Shakespeare,
considering his time, the more democratic in his views of life, as
shown by this Play, in comparison with those brought out in Tennyson's
Poem. Why does Shakespeare leave the women in moral and actual command
of the situation?

QUERIES FOR DISCUSSION

Is co-education the right conclusion to draw from the exposition by
the Poets of educational restraints and the relation of men and women
to life?

What ideals of life as to Nature and Education must be included in
educational schemes? Why does the Play not end with as many marriages
as there are lovers? Is it possibly because Shakespeare did not mean
to bring forward love between man and woman as if it were the only
thing in life but as the typical experience of life that should open
up the depths of knowledge not of love alone but of death and
suffering in relation to it.

MUCH ADOE ABOUT NOTHING

The title of this Comedy broadly describes its character, and is based
upon the double meaning of "Nothing." The events that constitute the
plot are the result of "note-ing" or overhearing and so taking note of
events which are deceptive in some way. Hence, in all the "note-ing"
that takes place, there is, after all "nothing," and the whole amusing
plot constitutes much ado about nothing. The letter "h" in _Nothing_
was often silent in Elizabethan pronunciation. The "h" in "Moth" in
"Love's Labour's Lost" is another example.

Noting or overhearing as a factor of the plot is introduced also in
"Love's Labour's Lost." It is one of several links in workmanship with
that Play and its use there may have suggested the production of a
Play almost altogether built, as this is, on overhearing or taking
critical notice such as Benedicke and Beatrice take of each other.

The part of the plot that is based on an already existent story does
not develop this noteing element particularly. For that reason it is
the likelier that it is a device of Shakespeare's to make up his
Comedy.

ACT I

CLAUDIO NOTES HERO WITH FAVOR AND IS NOTED WITH DISFAVOR

The Story of Act I results, on the arrival of the Prince and his
suite, in making it known that Claudio has noted Hero as "the sweetest
Ladie" that ever he "lookt on." Show how it also comes out in Scene i
that a noting of a severer kind has passed between Benedicke and
Beatrice. The two kinds of special interest--the openly admiring
noting of Claudio, and the captious notice of each other shown by
Beatrice and