti- vaccination movement, concentrated in the beachside town of Byron Bay in Australia is claiming more young lives daily, as medical reports are starting to note a greater toll in whooping cough cases and other vaccination related diseases. With campaigns such as the ‘No Jab, No Play’ initiative and other experts stating the way vaccinations are being handled, the situation is not apt in the current necessity for herd immunity amongst young Australians. Whether or not vaccination should be more heavily emphasised would be explored in this oral.

Geographic case study for vaccinations

Implications and health issues

No jab, no play campaign

Case studies

For vaccination

6 . ‘The competition of Uber, Taxis and other ride sharing services.’

Premise: The hyper competitive nature of ride-sharing services and transport on the Australian field means that Uber and taxis have a lot more competition with one another, meaning shared business can affect the others customers in a major way. Hence, the Australian approach of lawsuits and the pickup of other services such as Shebah, Gocatch and Ola, means that drivers are facing harder times finding customers and also maintaining a steady stream of income. Whether or not these competing companies escalate the quality of transport or are too detrimental to driver’s livelihood would be explored in this oral.

The premise ‍

Taxi share zones, official action/recognition ‍

The legal aspects ‍

For the competitive nature

Other platforms that affect this ‍

7. ‘The drought impact on Australian farmers.’ ‍

Premise: Communities within Australia, specifically in Queensland, prepare themselves for overwhelming drought this 2019, with as their profits will most probably drop below $13,000 in this next financial year for farmers. Whilst milk companies and other politicians have attempted to rally with farmers, more attention seemingly may have to be put in place to assure the livelihood of these agricultural practitioners. Hence, even with drought relief practices and campaigns with many stakeholders in the government and as owners of business, it may require more of a push on a formal level in these pivotal years for farmers. The necessary movements and activism for greater support of farmers would be explored in this oral. ‍

The lack of support for drought ‍

What the implications of drought are ‍

Campaigns and movements already in place ‍

Stakeholders and the issues amongst them ‍

The up and coming concerns for drought in 2019 ‍

8. ‘ Microplastics in the Ocean.’ ‍

Premise: The rise in plastic consumption on a global scale and also lack of environmental solutions has led sea turtle’s digestive tracts and parts of the deepest oceans to be littered with seemingly minute particles called ‘microplastics’. However, these particles have detrimental effects and often litter foods, water sources and our ecosystem, usually sinking to the bottom of the ocean, with 99% of the plastic the seas contain building on the bottom. Ultimately, how we deal with these microplastics and whether it is important would be illustrated in this oral.

Marianas Trench plastics ‍

Contamination in foods ‍

Actions against microplastics ‍

The basics of microplastics ‍

Expert opinions 9. ‘ Indigenous ‘Close the Gap’ Campaign’. ‍

Premise: The ‘Close the Gap’ campaign originally focused on integrating the Indigenous people back into modernized society that excluded them wrongly. Objectives were necessary to fulfill educational reforms, social necessities and the favour within employment that needed to be shown in order to “even the playing field”. Over the years, this has been scrutinised and subjected to downfalls, both political and social, with many of these objectives not achieved. Thus, greater attention or movement may have to be incited. Hence, whether enough is being done or more needs to be provoked would inspire this oral. ‍

Scott Morrison on the current ‘Closing the Gap’ measures

Discussion of the origins of this movement

Stakeholders in parliament, Indigenous rights

A review of the campaign and its downfalls

The new closing the gap campaign and its implications

10 . ‘Can we use genetically modified foods in daily life?’

Premise: The discussion of GMOs (genetically modified foods) and their ethical, moral and health implications have segregated both consumers and producers alike. Australia’s viewpoint of the scientific practice in modifying foods has been portrayed in the recent elongation to bans in South Australia until 2025, but has also been challenged with groundbreaking research that could double the crop yield in theory, due to the advances in photosynthetic characteristics and other chemical properties of plants. Thus, whether or not they should be refuted or supported would form the basis of this oral.

The science behind GM foods

Other global players accepting GM crops

Advances and what this means for farmers

Photosynthesis/scientific endeavours in the field of GM crops

The bans in South Australia, and the dangers

11 . ‘The wage gap : Women in STEM.’

Premise: It is rare to find a career where the exact same work will be paid differently based on sexuality, race or gender. It seems in the contemporary age the real issue is that cultural norms raise more women lawyers, doctors and teachers than engineers, physicists and STEM workers. Rather than a direct percentage of the pay gap, it is made apparent that it is rather a systematic average of less over time because of the careers being chosen. Whether or not the wage gap is due to STEM and what we can do to prevent this would be the formation of your oral.

What is the gender pay gap?

Statistics and figures

Australian specific pay gap

Against the gender pay gap

12. ‘Should we take on Finland’s education system ?’

Premise: Standardised testing is often a debate that goes without alternatives that truly work. But the core of Finland’s number 1 education system in the world is that they hire so many good teachers, hence independent learning is monitored and possible. The VCE system and IB curriculum does not streamline because students are so pressured they do not take time to explore and ultimately find what they want to do in tertiary. In Finland, it is less about the competition, and more about individual learning up until university so that they excel in different pathways. What would it take to change Australian systems to model this? This would be a key idea within your oral.

Australian education reform

Study assist packages being released

Universities involved, education opportunities amongst

Finland school system comparison

The National qualifications bureau

13 . ‘Should we change Australia day? ’

Premise: This is a heavily utilised oral topic. The Australia Day debate is a popular one, and this is because it is rich in cultural, social, ethical and political stances within itself. With the date remaining the same in 2019, and with the fireworks of the Perth council still going ahead, more protests and council movement means that these discussions are still very contemporary and readily available online. The bids and failed attempts to change the day to a Reconciliation Week celebration, or any date but ‘Invasion Day’ all form evidence to back up either side. Hence, the question of whether or not the date should be moved would be the primary focus of this oral.

‘For’ changing Australia Day in its entirety The council players in changing the date Bids/failed attempts to change the date The council’s on movements and government reflection on history

14 . ‘Is the National Broadband Network , working?’

Premise: The National Broadband Network policy meant that the telecommunications sector was supposed to gain momentum and strengthen itself, however, downfalls of the technicians and rollout of the service have meant public scrutiny and Government blame being laid. Telstra’s work on this with ping and download speeds being effective, but upload speeds suffering means that Australian consumers are not completely satisfied with the service, putting into question the ultimate effectiveness of NBN as an invested infrastructure. The success of NBN would form the base of this oral.

New rollouts geographically

New government policies

The effectiveness of NBN

Does it work as promised?

Downfalls of NBN

15. ‘ Teaching standards for undergraduates in Australia.'

Premise: The teaching standards of Australia have been heavily scrutinised after certain lower ATAR scores were primarily accepted into the fields. Thus, the question of whether the right teachers are being accepted and their skills are being honed is put into the spotlight, as a lower bar for the academic necessity of the career sparks debate on whether the standards for Australian education has fallen. However, with 2 teachers in the Global Top 50 for the education sector means there is still hope, and with lots of regional areas geographically, it can be difficult- So whether or not Australia is doing enough would form this oral.

ATARs and their own role in teachers

The skills necessary for teachers

A lower bar for academics means a lower bar for teachers

The consequences for teachers in regional areas

Australian teacher’s success stories

16. ‘Is the cost of living rising too high in Australia?’

Premise: The cost of living within Australia is inevitably rising, with a spike of homelessness within Sydney and the common retiree locations being in Asian countries forming the basis of whether or not we should start working on this sector of Australia’s wealth. However, some sources argue that our economy is steady and positive, with the perspective gained on this challenging what 2019 seems to hold for the cost of living. It is a contemporary topic as the next generation will have to face these challenges, proving an interesting oral if you focus on the stakeholders in each category (teenagers, workers, government and retirees).

The rising homelessness rates

Key area in the study of rising prices

The perspective of the greater economy in comparison to the cost of living

The meaning for retirees and where they have to go

The changes in 2019 to the cost of living

17 . ‘Are we doing enough to aid beekeepers in Australia?’

Premise: The ‘Save the Bees’ campaign begun as we started to realise the necessity and imminent danger we would face if bees were in harm's way. Recently, South Australia faced some strange occurrences with mysterious bee deaths, and younger stakeholders attempting to grasp Australia’s bee population. National Geographic focused on real steps and actions that could be taken within Australia, with measures that could potentially be put in place in order to protect these bees. Hence, this could be a unique oral if presented with the statistics and urgency of this issue.

Young stakeholders trying to save the bees

The implication of bees dying

Bees dying in South Australia

The plan to save Australia’s bees

Other measures in place that may affect bees

18. ‘The impact of the strawberry needle scare. ’

Premise: The Strawberry Needle Scare was a 2018 issue, with 2019 implications in the dangers of food tampering, and a case of needles in grapes at a Melbourne store. Moreover, the implications for farmers and the agricultural community meant that many workers were affected by this, as consumers initially feared the worst, affecting Australian livelihood at its core. Thus, in order to do a contemporary oral on this, you would focus primarily on the impact on the farmers, what future fears could arise, (eg. the grape needle scare), and what consumers need to be aware of in future contamination.

The grape scare, new to 2019

The Western Australian side of the strawberry scare

Food tampering in history, where this fits

The effects on farmer that the needle scare has

The movement for farmers from consumers to just ‘cut them up’

19. ‘The epidemic of anxiety. ’

Premise: In a digital, gratification-desiring age, anxiety and depression are symptoms of the high pressure scenarios within daily life. Recently, new studies proving the dire nature within Australia’s mental health provoked more attention by experts and the population into methods and the ‘epidemic’ we face, as we continue to head down a dark spiral. With case studies, statistics and the current situation within pressurised work situations, this could form a strong oral.

The need for instant gratification

The effects of employment on mental health

Australian statistics on worry and anxiety

The Kids helpline and a case study

More statistics/stakeholders in the debate

20 . ‘Is the zero road toll possible?’

Premise: The concept of the ‘Towards Zero’ campaign is that we would have no deaths on the roads in short. This takes drink driving measures, the hazardous first months of a probationary driver and the zones in which these accidents are most highly occurring into consideration, as the government, younger drivers, and adult drink drivers are all concerned. There are already worrying trends going into 2019 however, as this forms the basis of some concerning patterns, and could be explored either way in an oral of whether or not the ‘zero road toll’ is truly possible.

The action plan, released by TAC branch

The implications of striving for the road 0 toll

What is already in place, is there grounds to this?

Trends and why it may not be possible

The official campaign

This blog covers choosing the perfect topic for your next Oral Presentation. To get a better overview of what's expected of you in Oral Presentations, writing up your speech, and speech delivery, check out Our Ultimate Guide to Oral Presentations.

The following is the LSG criteria that will ensure you find an interesting topic!

Step 1: Select a topic that has appeared in the media since 1 September of the previous year

Getting started on this first part can be tricky, especially if you want to choose something a bit more original or fresh.

In any case, the first thing you need is an event . An event in the VCE English context is anything that happens which also generates opinionated media coverage —so, it’s not just an event but it has to be an event that people have published opinions about, and they have to have been published since September 1.

You might wonder why we don’t go to the issue straight away. Here’s a hypothetical to illustrate: if you asked me to name an issue, the best I could probably come up with off the top of my head is climate change. However, if you asked me to name an event, I’d pretty easily recall the Australian bushfires—something much more concrete which a) has generated specific and passionate opinions in the media; and b) can easily be linked to a wider issue such as climate change.

So where do you find an event? If you can’t think of a particularly interesting one right away, you could always try Wikipedia. Seriously, Wikipedia very helpfully has pages of things that happened in specific years in specific countries, so “2019 in Australia” might well be a starting point. The ABC news archive is also really helpful since you can pick dates or periods of time and see a good mix of news events from then.

I wouldn’t underestimate your own memory here either. Maybe you attended the School Strike for Climate and/or you feel vaguely disappointed in the government. Maybe there was something else happening in the news you remember (even though it is often about the environment these days). It doesn’t have to be from the news though—maybe there was a movie or TV show you watched recently that you have thoughts about. You could really do a speech on any of these, as long as you suspect there might be recent, opinionated media coverage .

Only once you have an event should you look for an issue . This will be a specific debate that comes out of the event, and can usually be framed as a “whether-or-not” question. The bushfires, for example, might generate debate around whether or not the Australian government is doing enough to combat climate change, whether or not Scott Morrison has fulfilled his duties as Prime Minister, whether or not it’s appropriate to discuss policy already when people are still grieving. All of these issues are going to be more current and more focused than just ‘climate change’, so pick one that resonates for your speech. In the next couple of sections, I’ll offer you a list of 2019-20 issue-debate breakdowns (i.e. topic ideas!).

Most importantly, choose an event/issue that is interesting for you . You’re the one who’s going to deal most intimately with this event/issue - you’ll have to research multiple sources, come up with a contention and arguments, write the essay, present the essay - so make it easier for yourself because you’re going to be spending a lot of time completing all these steps. Besides, an inherently interesting topic means that you’ll showcase your opinions in an authentic way, which is incredibly important when it comes to presentation time.

Step 2: Filter out the boring events/issues

“Your aim of this entire Oral Presentation SAC is to persuade your audience to agree with your contention (whatever that may be) based off the issue you’ve selected.” -The VCAA English Study Design

Next, you’ll need use this test to see whether or not your topic will stand up to the test of being ‘interesting’ enough for your audience. My first question to you is: who is your audience?

Is it your classroom and teacher? Is it a handful of teachers? If you don’t know, stop right now and find out. Only continue to the next question once you’re 100% certain of your audience.

Once you know who your audience is, ask yourself: Does this event and issue relate to my audience?

This question matters because “your aim of this entire Oral Presentation SAC is to persuade your audience to agree with your contention (whatever that may be) based off the issue you’ve selected.” This means that what you say to your audience and how they respond to your speech matters . Even if your assessor isn’t counting exactly how many people are still listening to your speech at the end, everyone knows a powerful speech when they’re in the presence of one - it hooks the audience from start to end - and an assessor, consciously or subconsciously, cannot deny that the collective attentiveness of the room has an influence on their marking of your Oral Presentation.

That’s why you should choose a topic that your audience can relate to. This is just my personal opinion, but I don’t find a speech on the Adani Coalmine (broad issue = climate change) as interesting and engaging as School Strike For The Climate (broad issue = climate change). That’s not to say that I’m for or against the Adani Coal Mine, but I know that if I’m speaking to a crowd of 17-18 years olds, the School Strike For The Climate would be a better choice because it’s going to hit a lot closer to home (1) (perhaps some of those in your audience - including yourself - have attended one of those strikes).

To extrapolate this idea further, I try to avoid topics that have too many unfamiliar words for my audience. For example, I recall one year when one of my students decided to take a stance on pain medications and that they should be restricted to only over-the-counter in pharmacies. Have I lost you already with the ‘over-the-counter’? Yeah, I have no doubt that some of you are unfamiliar with that word (don’t stress, I didn’t know it either when I was in school). On top of this phrase, she used words like ‘Schedule A’, ‘Pharmaceuticals Benefits Scheme’, ‘Medicare rebate’, ‘opioids', ‘subsidised’, and other words that aren’t part of the usual vocabulary of her audience. I’d take heed because in order to captivate the audience’s attention, they need to understand what you’re talking about. As soon as there’s something they don’t understand, it becomes much harder for them to follow your speech, and before you know it, Sarah, the class sleeper is taking her afternoon snooze and the others are struggling to keep their eyes open! Having said all that, if you have an equivalent jargon-heavy topic like pain medications that really does interest you, then go for it. Just bear in mind that you’ll need to explain any new vocabulary during your speech to keep your audience’s attention.

Keen to learn more? My How To Write A Killer Oral Presentation eBook continues on this same path, covering the next steps in your Oral Presentation journey!

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Sounds like something that'd help you? I think so too! Access the full eBook by clicking here !

Ransom and Invictus are studied as part of VCE English's Comparative. For one of most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative.

Introductions

Clint Eastwood’s 2009 film ‘Invictus’ centers on the events following the election of Nelson Mandela, South Africa’s first black President in the post-apartheid era. The film follows President Mandela’s attempt to infuse a deeply divided country with new energy, by supporting the South African rugby team’s victorious 1995 World Cup Campaign. The unlikely bond formed between President Mandela and Francois Pienarr, the captain of the rugby team, illustrates themes of unity and reconciliation in a divided nation. The film begins with the image of a deeply divided society in 1990, as Mandela is released from 27 years of incarceration. A poignant opening scene sees Mandela drive along a long dirt road that runs between two playing fields, on one side, young black children shout excitedly as Mandela passes. On the other side, immaculately dressed white boys stare vacantly, as their coach proclaims, “This is the day our country went to the dogs.” This tumultuous period in South African history is of central concern to ‘Invictus’, as Eastwood portrays the lingering racial prejudices imbedded in this society. The film portrays the tension between the bitter resentment of black South Africans towards their former oppressors, with the fear and uncertainty of white Afrikaners under Mandela’s political leadership. Eastwood masterfully depicts the true story of the moment when Nelson Mandela harnessed the power of sports to unite a deeply divided South Africa.

Set during the Trojan War, one of the most famous events in Greek mythology, David Malouf’s historical fiction ‘Ransom’ seeks to explore the overwhelming destruction caused by war, and the immense power of reconciliation. Drawing on the Iliad, the epic poem by Homer, Malouf focuses on the events of one day and night, in which King Priam of Troy travels to the enemy Greek encampment to plead with the warrior Achilles to release the body of his son, Hector. Maddened by grief at the murder of his friend Patroclus, Achilles desecrates the body of Hector as revenge. Despite Achilles refusal to give up Hector’s body, Priam is convinced there must be a way of reclaiming the body – of pitting new ways against the old, and forcing the hand of fate. Malouf’s fable reflects the epic themes of the Trojan war, as fatherhood, love, grief and pride are expertly recast for our times.

Malouf and Eastwood both depict societies on the brink: Troy faces annihilation by the Greeks, while South Africa faces an uncertain future as it emerges from the injustices of the apartheid era, both worlds are in dire need of true heroes to bridge the great divide. Together, these two texts echo the significance of hope in the enactment of change. To learn more, head over to our full Ransom Study Guide (covers themes, characters, chapter summaries, quotes and more).

The power of shared human experiences

Both texts are centrally concerned with the significance of the universal experiences of love, loss, grief and hope to unite a divided people. Both Invictus and Ransom explore how societal forces divide people into different, often conflicting groups – whether this be race, history, culture, or war. Each text appeals to the universal experiences that define the human condition, and emphasise the significance of opportunities to cross-cultural divides.

In ‘Ransom’, Malouf is centrally concerned with the theme of fatherhood. This concept links the mortal and godly realms, which King Priam straddles over the course of his journey. The relationship between Priam and Somax illustrates this complex theme most clearly. The two men, despite being deeply separated by their class, education and power, share their common familial experiences. Priam confronts the poignancy of their shared experience of losing sons, questioning whether it “meant the same for him as it did for the driver”. Malouf thus presents Priam as initially lacking in terms of his understanding, Somax’s friendship and stories are the catalyst for Priam to engage in deeper, empathetic understanding. Somax’s trivial yet symbolically significant story about the griddle-cakes represents a moment of anagnorisis for Priam, wherein the shared bond of humanity in fatherhood allows Priam to obtain insight, and progressively grow as a human and as a leader. This incident fuels the journey to appeal to Achilles “man to man”, Priam’s insight into the power of empathy allows him to appeal to their shared bond as suffering fathers.

Just as Priam goes to Achilles “as a father”, using their common quality, fatherhood, to further understand each other, Mandela, too, emphasises the point that you must “know [your] enemy before [you] c[an] prevail against him” and thus he “learned their language, read their books, their poetry”. Mandela attempts to unite Black and white South Africans, despite the mutual animosity and distrust fostered by decades of apartheid. Black and White South Africans share almost nothing in common, with significant cultural and societal barriers to their reconciliation, including different dialects. Rugby emerges as the most poignant manifestation of this divide as the White South Africans support their national team, but the black south Africans barrack for the opposing side. The scene wherein Pienarr and Mandela meet over tea is symbolic of this sentiment of fostering unity amongst deep divisions. President Mandela literally hunches over to pour the tea for Pienaar, this inversion of status demonstrates his willingness to reduce his dignity as a superior and speak with Pienarr, and by extension, white south Africans, on an equal level, modelling an example of how race relations in his nation should be carried out. This equality is also symbolised by the passing of the tea to Pienaar, the close up shot where both arms of the individuals are depicted on an equal level reinforces this sense of mutual equality and respect, extolling the virtues of empathy and integrity as a uniting force.

Leadership and Sacrifice

Mandela and Priam symbolise how leadership must inevitably entail familial sacrifices. Both leaders self-identify with their nation and people. Priam embodies Troy itself, his body is the ‘living map’ of the kingdom. The ‘royal sphere’ he embodies is constrained by customs and tradition, full of symbolic acts that separate him from the mortal world. To an extent, these royal obligations and ritual suffocate Priam’s individuality and he is unable to show his true nature, or connect with his family in the way he would desire to. He regards intimate relationships with his children as “women’s talk” that “unnerves him” as it is not “his sphere”. This articulation of the disassociation of the “royal sphere” with natural human bonds of family reveals the secondary role that family and love must take when one’s role as a leader is paramount. Similarly, Mandela claims “I have a very big family. Forty-two million people”. Unlike Priam, Mandela seeks human connection, predicating his leadership on democratic ideals. This takes a physical and emotional toll, as shown by Mandela’s collapse in his driveway. The cost of leadership here is evident, as Mandela has effectively sacrificed his family for the good of his nation. His strained relationship with his daughter Zindzi further reinforces this, as she disapproves of Mandela reaching out to Pienarr, likening him to one of the white “policeman who forced (her) out of her home”, showing the disconnect between father and daughter due to the sacrifices necessitated by Mandela’s life of leadership, including his 27 year imprisonment.

Fatherhood and Masculinity

In ‘Ransom’ Malouf presents an enclosed, limited and unemotional masculine world, with particularly stringent expectations for men’s behaviour. This is a world characterised by war, wherein the expectations of violent masculinity are paramount. In presenting Achilles inside of “a membrane stretched to a fine transparency”, Malouf reveals the constant tension between the emotional, domestic human nature inside Achilles and the hierarchical violent external society that he is expected to abide by, revealing the constricting nature that the society has on defining men’s actions. Malouf uses words like “knotted” and “rope-like” when describing Achilles’ muscles, implying that his conventional great strength, the source of his fearsome reputation, represents a confinement that the society enforces on him and other men. Further, through a degree of compassion, Priam is able to touch the “sore spot whose ache he has long repressed” in Achilles, a symbol of the emotions that have been supressed by the dominant patriarchal nature of this society.

Whilst the world of ‘Invictus’ is less overtly masculine and patriarchal, the narrative of the film is primarily focused on the male experiences, with female characters assuming a largely secondary role. Zindzi’s strained relationship with her father exemplifies the sacrifices involved in leadership. Whilst Mandela is seen to have sacrificed a close connection with his daughter, this is suggested to be in service of the nation, “I have a big family. Forty two million people”.

Character analysis and comparison

Character analysis/comparison.

- aging king of troy

- individuality has been subsumed by the ceremonial functions of his high position

- self-identifies with nation

- life of obligation

- foregoes convention and embraces chance with his proposal to offer ransom for his son’s body

- becomes more attuned to the natural world

- gains a greater appreciation of his true self as a man, rather than a symbolic figurehead

- historic figure, symbol of peace

- spent 27 years in prison for sabotage and conspiracy to overthrow the government while he was trying to gain civil rights for all south Africans

- tackled institutionalised racism, poverty and inequality

- suffered under apartheid

- pursues reconciliation, prepared to face down calls for retribution

- in his speech to the sports council, he defends the traditions of the people who persecuted him

- interacts easily with people of all social standings

- charismatic, in touch with the people

Comparison

- embody essential role that leadership plays in achieving just resolutions to conflict

- sacrifice family for leadership

- illustrate that effective leadership takes a toll on the individual

- exemplify that reconciliation requires unexpected and difficult acts. Such as Mandela’s embrace of the Springboks and Priam’s appeal to Achilles “man to man”

- both show effective leadership involves expressing empathy and understanding the humanity of your enemies

Literary and cinematic techniques

- In one of the first scenes in Mandela’s office after he is elected President, Eastwood strategically frames the racial segregation and tension between the two groups via the mise-en-scene; they stand on separate sides of the room, wearing distinctly different clothing and calling Mandela either “Mr President” or “Madiba”, representative of their own identity. The lingering tension between the two groups permeates the entirety of the film, and the microcosm of the bodyguards acts as a symbol of the chasm within the wider nation.

- The deeply symbolic scene wherein Mandela and Pienaar have tea, Eastwood strategically uses a close up shot to frame the passing of the tea cup so that both arms of the individuals are depicted on the same level, reinforcing this sense of mutual equality and respect. It is this sharing of hope that ignites Pienaar to reciprocate Mandela’s egalitarian actions. As Pienaar brings a ticket for Eunice, recognising that “there’s a fourth” family member, he mimics Mandela’s value that “no one is invisible”. Consequently, it is demonstrated that regardless of skin colour, characters reciprocate Mandela’s empathy and compassion, revealing the limitless power such human qualities to reach across the boundaries of division.

- The wide shot of the passing of the trophy from Mandela to Pienaar is framed against the large crowd, metaphorically representing South Africa’s support with the unity of the black and whites, reflecting Mandela’s desire to “meet black aspirations and quell white fears”. Their diegetic cheers work to create the idyllic depiction of the lasting power of this change, implying the true limitless nature of hope in their society.

Learn more through Caleb (English study score 47) about Invictus Film Technique Analysis - How Can I Write About It?

- Priam’s moment of anagnorisis in which he discovers the concept of “chance”, marks the beginning of his enactment of change through the power of hope. Despite his family who wishes that he would “spare [himself of] this ordeal”, Priam’s vision guides him to overcome familial and societal obstacles in pursuit of reconciliation.

- Symbol: Griddlecakes – represent pleasure in common things, but also the growing realisation within Priam of his distance from such pleasures. The love and care with with Somax’s daughter cooked the cakes has a value that surpasses the conventional riches associated with the ruling elite. This is a catalyst for a moment of realisation for Priam.

Introduction

Not gonna lie, this novel is a bit of a tricky one to introduce. World War II, arguably one of the darkest events of human history, has been the basis of so much writing across so many genres; authors, academics, novelists have all devoted themselves to understanding the tragedies, and make sense of how we managed to do this to one another. Many reflect on the experiences of children and families whose lives were torn apart by the war.

In some ways, Doerr is another author who has attempted this. His novel alludes to the merciless anonymity of death in war, juxtaposes individualism with collective national mindlessness, and seeks out innocence amidst the brutality of war.

What makes this novel difficult to introduce is the way in which Doerr has done this; through the eyes of two children on opposite sides of the war, he explores how both of them struggle with identity, morality and hope, each in their own way. Their storylines converge in the bombing of Saint-Malo, demonstrating that war can be indiscriminate in its victims—that is, it does not care if its victims are children or adults, innocent or guilty, French or German. However, their interaction also speaks to the humanity that lies in all of us, no matter how deeply buried.

A very quick history lesson

Fast Five Facts about World War II:

Lasting 1939-1945, the war was fought between the Axis powers (Germany, Japan and Italy) and the Allies (basically everyone else, but mainly England, France, and later the US). Whilst it was Germany who started the war, the intervention of the US at the end of five long years of fighting ultimately helped the Allies win.
Various forms of technology were first used, or found new uses, during the war. Aircraft carriers and various planes (fighters, bombers etc.) became more important than ever, while Hitler’s use of tanks allowed him to take over much of Europe very quickly.
Other forms of new technology included one of the world’s first electronic computers that was used to codebreak (stop reading now and watch The Imitation Game if you haven’t already! Totally counts as studying, right?), as well as radio and radar, used to communicate and also to detect enemies in the field.
World War II is also referred to as the Holocaust, the name given to Hitler’s attempted genocide of the Jewish people. 6 million Jews died in the war, and as many as 15 million others died in total.
Germany’s initial conquest of Europe was swift and brutal. Within a month, Poland had already surrendered and within a year, so had France. However, there were also resistance groups all over these countries which sought to undermine the Nazi regime in a number of ways, both big and small.

My best attempt to give a general plot overview of this very long book

Disclaimer: this is a very, very broad overview of the novel and it is absolutely not a substitute for actually reading it (please actually read it).

Chronologically, we start in 1934, five years before the war. Marie-Laure is a French girl who lives with her father Daniel Leblanc, working at the Museum of Natural History in Paris. As she starts to go blind, Daniel teaches her Braille, and makes her wooden models of their neighbourhood to help her navigate. Six years later, the Nazis invade France, and they flee the capital to find Daniel’s uncle Etienne, who lives in the seaside town of Saint-Malo; Daniel was also tasked with safeguarding a precious gem, the Sea of Flames, from the Nazis.

In Saint-Malo, Daniel also builds Marie-Laure a model of the town, hiding the gem inside. Meanwhile, she befriends Etienne, who suffers from agoraphobia as a result of the trauma from the First World War. He is charming and very knowledgeable about science, having made a series of scientific radio broadcasts with his brother Henri (who died in WWI). She also befriends his cook, Madame Manec, who participates in the resistance movement right up until she falls ill and dies.

Her father is also arrested (and would ultimately die in prison), and the loss of their loved ones prompts both Etienne and Marie-Laure to begin fighting back. Marie-Laure is also given a key to a grotto by the seaside which is full of molluscs, her favourite kind of animal.

On the other side of the war, Werner is, in 1934, an 8 year-old German boy growing up in an orphanage with his sister Jutta in the small mining town of Zollverein. They discover a radio, which allows them to listen to a broadcast from miles away (it was Henri and Etienne’s), and Werner learns French to try and understand it. One day, he repairs the radio of a Nazi official, who recruits him to the Hitler Youth on account of his ingenuity (and his very blonde hair and very blue eyes, considered to be desirable traits by the regime). Jutta grows increasingly distant from Werner during this time, as she questions the morality of the Nazis.

Werner is trained to be a soldier along with a cohort of other boys, and additionally learns to use radio to locate enemy soldiers. He befriends Frederick, an innocent kid who was only there because his parents were rich—Frederick would eventually fall victim to the brutality of the instructors, and Werner tries to quit out of solidarity. Unfortunately, he is sent into the army to apply his training to actual warfare. He fights with Frank Volkheimer, a slightly ambiguous character who a tough and cruel soldier, but also displays a capacity to be kind and gentle (including a fondness for classical music). The war eventually takes them to Saint-Malo.

Also around 1943 or so, a Nazi sergeant, Reinhold von Rumpel, begins to track down the Sea of Flames. He would have been successful ultimately had it not been for Werner, who stops him in order to save Marie Laure.

As America begins to turn the war around, Werner is arrested and dies after stepping on a German landmine; Marie-Laure and Etienne move back to Paris. Marie-Laure eventually becomes a scientist specialising in the study of molluscs and has an extensive family of her own by 2014. Phew.

What kind of questions does Doerr raise through this plot? To some degree, the single central question of the novel is one of humanity, and this manifests in a few different ways.

Firstly, to what extent are we in control of our own choices? Do we truly have free will to behave morally ? The Nazi regime throws a spanner in the works here, as it makes incredibly inhumane demands on its people. Perhaps they fear punishment and have no choice—Werner, for instance, does go along with everything. At the same time, his own sister manages to demonstrate critical thinking and moral reasoning well beyond her years, and it makes you wonder if there was potential for Werner to be better in this regard. There’s also the question of whether or not he redeemed himself in the end.

That being said, Werner is far from the only character who struggles with this—consider the perfumer, Claude Levitte, who becomes a Nazi informer, or even ordinary French citizens who simply accept the German takeover. Do they actually have free will to resist, or is it even moral for them to do so?

Hannah Arendt famously coined the phrase “the banality of evil,” referring to how broader movements of inhumanity (such as the Holocaust) can be compartmentalised until individual actions feel perfectly banal, commonplace and ordinary. This is what allowed people to do evil things without actually feeling or even being inherently evil—they were just taking orders, after all. Consider the role of free will in this context.

This brings us to the broader ‘theme’ of war in general: in particular, what kinds of acts are suddenly justifiable in war? Etienne and Madame Manec, for instance, even disagree on the morality of resistance, which can frequently involve murder. Etienne’s pacifist stance is a result of the scale of deaths in the previous world war. At the same time, the climactic event of the novel is an allied bombing of Saint-Malo, a French town, just because it had become a German outpost. Risking lives both French and German, this also highlights the ‘necessity’ of some inhumane actions in times of war.

On a more optimistic note, a human quality that Doerr explores is our natural curiosity towards science . This is abundant in the childhoods of both protagonists, as Werner demonstrates dexterity with the radio at a very young age, and Marie-Laure a keen interest in marine biology. In particular, her blindness pushes her into avenues of science which she can experience without literal sight, such as the tactile sensations of mollusc shells. The title may hint at this—for all the light she cannot see, she seeks enlightenment through knowledge, which in turn gives her hope, optimism and purpose.

At the same time, the human desire to better understand the world can also be used inhumanely—Werner used radio to learn through Etienne and Henri’s broadcasts, but he would later in life also use it to help his compatriots murder enemy soldiers. This alludes to the banality of evil again; by focusing on his very technical role and his unique understanding of the science behind radios, he is able to blind himself to the bigger picture of the evils he is abetting. Science is something that is so innately human, yet can also be used inhumanely as well.

For these reasons, I’d suggest humanity is at the heart of the novel. There is a certain cruel randomness to death in war, but just because so many did perish doesn’t mean that there aren’t human stories worth searching for in the destruction. This is the lens that Doerr brings to the WWII narrative.

Some symbols

To some degree, a lot of these symbols relate to humanity, which I’ve argued is the crux of the novel. I’ll keep this brief so as to not be too repetitive.

One major symbol is the radio , with its potential for good as well as for evil. On one hand, it is undoubtedly used for evil purposes, but it also acts as a source of hope, purpose, conviction and connection in the worst of times. It is what ultimately drives Werner to save Marie-Laure.

Along the same vein, whelks are also a major symbol, particularly for Marie-Laure. While an object of her fascination, they also represent strength for her, as they remain fixed onto rocks and withstand the beaks of birds who try to attack them. In fact, she takes “the Whelk” as a code-name for herself while aiding the resistance movement. It’s also noteworthy that, given the atrocities of war, maybe animals are the only innocent beings left. As Saint-Malo is destroyed and the Sea of Flames discarded, it is the seaside ecosystem that manages to live on, undisturbed. In this sense, the diamond can be seen as a manifestation of human greed, harmless once removed from human society.

Finally, it’s also worth considering the wooden models that Daniel builds for Marie-Laure. They represent his immense love for her, and more broadly the importance of family, but the models also attempt to shrink entire cities into a predictable, easily navigable system. As we’ve seen, this is what causes people to lose sight of the forest for the trees—to hone in on details and lose track of the bigger picture around them. The models are an oversimplification of life, and an illusion of certainty, in a time when life was complicated and not at all certain for anyone.

Identity, morality and hope—these things pretty much shape what it means to be human. Throughout All the Light We Cannot See though, characters sometimes struggle with all three of them at the same time.

And yet they always manage to find something within themselves, some source of strength, some sense of right and wrong, some humanity in trying times. Doerr explores this capacity amply in this novel, and in this sense his novel is not just another story about WWII—it’s a story about the things that connect us, always.

Essay prompt breakdown

Transcription

Through the prompt that we’ll be looking at today, the main message I wanted to highlight was to always try and look for layers of meaning. This could mean really being across all of the symbols, motifs and poetic elements of a text, and it’s especially important for a novel as literary as this one.

You might not have been particularly happy to find out you’re going to have to study All The Light We Cannot See— it is probably the longest text on the entire text list—but it’s also a really beautiful, well-written book that deservedly took out the Pulitzer Prize for fiction in 2015.

In this novel, Anthony Doerr tells the World War 2 story through a unique lens, or rather a unique combination of lenses, as he sets a 16-year-old French girl and a 17-year-old German boy on an unlikely path of convergence. Through the dangers and difficulties that they face, Doerr’s novel is one of growth and self-assuredness in a time when this seemed virtually impossible.

The essay topic we’ll be looking at today is:

All The Light We Cannot See is a literal title for the novel, in that it exposes the darkness, evil and cruelty of which humans are demonstrably capable. Is this an accurate interpretation?

As usual, let’s define some keywords.

I want to leave ‘darkness’ for a little later, but let’s start with ‘evil and cruelty.’ By themselves, they generally just mean immorality or inhumanity, but also keep in mind how they come across in characters’ actions, since those will be the focus of our analysis. The word ‘demonstrably’ highlights this, since it means that any ‘evil’ you discuss needs to be demonstrated or proven.

With ‘darkness’, that’s a bit more of a tricky term because it can mean any number of things. Here, it might be taken to mean bad intentions, corruption or anything like that, because it fits with ‘evil and cruelty’. However, this is where the ‘interpretation’ aspect of the prompt comes in—an interpretation being a way of explaining meaning, how do you explain the meaning of ‘darkness’ in relation to the title? Darkness in this sense could be any number of things.

Now, how should we plan for this topic? Let’s first consider if there’s any room to challenge, since the prompt seems to only focus on the more negative, pessimistic side of the book. I’d argue that with darkness, there is also some light in the form of kindness, charity and hope.

This all sounds pretty profound, but I’m just trying to link it back to the book’s title! I mean, that’s what the topic is asking about, right?

Let’s break this down into paragraphs.

For our first paragraph, a good starting point might be analysing the literal forms of darkness in the novel, and seeing what other interpretations we can get from those. A character that comes to mind is Marie-Laure, the French girl who cannot see any ‘light’ due to her blindness. The title could be seen as an allusion to her character and by extension, the hopelessness that blindness might cause in the midst of a war. We could compare Marie-Laure’s situation with that of Werner, who faces the industrialization of his childhood town, watching it become more and more enveloped in ‘darkness’ and as such, hopelessness.

For our next paragraph, we might drill down to deeper levels of interpreting darkness, because it’s often used as a metaphor for inhumanity. It isn’t difficult to find inhumanity in the novel. There’s plenty of it peppered throughout Werner’s storyline, particularly at Schulpforta, where the Hitler Youth were ‘trained’, (to put it lightly). He and his peers are routinely drilled to “drive the weakness from the corps” in humiliating exercises led by cruel instructors. They are also sometimes driven to cruelty towards one another, and Frederick, Werner’s bunkmate, is relentlessly bullied for his perceived weakness.

So by now, it’s clear that the novel demonstrates the human capacity for experiencing ‘darkness’ as well as inflicting it upon others. But, across these two layers of meaning, could there perhaps be some room to challenge these interpretations? This is something we should look at for our final paragraph.

Here, I would probably argue that just as Doerr explores various forms of darkness, there is also enough ‘light’ which allows some characters to overcome or escape from the darkness. These manifestations of light also require you to think about the different symbolic layers of the novel. On one level for example, looking at light literally, there’s the message on Werner’s radio that teaches us that, even though the brain is sealed in darkness, “the world it constructs…is full of light.” A deeper level of meaning to this may refer to the sense of scientific wonder and discovery which sometimes brings light to Werner, and also Frederick, his bunkmate at Schulpforta, when their lives there are at their most dark.

Consider how, just as darkness has levels of interpretation and symbolism in this book, so does light and hope and joy, rather than just evil and cruelty.

And that’s it! Always delving deeper for meaning helps you to really make use of the symbols, imagery and motifs in a text, and I hope this novel in particular illustrates that idea.

This is a 7 part series of videos teaching you how to analyse articles for your SAC. Your school will give you three texts which can consist of articles (opinion, editorial, letter to the editor) or images (cartoons, illustrations, graphs). We've used VCAA's 2016 English end of year exam for this series of videos.

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FILM REVIEWS

MUCH ADO ABOUT NOTHING (2013)

by Michael G. McDunnah
June 23, 2013

Most of the pre-release discussion and buzz around Joss Whedon's Much Ado About Nothing has focused not on what it is, but on the hows and whys of the thing. There has been a strangely amused fascination with Whedon's decision to follow The Avengers — a mega-franchise movie with a nine-figure budget and a ten-figure take—with a no-budget, black-and-white adaptation of one of Shakespeare's lightest plays. After all, coming off one of the most successful blockbusters in history, this man could do anything, and work with anyone, for all the money: instead, he chooses to act like a film student, and spend 12 slapdash days shooting an indie-spirited little movie at his own home with his TV actor friends. He's pretending he's still little people! How charming! How quirky! How eccentric!

How absurd. Yes, Much Ado about Nothing was filmed quickly and cheaply—and among friends—in what was supposed to be Whedon's vacation during post-production on The Avengers. But to treat Much Ado as a palate-cleansing vanity project is to do the film a great disservice, for it is much, much better than that.

Much Ado is good for exactly the same reason that The Avengers is good: because Whedon understands stories as well as any filmmaker working today, and can translate that understanding onto the screen in a way that brings each story to appropriate and exuberant life. The Avengers was a tale that required several years and several hundred million dollars to do right, but Much Ado is a stage play, and in some ways—as its author implied in the title—a deeply silly one: it benefits from a lighter touch, and an energy that is both more spontaneous and more intimate. I have no doubt that Whedon could have secured more money, taken more time, and hired better-known (though not better) actors to film Much Ado About Nothing, but I doubt the result would have been any better than this. Funny, insightful, and genuinely romantic, Much Ado About Nothing is one of the best movies of the year, and one of the best Shakespeare adaptations ever captured on film.

I'm not an Elizabethan scholar (believe it or not), but I don't think it's much of a stretch to say that Shakespeare more or less invented the romantic comedy as we know it, and Much Ado is one of his most perfect examples of the genre: it's full of witty banter, comic misunderstandings, and self-invented drama. The story, briefly, is as follows: Don Pedro of Aragon (Reed Diamond), fresh from victorious battle, has brought his entire retinue to vacation at the home of the honorable Senor Leonato (Clark Gregg) in Messina. There, a distinguished young soldier named Claudio (Fran Kranz) falls quickly in love with Leonato's innocent daughter Hero (Jillian Morgese), while Pedro's right-hand man Benedick (Alexis Denisof) renews a long-standing "merry war" with Leonato's niece Beatrice (Amy Acker).

The first couple falls together naturally enough, but the second will take some doing. Beatrice and Benedick have a great deal in common: they are both single and highly attractive people; they are both quick-witted and acid-tongued; they are both fiercely loyal to their friends; and they are both contemptuous of romance and dismissive of would-be suitors. Clearly, they are destined to be together, and so of course—in the time honored fashion of rom-coms throughout history—they can't stand one another. To pass the time in the week before the wedding of Claudio and Hero, the meddling, well-intentioned friends of Benedick and Beatrice undertake a complicated conspiracy to bring the bickering and romance-averse duo "into a mountain of affection, the one with the other." (Working against both couples is Pedro's bastard brother John [Sean Maher], a self-confessed "plain-dealing villain" who exists more or less to provide the plot with a malevolent monkey wrench.)

Much Ado works so well for modern audiences—and, as here, in modern dress—because this formula is so reliable and familiar: romantic comedies are almost always about two people who are the only two people in the world who don't know they belong together. (Shakespeare himself, of course, returned to this well several times, though to my mind he never created a better comedic pairing than Benedick and Beatrice.) Unlike other Shakespearean comedies— The Merchant of Venice, for example— Much Ado really is much ado about nothing: despite some manufactured drama, the stakes are ultimately small and personal, and so Whedon's approach here is exactly right. In a manner that will perhaps be jarring to those who only know grandiose, self-important stagings of Shakespeare, Whedon films Much Ado like exactly what it is: a witty comedy about people who gather at a big house for a party, drink too much, and make some questionable romantic and sexual decisions. In doing so, he reminds us that Shakespeare can be very funny, and very sexy, and at times very silly. With a brisk, almost improvisational energy, Whedon's Much Ado sometimes feels like it has more in common with films like The Big Chill and The Anniversary Party than it does any filmed version of Hamlet—and that's a good thing. Much Ado has some of the most naturalistic dialogue in Shakespeare's collected works, and—when spoken correctly, as it is here—we can fall into its playful rhythms quickly, and we not only appreciate but thoroughly enjoy its wit and insights.

For Whedon's Much Ado About Nothing is both very funny and very insightful. It is funny not in the way we must, in some productions, pretend we find the jokes in Shakespeare amusing, but actually, laugh-out-loudfunny. The dialogue itself is more than sufficiently razor-sharp and full of double-entendres, and Whedon uses the makeshift stage of his own house to find some extra laughs in slapstick staging and contextual sight gags. (Denisof delivering one macho speech while sitting beside a very girly dollhouse in a child's bedroom is an early delight.) In almost every role, Whedon uses veterans of his earlier productions—from TV shows like Buffy the Vampire Slayer, Angel, Firefly, and Dollhouse, and movies like Serenity, The Cabin in the Woods, and The Avengers —and there's a reason beyond loyalty that he keeps hiring the same actors: it's because they're good. Casting is a particular gift of Whedon's, and here the entire company consistently finds interesting and original line readings, with particular standouts in Gregg, Diamond, Kranz, and Nathan Fillion (who plays watch commander Dogberry—one of Shakespeare's best clowns—as a sort of self-important but bumbling fraud of a TV police detective). I mean it not as an insult to Shakespeare, but as a compliment to Whedon and his cast, to say that the dialogue here comes across with the delicate wit and timing of the best of Joss Whedon's own scripts.

Any staging of Much Ado lives or dies with its Benedick and Beatrice, however, and this one not only lives, but sings. Denisof, who played Wesley Wyndham-Pryce on Buffy and Angel (and also had a recurring role on Whedon's Dollhouse) has a particular gift for subtly (and not-so subtly) puncturing the pomposity of his own characters. This turns out to be perfect casting for Benedick, the self-avowed bachelor and cynical ladies man who actually has—as was once said of Wesley on Buffy— the emotional maturity of a blueberry scone. Benedick is a character who protests too much, and the early scenes of wise-cracking, too-cool-for-school Benedick are unconvincing in just the right ways: Denisof seeds them with just the right levels of pretense, posturing, and insecurity to make the way Benedick turns to romantic jelly in the third-act both believable and touching.

Alexis Denisof and Amy Acker in MUCH ADO ABOUT NOTHING

And, as Benedick's counterpart Beatrice, Amy Acker is a revelation. Acker is another Whedonverse veteran (from Angel, Dollhouse, and The Cabin in the Woo ds ), and—as with many Whedon favorites, including Kranz—I've never been able to watch her without wondering why she isn't a huge star. Luminously beautiful, and able to turn on a dime between deft comedy and heartbreaking pain, Acker is the real deal, and here she absolutely owns one of Shakespeare's greatest roles. (We are only halfway through the year, but I can already say that any end-of-the-year nominations or "Best Of" lists that don't include Acker's name will be automatically invalid.) Beatrice—"Lady Disdain," as Benedick calls her—is a complex character: independent, self-possessed, at turns joyous and sad, and capable of both devastating wit and explosive fury. Acker captures all of these colors and more, carefully layering the self-aware amusement beneath Beatrice's sadness, and the hurt and fear beneath her quick-witted jibes: it's a charming, delicate, dazzling performance. In a small-but-justifiable deviation from the original play, Whedon shows us flashbacks of an earlier—perhaps one-night—affair between Beatrice and Benedick, and that history provides a rich subtext to everything both actors do. "I know you of old," Beatrice says to Benedick, and we receive from Acker's eyes alone a full understanding of the underlying passion, and the seething hurt, and the terrifying risk of these bantering encounters with Benedick.

For that, in the end, is what Much Ado About Nothing is actually about: it's about the fear of love, the horror of rejection, the terrifying leap of faith involved in opening your heart and making yourself vulnerable to another human being. It is, ultimately, about the necessity of lowering your guard, dropping your need to appear "cool," and giving yourself to the foolmaking humiliations of real emotion. This is a very Shakespearean theme, of course—love makes asses of us all in the end—and it's also a very Whedonian theme, one the director has explored throughout his works, from Buffy (particularly the musical episode) to Dollhouse to Dr. Horrible's Sing-a-Long Blog. It's only when we strip away our own public personae—our defenses, our pretenses, our carefully constructed identities—that real connection is possible. No matter how cool we pretend to be, we're all really dorks on the inside, especially when it comes to love: Shakespeare understood that, and so do Whedon and his cast, and it is this perfect marriage of play to players that gives Much Ado its generous, joyous heart.

Michael G. McDunnah

Leave a comment, 1 thought on “much ado about nothing (2013)”.

excellent review – just saw the film and think it is the best version of the play I've ever seen – hooray for Americans doing Shakespeare excellently well!

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Much Ado About Nothing Review

01 Jan 1993

111 minutes

Much Ado About Nothing

Critics of Kenneth Branagh eager to see the boy wonder fall on his face had to wait just a little bit longer (until the disaster that was Mary Shelleys Frankenstein) as his fourth feature, and second Shakespearean screen adaptation, revealed itself as a delightful bit of fun and a starry crowd-pleaser.

Much Ado is arguably Shakespeare's wittiest comedy, dealing as it does with the feigned antipathy of its talkative, bantering protagonists, confirmed bachelor Benedick and spirited Beatrice, whose real love for each other is joyfully exposed by the ingenious match-making of their cronies.

Around and between these two, a hectic whirl of courting, conniving and clowning takes place as Don Pedro, Prince of Aragon (Washington, dandy down to his leather trousers) energetically promotes his comrades' happiness; his jealous bastard brother Don John (Reeves permanently a'glowering) broods and plots; wan young drip Claudio (Leonard) falls in and out and back in lurve; and the famously inarticulate local constable Dogberry (a very funny, quirky Keaton twinned with stooge Ben Elton) bumbles upon the truth behind a despicable deed that threatens to undo all.

Branagh has deposited his production on a lovely Tuscan estate where the delicious repartee and romping unfold as a suitably sunny summer idyll, with ideas borrowed as much from Hollywood adventures as from theatrical tradition, from the gallants' arrival galloping into shot like something from The Magnificent Seven, to the lovestruck Benedick stomping about in a fountain like Genes Kelly or Wilder.

Emma T. reaffirms her brilliance as an actress who can declaim "Hey nonny nonny" without appearing even the teensiest bit inane, and if occasionally the full-blooded cast (which includes Branagh's theatre colleagues Richard Briers, Brian Blessed, Imelda Staunton and then ingenue Kate Beckinsale) threaten to run riot, the quieter episodes of love declared, sinister scheming or near-tragedy mercifully cool their jets.

Be assured that any previous acquaintance with the play is unnecessary, since Branagh's forte in Shakespeare is, of course, to emphasise the sense, and he has done so here with charming playfulness and an exuberant ensemble. The result is wonderfully unrestrained, romantic and funny.

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‘Much Ado About Nothing’: Self-Awareness and Respect in Relationships Essay

To find inspiration for your paper and overcome writer’s block
As a source of information (ensure proper referencing)
As a template for you assignment

Introduction

Works cited.

Much Ado About Nothing is a Shakespearean comedy written around 1598. The content of living joy, rich philosophy. The story’s main themes are masks, disguises, or games, while the characters explore self-awareness, honesty, and respect in relationships.

The character Benedict raises the theme of the cuckold in the tension of the whole play. At the beginning of the play, Benedict appears as an aristocratic soldier, witty and intelligent. Benedik’s unusual self-portrait about his relationships with women is readily amenable to psychoanalytic reading. Moving nonstop from conception to upbringing and cuckolds, he merges his relationship with his mother and wife into one, destroying past and future, memories and fears. He said: “ 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” (Shakespeare, p. 153). What seems to unite all these stages of a man’s life is the humiliating dependence on a woman, starting with the support of the infant on the maternal woman in terms of energy and upbringing (Fonagy, p. 45). However, this early dependence, instead of being outgrown, is considered a forerunner of later sexual humiliations of an adult man.

In psychoanalytic concepts of male suppression, the absence of the mother’s phallus is an alarming image for the child — an image of his fear of castration and subordination to another man (Barry, p. 102). Nevertheless, for Benedict, a returning soldier, this fear of women seems not so much general as personal: the horns of the cuckold, which he imagines as his future headdress, are precisely the horns of a defeated soldier who lost his horn because of another soldier (Barry, p. 111). However, in the drama of that period, there is a noticeable discrepancy between the frequency of jokes and the rarity of adultery. There are far more falsely accused wives than guilty ones.

Thus, this discrepancy between natural guilt and fear of betrayal suggests that we should focus not so much on the infidelity itself but on the natural source of patriarchal anxiety, which was the patriarchy’s inevitable dependence on an inability to verify the virtue of wives and mothers.

Barry, Peter. “Psychoanalytic Criticism.” Beginning Theory (fourth edition) . Manchester University Press, 2020, pp. 97-122.

Fonagy, Peter, et al. “Reconciling Psychoanalytic Ideas with Attachment Theory.” Guilford Press, 2018.

Shakespeare, William. “Much Ado About Nothing.” One-Hour Shakespeare . Routledge, 2019, pp. 147-206.

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IvyPanda. (2023, December 5). ‘Much Ado About Nothing’: Self-Awareness and Respect in Relationships. https://ivypanda.com/essays/much-ado-about-nothing-by-shakespeare-essay-examples/

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IvyPanda . 2023. "‘Much Ado About Nothing’: Self-Awareness and Respect in Relationships." December 5, 2023. https://ivypanda.com/essays/much-ado-about-nothing-by-shakespeare-essay-examples/.

1. IvyPanda . "‘Much Ado About Nothing’: Self-Awareness and Respect in Relationships." December 5, 2023. https://ivypanda.com/essays/much-ado-about-nothing-by-shakespeare-essay-examples/.

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Much Ado About Nothing

Much ado about nothing - movie review..

Media Coursework: Kenneth Branagh’s “Much Ado About Nothing”

Movie Review:

Cast: Kenneth Branagh, Emma Thompson, Denzel Washington, Keanu Reeves, Robert Sean Leonard, Kate Beckinsale, Richard Briers, Brian Blessed, Michael Keaton, Ben Elton

Running Time : 1hr 5mins

Introduction

If you’re studying the Shakespeare play, Much Ado About Nothing, be sure to watch Kenneth Branagh’s interpretation of this play. This film will provide you with an enhanced understanding of the play. Although, it is misleading at times, this version of the play will keep you fully entertained for the full 111 minutes and provide you with extra knowledge of the play.

The majority of the cast was well selected, and the actors lived up to expectations.

Denzel Washington played Don Pedro well. He looked noble and therefore suited the part of Don Pedro. Kenneth Branagh made a super decision in casting an African American as Don Pedro. The illegitimacy is more

obvious when one of the princes is ‘black’ and the other is ‘white.’

This is a preview of the whole essay

However, I feel that Keanu Reeves is not suitable to play the part of Don John. In another version of Much Ado About Nothing, the actor cast as Don John was much older and less handsome, which made him appear more of a villain and I feel, for this reason, he succeeded in playing the role of Don John. I think that Keanu Reeves is inappropriate to play this role because the audience does not immediately recognise him as a villain. Keanu Reeves normally plays the part of the hero; the person that does the good deeds; the one who attracts the women, which provides him with a false image at the beginning of the play. It’s important not to be fooled by his appearance because it, then, doesn’t allow the audience to truly recognise Don John as the villain.

Kenneth Branagh and Emma Thompson perform well as Benedick and Beatrice. They portray their characters well, especially Emma Thompson as Beatrice. She really portrays Beatrice’s upset and anger, at the fact that Hero’s has been slandered, well. Her acting really allows to you to understand why Beatrice is so distraught.

I feel that Robert Sean Leonard’s acting was quite poor. He was unable to portray Claudio’s true feelings. At moments in the film, when Claudio was supposed to be really worried and upset, Robert Sean Leonard made it seem as if Claudio was just pretending to be upset. This gives a false impression to the audience who may think that Claudio was not actually concerned. However, in the wedding scene, he portrayed Claudio’s anger, brilliantly. It really allowed the audience to see why Claudio would be so angry about being deceived.

Dogberry was played by Michael Keaton, who I feel did a brilliant job in depicting Dogberry as the village idiot. I feel he was really able to show that Dogberry was meant to be stupid, and this was done well in the scenes where Dogberry and Verges galloped around on imaginary horses.

Much Ado About Nothing was filmed in Villa Vignamaggio in Tuscany and the setting was really bright and open. The fact that it was bright and sunny made it, automatically, seem as if everybody was happy. The use of such bright, open settings showed the audience that Much Ado About Nothing is a comedy and is meant to have a happy ending. Shakespeare didn’t write the play to be dull and unhappy, but interesting and joyful and the setting really allows that to be obvious.

The music is well selected in the film. It helps to augment the mood and sets the atmosphere. The music, used in the wedding scene, builds up suspense and adds to the mood, creating drama and bringing the scene to its climax.

Balthazar’s song from Act II Sc III is moved to the beginning of the film and instead of being sung, it is read as a poem by Beatrice. I feel this works really well because it sets the film up and unites the beginning of the play to the subject of the play, deception. It also builds on Beatrice’s character. Beatrice reads the poem with emotion, which implies that Beatrice, herself, has once been deceived.

Slow motion is used at the beginning of the play, when the soldiers are riding up to the villa. This focuses on them and makes their return seem really significant. The soldiers return as war heroes and by filming their return in slow motion, it really demonstrates that to the audience.

When Don Pedro, Claudio and Leonato deceive Benedick about Beatrice’s intentions for him, it isn’t as serious as it is supposed to be. In the play, Shakespeare wrote the deception scene to be serious, but in the film, Don Pedro, Claudio and Leonato treat it as a joke. They shout to each other and smirk a lot, which removes the seriousness of the scene.

Document Details

Word Count 831
Page Count 2
Subject English

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Much Ado About Nothing:

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Much Ado About Nothing

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

‘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 severe issues and a sense of repressed catharsis, Shakespeare wittily masks these elements with a comedic approach- giving us a lasting impression of the plot. Whether the play is more serious than expected of a comedy is yet to be discussed.

The title ‘Much Ado About Nothing’ itself suggests a sense of comedic triviality. In fact, a knowledgeable audience would appreciate that the word “nothing” was an Elizabethan euphemism for the female genitalia. It suggests that the dramatist is poking fun at the fuss generated by the male desire to gain approval of the female “nothing.” Indeed, the dramatis personae pun bawdily on it, often even linking it to “will”- another euphemism of the era to denote a phallic image and thereby the male desire. This comic element is thus highlighted by the sense of primitivity portrayed in the hidden meanings. Humanity crudely depicted as animals (males and females) is given a whole new dimension of humour to Aristotle’s notion of a man being a ‘social animal.’...

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IMAGES

Much Ado About Nothing Film Review
MUCH ADO ABOUT NOTHING MOVIE REVIEW
Film Review: Much Ado About Nothing (1993)
Much Ado About Nothing Movie Review (2013)
much ado about nothing (1993)
Much Ado About Nothing Film Review

COMMENTS

Much Ado About Nothing movie review (1993)
In the opening scene of "Much Ado About Nothing," Kenneth Branagh insists on the tone the movie will take: These are healthy, joyful young people whose high spirits will survive anything, even the dark double-crosses of Shakespeare's plot. The story involves two sets of lovers. The first, Claudio and Hero, are destined to be almost torn apart ...
1993 Much Ado About Nothing: Movie Review
In all the films, Branagh himself plays the lead male role. But rarely is a cast so cohesive and dynamite in their performance than in his 1993 Much Ado About Nothing. First of all, this was the 90s, so all of these actors were in their prime. Branagh and Thompson, in particular, have a mature, but still heart-achingly youthful and giddy match ...
Much Ado About Nothing movie review (2013)
Joss Whedon firmly places "Much Ado About Nothing" in the screwball tradition where it belongs. Any rom-com we see today is haunted by the arguing defensive love-mad ghosts of Beatrice and Benedick, the reluctant, verbal-barb-trading lovers. Watching Amy Acker and Alexis Denisof battle it out, in words and in a near wrestling match near the end of the film, is a supreme pleasure.
Introduction to the 1993 Film Much Ado About Nothing
Critical Essays Introduction to the 1993 Film Much Ado About Nothing. Watching a good performance of a play brings much to its audience that cannot be experienced by reading the play. For example, the playgoer sees real people with their individual expressions and mannerisms, and in costumes and settings intended to highlight their actions.
Review/Film; A House Party of Beatrice, Benedick and Friends
The Branagh "Much Ado About Nothing" is a dreamlike house party set in and around a magnificent Tuscan villa in the erotic heat of an Italian summer. The period is not specified, although it seems ...
"Much Ado About Nothing" the Film by Kenneth Branagh Essay
The movie 'Much Ado About Nothing', is a comedy based on William Shakespeare's play. Benedick is one of the main protagonists alongside Beatrice, Hero and Claudio. Benedick, who is a soldier, is an assistant and close friend of Don Pedro, an Italian prince. When the movie begins, the soldiers have just returned to Messina from a battle.
Much ado about nothing
Exclusively available on IvyPanda®. 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.
Review: Much Ado About Nothing
Review: Much Ado About Nothing. A young woman sleeps in an apartment. A young man gets dressed and leaves without saying goodbye. He steps into the city street, very much the picture of what the well-dressed ambitious young businessman is wearing. Were it not for the distancing effect of the black-and-white cinematography, this might be the ...
Essay about Much Ado About Nothing Movie Review
Much Ado About Nothing was filmed in Villa Vignamaggio in Tuscany and the setting was really bright and open. The fact that it was bright and sunny made it, automatically, seem as if everybody was happy. The. Get Access. Free Essay: Much Ado About Nothing Movie Review Cast: Kenneth Branagh, Emma Thompson, Denzel Washington, Keanu Reeves, Robert ...
'Much Ado About Nothing,' Directed by Joss Whedon
Much Ado About Nothing. NYT Critic's Pick. Directed by Joss Whedon. Comedy, Drama, Romance. PG-13. 1h 49m. By A.O. Scott. June 6, 2013. Joss Whedon's adaptation of "Much Ado About Nothing ...
Much Ado About Nothing
After going increasingly astray with two contemporary outings, Kenneth Branagh returns to the high and, for him, safe ground of Shakespeare with "Much Ado About Nothing," a spirited, winningly ...
Much Ado About Nothing
David Denby New York Magazine/Vulture Much Ado About Nothing is one of the few movies of recent years that could leave its audiences weeping with joy. Dec 31, 2019 Full Review Stanley Kauffmann ...
Much Ado About Nothing (2013)
The film, shot in 2011 during Whedon's vacation after completing principal photography on The Avengers and released on the festival circuit in 2012, is beautifully informed by a text about the film from Titan Books, titled simply Much Ado About Nothing.
Much Ado About Nothing
Summary. 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 ...
Much Ado About Nothing (2013)
Funny, insightful, and genuinely romantic, Much Ado About Nothing is one of the best movies of the year, and one of the best Shakespeare adaptations ever captured on film.
Much Ado About Nothing Critical Evaluation
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A Summary and Analysis of William Shakespeare's Much Ado about Nothing
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.
Much Ado About Nothing Review
PG. Original Title: Much Ado About Nothing. Critics of Kenneth Branagh eager to see the boy wonder fall on his face had to wait just a little bit longer (until the disaster that was Mary Shelley s ...
Much Ado About Nothing
New York: Twayne, 1992. Compact introduction to Shakespeare's comedy that is both critically sophisticated and accessible to the general reader. Essay on Much Ado About Nothing reveals various ...
'Much Ado About Nothing': Self-Awareness and Respect in Relationships Essay
Introduction. Much Ado About Nothing is a Shakespearean comedy written around 1598. The content of living joy, rich philosophy. The story's main themes are masks, disguises, or games, while the characters explore self-awareness, honesty, and respect in relationships. Get a custom essay on 'Much Ado About Nothing': Self-Awareness and ...
Much Ado About Nothing
Movie Review: Cast: Kenneth Branagh, Emma Thompson, Denzel Washington, Keanu Reeves, Robert Sean Leonard, Kate Beckinsale, Richard Briers, Brian Blessed, Michael Keaton, Ben Elton Running Time: 1hr 5mins. Introduction. If you're studying the Shakespeare play, Much Ado About Nothing, be sure to watch Kenneth Branagh's interpretation of this play.
Much Ado About Nothing Essay
Azeemah B L Jaulim 12th Grade. '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 severe issues and a sense of repressed catharsis, Shakespeare wittily ...
Much Ado About Nothing: Movie Analysis
The movie and the play "Much ado about nothing, despite of having the same name, each has its own characteristics that make them unique. As every theatrical work taken to the cinema many scenes were recreated differently, because it needs to be adapted to the preferences of the time in which the film is created in order to attract more public .Even the movie is based on the play ,they were ...
Much Ado About Nothing Movie And Play Comparison Essay
The movie and the play "Much ado about nothing, despite of having the same name, each has its own characteristics that make them unique. As every theatrical work taken to the cinema many scenes were recreated differently, because it needs to be adapted to the preferences of the time in which the film is created in order to attract more public .Even the movie is based on the play ,they were ...

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Themes / Motifs

Chastity and Family Honour

Perception and Reality

The Savage Bull

Character Analysis

Quote analysis

Sample Essay Topics

How-Based Essay Prompt

Metalanguage-Based Essay Prompt

Essay Topic Breakdowns

Theme-based essay prompt

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INTRODUCTION ‍

‍ P(L)OT SUMMARY

HISTORICAL CONTEXT

The Divine Right of Kings

The Great Chain of Being/Class divides

Jacobean Audience

‍ Playhouses and Brothels

WRITING ABOUT 'MEASURE FOR MEASURE'

Power and Authority

Morality and Sin

Sexual and Gender Politics

Human Frailty & Fallibility

God, Religion and Spirituality

Mistress Overdone

Kate Keepdown (we never actually meet this character)

Ragozine (we never actually meet this character)

SYMBOLS & MOTIFS

New Testament vs. Old Testament

Prose/Verse

Names: Escalus and Angelo

Angelo’s Words/Actions

Elbow vs. Pompey

Mistress Overdone (or lack thereof)

Historical Context

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

1. Taking Note of Stage Directions and Structure of Speech

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