Within Shakespeare texts, it is necessary to realize the importance of even the smallest words. Identifying and understanding the different meanings of typography as well as punctuation help to clarify what is happening in the play. For example, in the Introduction material, it states, “ Question marks which utterly transform contemporary sentences in tone and meaning, do not always mark questions ( intro. 18 ).” Certain small words such as Thees and Thous can offer relationship clues between characters. Acting Shakespeare & His Contemporaries suggests that, “In Shakespeare’s time, one still used you to address someone more formally and thee and thou to suggest less rigidity ( Daw 93 ).” By using these seemingly small devices, I was able to clarify relationships and therefore extract the underlying meaning of the content, as well as what the characters were actually feeling.
Since there is so much trickery going on in Much Adoe About Nothing, characters question themselves quite often within the text. Therefore, it is easy to glance over a question mark without really thinking about its meaning. Certainly, there are times when a question mark is used in place of an exclamation point. For instance, when Benedicke states, “The Princes foole! / Hah?/ It may be I goe under that title, because I am merrie (2.1.195-198).” After rereading these lines, it seems as though the word Hah should be followed by an exclamation point. Noting this change allows the reader to clarify the

understanding that Benedicke is reflecting on himself. The word Hah is not a question, but rather a bold statement allowing the audience to see Benedicke’s passion unfold as he recalls the previous “wit” exchange given by Beatrice.
Another punctuation example is found within a conversation between Ursula and Hero right after they trick Beatrice into believing that Benedicke is madly in love with her. “ Shee’s tane I warrant you, /We have caught her Madame (3.1.107-108)?” At first glance, it is easily assumed that Ursula is asking Hero if they have tricked Beatrice. After reading Hero’s next line, “ If it prove so, then loving goes by haps, (3.1.109)” it certainly can take on another meaning. I was able to encounter a new interpretation when I read the line as Ursula exclaiming “We have caught her Madame!” This would then signify that Hero and Ursula were positive that they had succeeded. Playing with the language and offering different interpretations allows for richer alternatives for understanding what the characters are thinking.
The words thy, thou, thee, and you have powerful meaning within a play, and offer suggestions as to what certain relationships are. Obviously, in this play Don John is a villain who likes to cause trouble. During a conversation between him and his brother Don Pedro, we are clued into how they really feel about each other. During this conversation, the only pronoun used is you instead of thee or thou. As we know from Daw, the word you in context is actually used to address someone formally, which is odd when dealing with brothers. To obtain a more visual understanding of this word play Daw suggests, “ You would be like a handshake, thee like a hug. ” The use of the word you creates a social distance, and is mostly used between two characters who do not

know each other well. Normally, this would not be expected of brothers, instead the words used would be thou, thee or thy. Without understanding this technique, the relationship between the two brothers would not be as abundantly clear. The language here suggests that there is a lack of trust between both Don Pedro and Don John. This scene, (3.1.190-240) appears to be a normal conversation. However, observing the usage of you breaks apart the underlying meaning within the passage. Now, it is clear that the mistrust holds Don Pedro back a little from believing that Hero is disloyal. If the two had a more trusting, normal family relationship, Don John probably wouldn’t have had to try as hard at convincing.
Certainly, the words thou and thee are used abundantly in passages referring to love. In Act 5, Beatrice and Benedicke have an ongoing conversation where they use these words, and you is not mentioned at all from Benedicke. For example, Benedicke asks, “ I pray thee now tell me, for which of my bad parts didst thou first fall in love with me (5.1.380-401)?” Without knowing the meaning behind theses words, this exchange between Benedicke and Beatrice would not be the same. What I found interesting during this scene was how much Benedicke used these words, but in plain view Beatrice uses the word you. “ But for which of my good parts did you first suffer love for me (5.1.401)?” Clearly after learning this device, it is simple to tell that Beatrice is holding back, and seems to be keeping up her façade. Originally, I would have thought the two were just having a straightforward, intimate conversation. In reality, Beatrice seems to be holding onto her wit much more heavily in this passage. Translating passages into your own words is a key idea when dealing with Shakespeare. To fully comprehend and obtain a complete understanding, it is important to feed on the imagination in order to obtain clarity.

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