Much Ado About Nothing by William ShakespeareMuch Ado About Nothing, abridged.
CLAUDIO: So, um, Hero, I sorta maybe like you a whole lot will you go to the prom with me?
HERO: We should get married! Squeeeeeee!
BEATRICE: Pfft. Love is for stupid losers who are stupid.
BENEDICK: You know, you might get laid more often if you weren’t such a cynical bitch all the time.
BEATRICE: Fuck you.
BENEDICK: Get in line, sugartits.
*audience is beaten over the head by sexual tension*
DON PEDRO: Hey everybody, I had a great idea! Let’s make Beatrice and Benedick fall in love!
EVERYONE: YAY! MEDDLING!
PRINCE JOHN: So, I think I’m going to break up Claudio and Hero.
BORACHIO: Really? That’s your dastardly scheme? How do we possibly benefit from that?
PRINCE JOHN: No, see, I don’t like Claudio because my half-brother likes him, and I hate my half brother, so…wait. Okay, so it’s actually a really pointless plan that only serves to create conflict. But it’s the only way I get any good scenes in this thing, so MISCHIEF AHOY!
BORACHIO AND CONRADE: YAY!
BEATRICE: Hey Benedick, you still suck donkey balls.
BENEDICK: I fart in your general direction! Now go away or I shall taunt you a second time!
BEATRICE: I dont want to talk to you no more, you empty-headed animal food trough wiper!
PRINCE JOHN: So guess what Claudio? Your woman totally cheated on you. I saw, I was there.
CLAUDIO: OMG I HATE THAT WHORE.
DON PEDRO: Despite the fact that he’s a bastard in all senses of the word and has no reason to be helping me or my friends, I think we should believe John without proof or even asking Hero’s side of the story.
CLAUDIO: Hero, you’re a shameless whore and I hate your stupid face!
PRIEST: Great job, now Hero’s dead from sad.
CLAUDIO: OMG I AM SO REMORSEFUL. FORGIVE ME, DEAD HERO!
HERO: Pysche! I’m really okay!
BEATRICE: Luckily THIS time the priest’s idea to fake a girl’s death to solve all her problems actually worked, instead of backfiring horribly.
BENEDICK: Hey, that’s pretty funny. You know, I guess you’re not that bad. I think I love you, and stuff.
BEATRICE: Yeah, I guess I kind of love you too.
ANTONIO: Close enough. Now off to kill Prince John!
Much Ado About Nothing Questions and Answers
The public outcry over genetically modified foods offers several lessons for those working and investing in nanotechnology. Intense and consistent economic sabotage and intimidation are what will make the commercialisation of GM crops an unattractive option. The strength of public disapproval of genetically modified organisms GMO s was a shock and a surprise to most of those involved. Now, some people are wondering whether nanotechnology—a term that covers the manipulation of matter at scales of a millionth of a millimetre—could be in for similar treatment and, if so, whether there are lessons that its protagonists can learn from the public backlash against biotechnology. In a neglected corner, amid thousands of participants at Nanotech , a conference held in Boston last week, Jeffrey Matsuura, a law professor at the University of Dayton, in Ohio, stood next to his unprepossessing poster of his work.
A The blue plaques scheme has been running for over years and is one of the oldest of its kind in the world. If had an immediate impact on the public imagination, and in the Society of Arts later Royal Society of Arts founded an official plaques scheme. The Society erected its first plaque — to the poet Lord Byron — in In all, the Society of Arts erected 35 plaques; today, less than half of them survive, the earliest of which commemorates Napoleon III In , the plaques scheme was taken over by London County Council LCC , which erected nearly plaques over the next 64 years and gave the scheme its popular appeal. It was under the LCC that the blue plaque design as we know it today was adopted, and the selection criteria were formalised. The scheme changed little, but the GLC was keen to broaden the range of people commemorated.
Within this symmetrical structure, we might expect the good Prince to be open and honest, while Don John and his cronies will be duplicitous. By contrast, Don John seems weary at the thought of disguise. Shakespeare takes up this notion in the tragedy of King Lear , with another pair of half-brothers. We are forced to recognise that honesty can be malevolent, disguise can be well meaning, and seemingly innocent costumes can conceal dark purposes. In place of clear oppositions, Shakespeare blurs the lines between truth and fabrication, identity and performance, knowledge and misunderstanding.
Profit of doom
See Important Quotations Explained. Everyone gathers inside the church to celebrate the wedding of Claudio and Hero. But when Friar Francis asks Claudio whether he wishes to marry Hero, Claudio breaks into an outraged speech. He tells Leonato that he sends Hero back to Leonato again, for though she seems outwardly pure and blushes with innocence, her outward features belie her inward corruption and that she is, in fact, an unchaste, unfaithful whore. The happy wedding transforms itself into a chaotic uproar. Leonato and the shaken Hero ask what Claudio means. Leonato cries out in despair, asking for a dagger with which to commit suicide.