To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure email@example.com
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
That the title Much Ado About Nothing been associated with a pun — so that, in effect, something can come ex nihilo — has become a commonplace in Shakespearian scholarship; however, the word-play upon ‘noting’ and ‘nothing’ (as in the Don Pedro/Balthasar dialogue in act II) is seemingly too slight for considering that an entire play, or even its title, would have been built upon it. Though this word-play is enhanced through the added meaning of noting — that is, making notes in the ‘immediate context’ of sounding notes in music, but also in the ‘larger context’ of taking notes, or eavesdropping — I submit that the explanation is unsatisfactory for justifying the title, which may unfortunately retain the general impression of flippancy. I propose, however, a more agreeable solution which need not make the audience feel ‘taken in’ or embarrassed by seeming insincerity or flippancy: it is one that builds upon the inherent insouciance of the title, without having to apologize for it in the least. My view is that the title as we have it was originally the play’s subtitle. At some point, then, the main title got lost. If so, the lost title may have been Love’s Labour’s Won, for this is the only title of Shakespeare’s which we have without a play to to go with it from this period of his career. Since a number of Shakespeare’s other comedies have similarly ‘flippant’ subtitles, the interpretation here offered would not be setting a new precedent.
Email your librarian or administrator to recommend adding this to your organisation's collection.