The case Matsushita Electrical Industrial Co Essay Example for Free

The case Matsushita Electrical Industrial Co Essay 1.   In light of these facts, what are the chances of successfully bringing an antitrust suit against these manufacturers? Assume that there are no conflict-of-law or other procedural problems due to the manufacturers being in another country. According to, the District Court decisions it shows that there should be considerable evidence showing that one manufacturer had signed an agreement with respect to the goods sold in a way that it injured the other firm. In Powell, J., Burger, Ch. J., and Marshall, Rehnquist, and OConnor, JJ judgment the court should have relevant justification to bring an antitrust suit, before coming up with a lasting solution. The lawyer’s edition head notes suggest that the Court of Appeals can find a way out to determine the reality of the conspiracy. For one to bring antitrust suit against these manufacturers there should be an expertise testimony to be offered by the American companies to generate realistic reasons to base their judgments and material fact for instance their opinion should be   based on a mathematical construction that depends on assumptions concerning the petitioners costs ( Brennan ,Kennedy Stevens 1999). The fact that Japanese manufacturers charge lower prices than American manufacturers in the American market and by lowering its export prices in collaboration with its government is not a guarantee that they recover antitrust compensation from them.   The claim made should make an economic sense in that the assumption of conspiracy is sensible and more persuasive with the view of competing implication 2. What if, instead of discussing the topics listed above, the manufacturers discussed the detail of individual sales, production, inventories, current price lists, and future price trends? They would have solved their disagreement by coming up with proper price range, furthermore they would have obtained the relevant data concerning their businesses and share ideas on either management of sales, how to improve production, inventories and compare their current price in order to determine a relative range. They would have improved their quality of businesses as they avoid the time and money wasted in suing one another in court. They would do an assessment of price and output effects and would have avoided the injury caused by predatory conduct in markets. The would have negotiated on the terms of the sale in response to rates set by the manufactures, thus avoid being victims of an antitrust violation ( Injury to competition 2009). 3. What if they discussed average costs, freight rates, and terms of past transactions without identifying buyers or sellers.   They would have conducted confidential analysis to determine their current freight rates and expenses and operational requirements. Also, they would have realized their average costs and improve control and access management information, project on their savings, check on time performance. 4.   Should a court considering this case conclude that there has been an antitrust violation? Why or why not? No, because there was small evidence that was of importance to the claimed predatory pricing conspiracy. , there was no established realistic material fact to determine whether the company was involved in illegal conspiracy which led to American companies to suffering injury.   It was difficult to determine the maximum-price-fixing agreements and market forces alone determined the kind of goods and services offered, their prices, and the success or fail of particular sellers. The other reasons are that the opinions they used were not based on economic factors as there was no mathematical analysis to determine whether the petitioners were involved in long-term, below-cost sales or not. (Supreme Court, 1986) Lastly the two manufacturers were competing to be the best ,so the like hood of having a winner or a looser was there, consequently making one of them to be demoralized hence rising to fight back.

Categorising Hamlet as a Tragedy

Categorising Hamlet as a Tragedy Shakespearean scholar A.C. Bradley states that tragedy concerns itself with one person, the hero. The second key aspect of tragedy is the death of a hero. As Bradley points out, tragedy is essentially a tale of suffering and calamity conducting to death. Hamlet by William Shakespeare closely follows the dramatic conventions of a revenge play in Elizabethan theatre. Plays belonging to this genre are typically centred upon a protagonists attempt to avenge an evil deed, often including prompts from the supernatural. Mental instability of the hero, scenes of carnage and mutilation and an eruption of general violence towards the denouement are elements common to this genre. Thomas Kyds The Spanish Tragedy and William Shakespeares Titus Andronicus are classic examples of revenge plays, often being classified as tragedies of blood due to their explicit presentation of premeditated violence. Hamlets focus is primarily on the fall of a hero rather than on the execution of a pledge to revenge, therefore, it is more a tragedy than a revenge play as Prince Hamlet just doesnt avenge his fathers murder, he contemplates it before hand. In Hamlet, Shakespeare complicates the theme which makes the play difficult to compartmentalise, giving the play psychological depth, whereas Titus Andronicus is the straightforward narration of a pledge to revenge. The play narrates how Prince Hamlet gains revenge on his uncle Claudius, who is responsible for the foul and most unnatural murder of the late King, Hamlets father. Hamlet vividly charts the course of feigned madness, overwhelming angst and seething rage; whilst exploring themes such as regicide, treachery, reprisal, incest and moral corruption- the classic conventions of an Elizabethan tragedy. The setting of the play is crucial in determining the plays genre, thus, Shakespeare uses Castle Elsinore and its environs to depict a sordid, depressing place where alleged incest and murder are a part of everyday life, where revenge is commonplace motivation, and where the feigning of madness is a normal strategy to dissemble ones feelings. As I previously said, the multiple subplots and psychological depth Shakespeare adds to characters give context to the events taking place within the play, taking it beyond the realms of a mere revenge play. In Hamlet, Shakespeare takes the theme of reve nge beyond the hero of the play. He adds several sub-plots (Fortinbras of Norway is getting ready for possible combat with Denmark and Laertes seeks to avenge his fathers murder), making the genre of revenge consistent throughout the course of the play whilst also adding to the atmosphere of anxiety and doom already created. Shakespeare employs the use of certain gothic conventions which are typical of tragedies, thus, establishing the plays genre. The curtain opens to a bitter cold night, instantly creating a dark, chilling atmosphere. Conversely, Shakespeare could have employed the use of this metaphor to symbolize the political unsettlement in the state of Denmark as their King has just died. The plot itself is complicated but Shakespeare adds further depth to the atmosphere of chaos and unease by employing the use of conventional aspects of Elizabethan tragedy such as the clock that has struck twelve, opening the play in a sinister, perilous hour usually associated with the supernatural, a dead hour. We are also told that the spirit of the late King is roaming the walls of the castle, creating a sense of foreboding within the audience. I have established the conventions of Elizabethan tragedies, but to ascertain the generic conventions of Revenge plays, we must look at some paradigmatic examples such as Shakespeares Titus Andronicus or Thomas Kyds The Spanish Tragedy. Critic S. Clarke Hulse describes Titus Andronicus as a play with 14 killings, 9 of them on stage, 6 severed members, 1 rape (or 2 or 3, depending on how you count), 1 live burial, 1 case of insanity and 1 of cannibalism- an average of 5.2 atrocities per act, or one for every 97 lines. The play narrates the story of a Roman general who by the end of the play has taken his revenge by murdering his enemy Tamoras sons and then cooking the deceased in the form of a pie, which he later feeds to their mother. The play is by far Shakespeares bloodiest work and is undoubtedly classified as purely a revenge play. In Hamlet; Hamlet, Ophelia, Laertes, Polonius, Gertrude, Claudius, Rosencrantz and Guildenstern all die within the course of the play, which is possib ly why it is often categorised as simply a revenge play. What distinguishes Hamlet from most revenge plays is that the action we expect to see, particularly from Hamlet himself, is continually postponed. We must keep in mind that in this play, it is Hamlets own conscience that leads to his procrastination, acting as his hamartia. S.T Coleridge states that Hamlet procrastinates from thought, and loses the power of action in the energy of resolve. The audience of a revenge play expect a fast pace that gives them an adrenaline rush, thus keeping them engaged. Procrastination is a highly uncommon trait amongst the protagonists of revenge plays as can be seen in the character of Titus Andronicus who seemingly has no ethical values, Titus Andronicus being a play that is described as Shakespeares bloodiest work. Instead of killing Claudius when he is in prayer, Hamlet delays the action further, preferring to murder him when he is drunk or in the incestuous pleasures of his bed. Although, Hamlets hesitation to kill Claudius can also be seen as a p lot device used by Shakespeare to prolong the action of the play, hence, increasing the tension within the audience. As Aristotle said, the tragic hero is a man who is a mixture of good characteristics and bad characteristics and by exposing Hamlets tragic flaw, (teamed with his pardon to Laertes), Shakespeare makes him seem righteous to the audience, allowing us to empathise with the character despite his bad characteristics, a feeling that is definitely not associated with most revenge heroes. Critic William Hazlitt says that we can relate to Hamlet if we have had sadness in our lives as he is open with his emotions and allows the audience an insight into his feelings. Aristotles definition describes tragedy as an imitation of an event that is serious, complete, and possessing magnitude. Hamlet is undeniably a play that is of great enormity as we consider the scale and scope of the play. Keeping in mind that the protagonists of the play are in fact the rulers of Denmark in whose hands lies the fate of millions of people simply elevates the tension created even further. Aristotle also states that the character has the second place in importance meaning simply that the character should support the plot i.e. personal motivations will be intricately connected parts of the cause-and-effect chain of actions producing pity and fear in the audience. Hamlet fits into this description of tragedy as it is Hamlets desire to avenge his fathers murder that drives the plot forward and leads to the unfolding of events that form the play. Shakespeare adds unexpected depth to the character of Claudius, which is not common for the antagonist of a revenge play. The playwright makes Hamlets contempt towards his uncle apparent as he claims they are a little more than kin and less than kind. Claudiuss soliloquy in Act III scene III relays his stronger guilt on a brothers murder, showing a possible good characteristic (as said by Aristotle) of his character. My fault is past. But O, what form of prayer can serve my turn? Claudiuss apparent desire for retribution defers from the preconceived notion of a villain in Elizabethan theatre as it evokes sympathy within the audience. In a stage production of the play, this scene could be played with Claudius on his knees with his hands folded before him, maximising any sympathy the audience feels towards him. However, Shakespeare keeps his antagonistic manners consistent as [Claudiuss] crown, [his] own ambition, and [his] queen win over his guilt. Conversely, this soliloquy could be used to show that despite his villainous nature, Claudius is a character suffering from the heavy burden of guilt. Even though Claudiuss character is not developed to its full potential, Shakespeare has crafted a full rounded human being out of the adulterate beast, making even his character psychologically plausible. This fact in itself defers Hamlet from being merely a revenge play. Reviewing all the points I made during the course of this essay, I would like to conclude that to categorise Hamlet as a revenge play would do the play great injustice. The plays dramatic structure and in-depth characterisation allow the play to be interpreted from many perspectives. In my opinion, Hamlet is not more a tragedy than a revenge play as it contains elements of both genres, but it is a revenge tragedy. Professor Kiernan Ryan remarks on Hamlet being subcategorized into a category of its own as it problematizes the whole revenge tragedy form and the assumptions and values about life, which a revenge tragedy would smuggle through unchallenged.

A Bond between Sisters :: Personal Narrative

A Bond between Sisters The kitchen is sweltering, like everywhere else in the house, so the ice melts quickly as I drop it into the pitcher of freshly brewed mint tea. A fly buzzes around my head, and I try not to flinch as I pour five glasses of the light green liquid. One is for dad, who is in the garden picking tomatoes, another for mom who is diligently preparing for tomorrow's birthday party, and one is for my youngest sister Rachel who is running around the neighborhood with her dog. I take a sip from one of the remaining cups and carry the last to my other sister, Anna. Though I have not heard from her in hours, I know she will be sitting in the same position I last saw her: reclined on the porch chair, feet rested on the railing, and mind deeply lost in her newest science fiction or fantasy novel. "Anna, would you like some tea," I offer as the screen door slams behind me. She doesn't move. "Anna," I try again, this time touching her shoulder with my elbow. She turns her chin towards me, but her eyes continue scanning the page until she has reached an appropriate stopping point. She lifts her slightly glazed, hazel eyes towards mine, unwilling to disengage from the world created by Anthony Piers or Terry Brooks. The corners of her mouth curl upwards, eyes slightly squinting from the bright sunlight, and she reaches out her empty hand, decorated with an intricate henna design, to grasp the sweating glass of tea. My sister and parents have settled on henna as an acceptable form of body art, as opposed to piercings, tattoos, or even hair dye. My sister's artistic talents and desire to decorate herself have been evident since she was little when she longed for the day she could wear the makeup that mom donned every Sunday. One morning, my sister's desire and daring five-year-old spirit got the better of her, and she snuck a tube of bright red lipstick to church. Our mother was mortified, but most of the congregation thought it amusing to see Anna's crimson lips. Anna's artistic side has manifested itself in many other ways. She carried a sketchbook, making drawings of the various churches we visited, our family, or the creatures in her imagination. In her late elementary school years, Anna discovered the joy of using beads to make jewelry.

Essay --

Islamic Banking system is banking system that guided by principles of Islamic laws (Sharia). In Islamic banking system, the most important feature is prohibited of interest (Riba), no matter what type of form or source it is. Riba is the fixed increase on the capital, collected against a fixed period. According to Qur’an, in all type of transactions, both receipts and payment of interest is prohibited. People who dealing of lending money in three conditions which are addition in the principal amount or capital, increment to the additional amount fixed in advance and the dealing made conditional to the two mentioned clauses are consider dealing of Riba. It is regardless of its usage whether it is a personal need or for a useful purpose or either the borrower is poor or rich. However, mark-up for delayed payments and trade-financing commissions are allowed. The prohibited of Riba is to avoid the unbalanced distribution of income in society if interest is involved in credit system. Risk sharing is another principle for Islamic banking system. Although interest is prohibited in Islamic banking system, they still can operate by the concept of profit and loss sharing which is utilizing the funds at risk. When there is no guarantee of return, people will be encouraged to involve in maximize their exertion to contribute justify into production process. Mudarabah and Musharakah are two types of forms which are most desirable in profit and loss sharing concept. Under these two forms, financier makes the funds available as an investor instead of as a lender. The funds they invest do not guarantee will bring them income, they might need to share the loss in proportion to his share. Under Mudharabah, that will be two parties involve who are ... ...s creditor and debtor. However, no matter what type of dealing a client with an Islamic bank, their relationship will never be debtor and creditor. For example, under Mudharabah basic, the relationship between a bank and a client is investor and entrepreneur only. Moreover, when doing investments in conventional banks for example doing an savings in conventional bank for a certain period, the bank has to guarantee all its deposits when maturity, regardless the bank is loss money in an unexpected business failure. However, for Islamic bank, if based on al-wadiah principle, Islamic bank will only guarantee deposits for all deposit accounts but if under mudharabah principle, client have to share the loss if loss exist. Therefore, both Islamic and conventional banks have a totally different way in their operation although the service they provide is almost the same.

Entrepreneur Observation Report Essay -- essays research papers

This report outlines a very small business of my brother’s. It describes his business, target market, financial plans, and marketing plans. I have tried to keep a neutral opinion about his opinions as much as possible. I have tried to keep my inputs and thoughts in the conclusion only. The whole idea of my brother, insert name here, owning a business started in early March of 1998 when one of the neighbors jokingly suggested he should raise chickens and sell them to people. A few days later he realized it could be easily done, and with a profit. From mid-March to September, he and I raised, and easily sold 600+ chickens, we only wished we could have raised more. When March of 1999 rolled around we were contemplating how many chickens to buy, when the person we bought the chickens from told us about the possibilities of rabbits. Because rabbits are a yearlong project, and we knew I would be leaving in the fall, it became his decision and ultimately his project. He started out with 20 baby doe (females), 3 baby bucks (males), and a small-borrowed hutch (cage) with all 23 rabbits jammed in tight. His investment in rabbits, although considerable, was still to be outdone by the ones in hutches and feed. He essentially spent all profits from chickens the year before and then some. His project now consists of 20 mature doe, 3 mature bucks, and approximately 60 babies. He has taken over a section of a large barn and turned it into a 30+ hutch rabbitry system with a circulating automatic watering system., and recently acquired a large weaning cage. I asked him how he felt when he was getting started and he said he didn’t like spending all that money but he knew he would get it all back someday. I then asked him if he was afraid of competition, or of there not being a big enough market. He said he knew of nobody else selling rabbit meat in the area on any scale, and that because rabbit meat is practically thee healthiest meat, he couldn’t see any problems in the market. He then said that if personal selling fails he can sell them through his "chicken provider" on a per pound basis. One thing I have always known about my brother and his rabbit business is that he is very confident in its success and that even though he knows there will be small problems he is very sure of overall success. When I asked him who he sees as his typical customer he said that... ...re rabbits to have babies within a couple days and must check them constantly to make sure every think is ok. He plays the role of technician when he builds cages, and maintains cleanliness. I don’t think this business could ever become a franchise although it could become a very large company with thousands of rabbits, and several employees. If it were to become a franchise I think it would best be managed by the franchisees. I think this would eliminate any hierarchy or bureaucracy involved in most franchises. Of course there would be a main office to coordinate advertising and to offer help to franchisees with questions or problems. I don’t have too many suggestions except to attempt all of the plans he has thought of. I also think that he needs to make a profit before he starts expanding any more. Once he gets into the cycle of raising and selling the rabbits he can then begin to expand, but not before then. This is really a business that has a lot of potential, and had a lot of things going for it. It is proof to me that the only successful entrepreneur is the guy that gets the idea and does it, not the guy that just thinks it would be a good idea for someone else to do. Entrepreneur Observation Report Essay -- essays research papers This report outlines a very small business of my brother’s. It describes his business, target market, financial plans, and marketing plans. I have tried to keep a neutral opinion about his opinions as much as possible. I have tried to keep my inputs and thoughts in the conclusion only. The whole idea of my brother, insert name here, owning a business started in early March of 1998 when one of the neighbors jokingly suggested he should raise chickens and sell them to people. A few days later he realized it could be easily done, and with a profit. From mid-March to September, he and I raised, and easily sold 600+ chickens, we only wished we could have raised more. When March of 1999 rolled around we were contemplating how many chickens to buy, when the person we bought the chickens from told us about the possibilities of rabbits. Because rabbits are a yearlong project, and we knew I would be leaving in the fall, it became his decision and ultimately his project. He started out with 20 baby doe (females), 3 baby bucks (males), and a small-borrowed hutch (cage) with all 23 rabbits jammed in tight. His investment in rabbits, although considerable, was still to be outdone by the ones in hutches and feed. He essentially spent all profits from chickens the year before and then some. His project now consists of 20 mature doe, 3 mature bucks, and approximately 60 babies. He has taken over a section of a large barn and turned it into a 30+ hutch rabbitry system with a circulating automatic watering system., and recently acquired a large weaning cage. I asked him how he felt when he was getting started and he said he didn’t like spending all that money but he knew he would get it all back someday. I then asked him if he was afraid of competition, or of there not being a big enough market. He said he knew of nobody else selling rabbit meat in the area on any scale, and that because rabbit meat is practically thee healthiest meat, he couldn’t see any problems in the market. He then said that if personal selling fails he can sell them through his "chicken provider" on a per pound basis. One thing I have always known about my brother and his rabbit business is that he is very confident in its success and that even though he knows there will be small problems he is very sure of overall success. When I asked him who he sees as his typical customer he said that... ...re rabbits to have babies within a couple days and must check them constantly to make sure every think is ok. He plays the role of technician when he builds cages, and maintains cleanliness. I don’t think this business could ever become a franchise although it could become a very large company with thousands of rabbits, and several employees. If it were to become a franchise I think it would best be managed by the franchisees. I think this would eliminate any hierarchy or bureaucracy involved in most franchises. Of course there would be a main office to coordinate advertising and to offer help to franchisees with questions or problems. I don’t have too many suggestions except to attempt all of the plans he has thought of. I also think that he needs to make a profit before he starts expanding any more. Once he gets into the cycle of raising and selling the rabbits he can then begin to expand, but not before then. This is really a business that has a lot of potential, and had a lot of things going for it. It is proof to me that the only successful entrepreneur is the guy that gets the idea and does it, not the guy that just thinks it would be a good idea for someone else to do.

Sex Education Taught to 8 Year Olds

Eight-year-old children are being targeted for more detailed sex education in schools. In Christchurch today, Family Planning is launching a new resource for teachers of late-primary and intermediate-age children. The launch has upset the conservative lobby group Family First, which is urging Family Planning to â€Å"butt out† and leave sex education to parents. The resource, called The Sexuality Road, is aimed at younger children because research shows that they are now entering puberty earlier. Young people have a right to understand what is happening to their bodies and their emotions,† Family Planning director of health promotion Frances Bird said. â€Å"Sexuality education that works starts early, before young people reach puberty, and before they have developed established patterns of behavior. † The Sexuality Road provides teachers with a programme of 10 lessons and evaluations per year. Each year comes with lesson plans, activity worksheets, and resources. Year 5 and 6 (nine and 10-year-old) pupils look at pubertal change, friendships, gender, families, menstruation, fertility, conception and personal support. Year 7 and 8 pupils focus more on changing feelings and emotions and their effects on relationships, sexual attraction, decision-making around sexual attraction, conception and birth, contraception and support agencies. Bird said international evidence showed children were entering puberty earlier than had been seen in decades. The average age of puberty for girls in New Zealand had fallen to between nine and 14 and for boys, it was between 11 and 16, Bird said. â€Å"Some people are concerned that providing information about sex and sexuality arouses curiosity and can lead to sexual experimentation. There is no evidence that this happens,† she said. New Zealand teenagers rate second-highest in the developed world for teen pregnancies. The Press last month revealed research showing more than a third of 16-year-olds have already had sex and half say they have been in love. An Education Review Office report, commissioned by the ministries of Women's Affairs, Health and Education, found at least half of all sex education in schools was presented by teachers with no qualifications in the subject. Liggins Institute director, and newly appointed chief science adviser, Professor Peter Gluckman has earlier called for action to address the â€Å"emerging national crisis,† in sex education for younger children. â€Å"Sex and health education has to become mainstream and away from the idea that it's only for the physed teacher who is least equipped to deal with it,† Gluckman said. Family First national director Bob McCoskrie said children should be taught sex education by their parents when they were ready. â€Å"The simple message to Family Planning is `butt out and leave it to parents',† McCoskrie said. Parents know their kids the best. They know their emotional and moral development best and have their own values. Family Planning should not be interacting with kids of that age. † McCoskrie said schools had become â€Å"one-stop shops† for dealing with social problems in the community. Some parents felt overawed by â€Å"the sex talk† with their children, so resources should be put in to helping them better understand what was required, McCoskrie said. â€Å"It needs to be values-based and we think parents are the ones who determine the values. Bird said children should be exposed to a range of values, attitudes and opinions. According to a survey run on the Netmums parenting website, the majority of parents believe children should start learning about sex and relationships when they are eight years old. I can hear them already. The shocked and outraged tones of the other â€Å"moral† majority reacting to yet another progressive plot to corrupt children. â€Å"We'll have no sex education here! † Or if we must, let them wait until they're actually doing it. That is sad, because such views are themselves transformative, turning sex from a natural and evolving topic to a dangerous threshold, making childhood sexualisation more, not less, likely. Talking about sex starts much earlier transforms the likelihoods that children will be better informed. Children use sexual terms long before they reach the age of eight (year 3). Listening recently to year 1 conversations, I overheard boys talking about â€Å"having sex† (they mean â€Å"cuddling†). They insult each other using terms such as â€Å"gay†. Discussion of sex runs through the playground discourse like Blackpool through a stick of rock: it's just very badly formed. Talking about sex needs to start earlier so that children will not be confused at a leter time when it is learned thru their peer group. A straw poll of local school kids suggests little useful sex education is received before the age of 13. That's two years after the average age at which girls begin their periods – five years after some. If you're not told about such stuff at home, how terrifying to be eight and suddenly bleeding. A range of studies report puberty starting earlier in western societies – and while the reality of sexual experimentation may not be as graphic or extreme as the tabloids would have us believe, that, too, can begin long before 13. Sexual orientation and identity, too, can be obvious at a very early age (from six onward): once more, how scary to grow in an atmosphere that makes â€Å"queers† always the butt of jokes with no balancing official information. Sex doesn't have to be sexual in nature. Many of the dirtiest, smuttiest most adult things about sex are just that: adult. There is a depressing read-across from adult values to child: many people assume that a child doing something â€Å"sexy† understands their behavior and intends the result. Children learn through play. Girls dress, use makeup and dance in ways that would be erotic if their mums did them – but absolutely aren't when they do. Children can be educated about sex without focusing on the erotic. It's never too young to learn respect for the beliefs of sexually actions. The most misleading thing about this debate is that opponents caricature sex education as being about just one thing. In fact, broad and structured sex education will provide grounding in relationships, biology, safety, health, respect for others and consent. These will be introduced at the appropriate point using language appropriate to the age discovering them. In a world in which many adult relationships continue to be conducted through the emotions of childhood – and one in four women (and one in five men) are still suffering domestic violence – early sex ed is as much about learning the most basic of lessons – the right to say no – as anything else.

Much Ado About Nothing

‘The Jokes which society tells are a significant index of that society's concerns and anxieties'. (M. Mangan, A preface to Shakespeare's comedies, 1996) If this is the case what can we learn from ‘Much Ado About Nothing' about the ‘concerns and anxieties' of the society in which Shakespeare was living? Sir H Walpole once remarked that ‘a comedy should make us think', Shakespeare exploits this function of comedy by utilizing jokes on the themes of cuckoldry, infidelity and honour to permit the audience to think about the ‘concerns and anxieties' associated with these jokes within Shakespeare's society and what can be learnt from these jokes told. The figure of the Cuckold in ‘Much Ado About Nothing', a husband of a woman who commits adultery, is a running joke throughout the play. In the play, the character Benedick, who carries a misogynistic view of women, is the main instigator of these jokes, he says that being a cuckold is what happens when you get married and you would have to ‘hang' his ‘bugle in an invisible baldrick' and he vows never to allow the plucking ‘off' of ‘the bull's horns and' setting ‘them' on his ‘forehead', meaning he does not want to get married. Even though Benedick may be slightly bestial, it is clear there is a fear of getting married in Benedick's opinions. As Michael Mangan2 comments in ‘Huddling jest upon jest', the jokes made in ‘Much Ado About Nothing' about husbands and cuckolds indicate to the audience ‘the underlying anxieties about gender roles' and ‘about women's possible sexual licence' common in Shakespeare's society. The cuckold theme was the subject of many ballads and pamphlets in the Elizabethan Era. An Elizabethan Audience would have been familiar with cuckold jokes and would even probably know the place in London known as ‘Cuckold's Haven'. However, they would also relate to the concerns of infidelity amongst women, especially the men and some would share these misogynistic views and fears of women. These fears were so strong as a result of the male honour and pride which most men had and also the accosted idea of being the natural heirs. A modern-day audience would be able of relate to the ideas of adultery, as often portrayed in Serial Dramas such as ‘Eastenders' or ‘Coronation Street', nevertheless, they would probably not have the same fears as the Elizabethans as more people cohabit rather than marry and are more aware to such problems as adultery and that husbands are involved adultery as much as women. In most of Shakespeare's comedies there is a ‘shrew', an outspoken, independent, strong, female stock character, in ‘The Taming of The Shrew' this is Katerina and in ‘Much Ado About Nothing' there is Beatrice. The strong female character or ‘shrew' is one of the comic conventions that feature in all of Shakespeare's comedies and moreover it, is not unusual that there are jokes aimed towards the stereotype. In the play, the men refer Beatrice as ‘Lady Disdain! ‘ and that she has a ‘shrewd †¦ tongue' being ‘too curst'. It can be acknowledged that as the men make light of Beatrice's outspoken, shrewish behaviour, underneath it, they are intimidated by her intelligence and strength. An Elizabethan Audience would recognise the stock character but also correlate themselves with the anxieties of strong women. The social hierarchy was of common knowledge; where God came first, then the king or monarch who would be appointed by God, the man, the women and then beast. The Elizabethan men were just accepting Queen Elizabeth I, and would find it hard to adjust to women becoming strong and independent, feeling intimidated as a strong female character placed a threat to the social hierarchy. On the contrary, a modern audience would be accustomed to the idea of the strong woman as of the female rights campaigns throughout the Twentieth Century, women now occupy a more central and public role in society. Nevertheless, sexism does still exist in all spheres of society even after women's rights In ‘Much Ado About Nothing', Shakespeare applies sexual innuendos as jokes to comment subtly, on the freedom sexuality in his society and the limits. In the play the sexual innuendos were remarked by women, which would appear strange to an Elizabethan audience. In Act 1 Scene 1 Beatrice remarks whether ‘Signor Mountanto' has ‘returned from the wars' meaning ‘Signor Benedick' and the word ‘Montanto' meaning the thrust of male genitals and the ‘mounting' of a partner. Margaret also uses a sexual innuendo by commenting on ‘the weight of a man' making Hero's heart ‘heavier'. It was common in Shakespeare's comedies to use lower status characters to make such commons as not to offend any of the higher status audience and appeal to the lower status. Furthermore, Shakespeare has not only used these sexual innuendos to entertain the more bawdy members of the audience but also, to convey the concerns and anxieties on sexuality in the Elizabethan era, as even though, illicit sexual behaviour was not heard of in the courts and upper classes of society, it was extremely common among the lower classes and Shakespeare was trying to inconspicuously, portray his concern that the Upper classes ignored such behaviour and places such as brothels. An Elizabethan audience, would be able to relate, however, a modern day audience would be used to sexual innuendos as jokes as modern day morals are less religious and restricted. Love as a disease is another joke used in ‘Much Ado About Nothing', to highlight the concerns and anxieties in Shakespeare's society over love. In Act 3 Scene 2 , after Benedick has apparently fallen in love with Beatrice he claims to have ‘the toothache' and Don Pedro and Claudio tease him suggesting he ‘draws it' or ‘hang it' and in Act 3 scene 4 after Beatrice has supposedly fallen in love with Benedick she claims to be ‘sick' and Margaret and Hero suggest ‘cardus benedictus', a holy thistle and a clever pun on Benedick's name. Shakespeare discreetly portrays how Benedick and Beatrice's alliance with their honour provokes them to fear being reliant in another person and this explains Benedick's fear of marriage. Shakespeare is vividly commenting on the fears of love and its effects in Messina as a microcosm of Elizabethan England. An Elizabethan and a modern day audience could relate to this concern, as there are many pressures and problems that come with falling in love such as suitability, personality, appearance and many more. They could also make a connection to the effects love has on a person where it makes them a victim, oblivious to all things around them, gives them a loss of their sense of reality and a blindness to their lover's faults. In Shakespeare's society fashion was very topical and in ‘Much Ado About Nothing' he addresses this with jokes about fashion. In Act 2 scene 3 Benedick ponders to himself why Claudio is interested in the ‘fashion of a new doublet' remarking that love has changed Claudio and yet, ironically, in Act 3 scene 2 Claudio and Don Pedro teasingly comment that Benedick now has the ‘appearance of fancy in him' and that he ‘rubs himself with civet' a perfume. Furthermore, being interested in fashion was a sign of a loss of dignity and honour and a person without substance, also the theme of fashion exposes the superficiality of the male code of honour. An Elizabethan audience would appreciate the connection between fashion and a loss of dignity, whereas, in a modern day audience's society, appearances are the threading that holds together all impressions of a person and wearing the latest style or fashion has become a great necessity for most people. Subsequently, they would not comprehend the concerns and anxieties over fashion. In the Elizabethan era, the Male Code of Honour was a foundation established and seen of great importance, however, in ‘Much Ado About Nothing' Shakespeare exposes this code of honour, by means of jokes, to depict how shallow it was. In the play Beatrice mocks this code of honour by calling Benedick ‘a stuffed man' and ‘a very valiant trencher man'. She also remarks less humorously, ‘manhood is melted into curtsies' and that ‘men are †¦ turned into tongue and trim ones'. Therefore through Beatrice, Shakespeare discloses the concerns and anxieties of the male code of honour and how it is superficial and lacks substance in the behaviour and speech which is always very fanciful and uses a lot of hyperbole; Shakespeare shows this by having the men speak in verse in iambic pentameter to demonstrate them as one-dimensional. Especially, in the scene after Claudio has seen Hero and is professing to be in love with her. An Elizabethan audience would be able to network with this theme as they would have held this code in high esteem, on the other hand, a modern day audience would not identify with why the male code of honour would be so highly valued and they would be concerned with matters such as money, status, fashion, love and others. In ‘Much Ado About Nothing', Shakespeare discreetly uses the malapropisms of the Police Constable Dogberry as a joke to unmask the concerns and fears over the law in Shakespeare's society. In the play, Dogberry says such things as ‘senseless' instead of sensible, ‘tolerable' instead of intolerable and many more. These malapropisms appeal to the audience showing the humour of Dogberry's behaviour and the stereotypical behaviour the police and authorities in Elizabethan society, who were not taken seriously and often laughed at, which proved to be a major concern in that society. An Elizabethan audience would find the joke humorous but also be aware of the serious undertone, that there is an anxiety over the incompetence of the police force not keeping society safe and secure. A modern day audience would not shoulder the same fears, as the police authorities are respected and feared by law abiding citizens. Out of all the several factions of humour, incongruity of practical jokes are used the most in ‘Much Ado About Nothing' as forms of deception. This conveys the anxieties and concerns that Shakespeare was trying to demonstrate. All of the deception is plotted by men which parallels back to Balthasar's song ‘men were deceivers ever' and deception comes naturally to men. In Kenneth Branagh's adaptation of ‘Much Ado About Nothing' Balthasar's song is implemented with all the men listening to the song and paying particular attention to it, this places the importance on to how relevant the song is to the men of the play. In the famous gulling scenes Don Pedro, Claudio, Leonato, Hero and Ursula try ‘to bring†¦ Benedick and †¦ Beatrice into a mountain of affection' with them fashioning ‘it'. As well, Don John and Claudio try to ‘cross' the ‘marriage' of Claudio and Hero and they ‘misuse the prince, to vex Claudio'. As the deception of these practical jokes may appear comical, they underline the concerns, in Shakespeare's society, of deception, as Shakespeare uses it in all of his comedies; ‘Twelfth Night', ‘The Taming of the Shrew', ‘A Midsummer Night's Dream', ‘As you like it' and ‘Much Ado About Nothing' this illustrates that deception was not only an entertaining comic convention but a serious and sever anxiety within his society because in that period of time there were many who tried to deceive others, however, the deception was well hidden. A modern day and an Elizabethan audience would be able to connect to this as deception was and still is a very common occurrence witnessed by many in societies. In the title of 3Peter Holindale's essay on the subject of comedy remarks that there are ‘serious voices in a Comedic world', this is viewed in Messina and paralleled to Elizabethan England. The jokes crafted and exploited by Shakespeare in ‘Much Ado About Nothing' elaborate and reiterate the anxieties that not only the Elizabethan era faced but every generational society faces and adds to as each day passes and furthermore, make each new generation of audience laugh at these anxieties. Much Ado About Nothing In the book Hero & Claudio love is the main plot. the whle story line is based on Hero and Claudio. When one reads the book it may bring up many questions do they or dont they love each other? There are many situations when in the book when you say â€Å"there is no way they love each other. † For example when Claudio returns from war, and he first laid eyes on Hero he insisted that he was that he was in love with her; because he was with Benedick and he says â€Å"Can the world buy such a jewel? † he then goes on and says † I would scarce trust myself, though i had sworn the contrary, if Hero would be my wife. I think it was abit too fast for Claudio to say or to conclude his already in love with someone he has just seen. To make things worse Claudio allows his very good friend Don Pedro to woo the woman that he insists he loves, Don Pedro tells Claudio † I know we shall have a revelling tonight I will assume thy part in some disguise, and tell fair Hero I am Claudio,† i think if Claudio loved Hero as much as he says then he wouldnt let another man go woo her; he would r he should confidently tell her how he feels. Even after Don Pedro woo's Hero, there is never a point when Hero and Claudio talk or express their feelings for each other . Like Benedick and Beatrice who's love story is the sub-plot of the story. Beatrice and Benedick fight alot but ina way its inderstandable: but after they were ttricked they actually admit their love to each other Benedick tells Beatrice † I do love nothing in the world so well as you† Benedick even allows to kill his own friend just to prove his love for Beatrice he says, † enough, I am engaged, i will challege him, Claudio shall render me a dear account. That to me is true love. I dont see or feel any of this passion with Claudio and Hero. Another point is when Claudio sees Margret in the window with Borachio and thinks its Hero. His reaction at first is justified, but in my opinion he should have taken time to calm down and go confrim the story for himself. It was stupid to trust Don John again: because when Don Pedro was wooing Hero, Don J ohn went to Claudio and told him he heard Don Pedro went to Claudio and told him he heard Don Pedro swear his affection to her. Borachio then adds fuel to the fire by saying â€Å"so so did i too, and he swore he would marry her tonight. † After he hears this immediately gives up on her because he says † farewell therefore, Hero. † And at the wedding his reaction was too exaggerated if he really loved her, he would not have publicy mistreated and embarassed Hero the way he did, and all these actions just proves how much Claudio does not trust Hero. Another strange event is when Hero's name is cleared and Claudio realises that it was his fault that she's dead. At first his reaction is exactly what you would except what you would except; but after he told Leonato to take revenge, Leonato told him he would marry Antonio's daughter and he immediately agree's to marry her. Hero the woman he claims to love just died and it was his fault, and his already agreed to marry another woman. If he truly loved her he would have told Leonato with all due respect i need time to mourn but he didnt he just agreed to it. but at the same time maybe Claudio wanted to punish himself, because Leonato would remained him of what he did to sweet Hero. With all these poits we cant ignore that there were also some signs that indicated that they were in love. Like in the end when Hero is revealed we could tell also Hero's reaction when she started crying it showed that they definetly had feelings for each other. If i was in Hero's position i would definetly not take Claudio back because he humiliated me infront of my family and friends at my wdding and two he has caused my death . So there is a possibility that they loved each other. This could be an I can live with you and can't live without you relationship. Much Ado About Nothing To what extent is ‘Much Ado about Nothing’ a dramatic representation of the comedy of deception? The title of ‘Much Ado about Nothing’ indicates that there is a lot of fuss over topics which have little importance in the play-for example if Claudio wasn’t rash and hot headed then Don johns ill deceived plan would not of worked at all. The use of deception throughout makes the plot so complex.An evident example is when Don John who operates as a plot-device falsely slanders Hero for his own mischievous behaviour, â€Å"the lady is disloyal† (Act 3 Scene 2, 87-88), (he is not one of Shakespeare’s most complex villain which reminds the audience that ‘Much Ado about Nothing’ isn’t supposed to be a tragedy), countered by Friar’s deception who pretends Hero is dead to get back at Claudio for publicly humiliating Hero. Alternatively, the Friar’s plan to pretend that Hero is dead is yet another illusion created to prevent the truth being told.He knows of the ‘strange misprision in the princes’ yet recommends further plotting. Hero becomes a passive character throughout the play as she does little in the play but becomes an interesting character through the other characters deceptions. Hero is supposed to be the main female character in the play though she has the fewest lines, she only reacts to the actions and commands from the other characters, she hardly acts herself.Even when Claudio publicly humiliates Hero at their wedding she doesn’t defend herself at all meaning the audience won’t question Claudio’s accusations and believe him. Even when the accusations against her are cleared and after she’s witnessed Claudio’s reckless behaviour, she accepts him back into her life without asking for an apology. This exposes Hero’s vulnerability to circumstances and the minimum distinguishing characteristics she has. Though deception is known to be bad it is used to bring out positive results in the play of which are actually artificial and easily undone.An example of a positive result is in Beatrice’s and Benedick’s gulling scenes. The deception in these scenes is used in a comic style; manipulating Beatrice and Benedick into falling ‘in love’ with one another. The use of deception in these scenes is needed as it’s the only way to convince the other characters to allow in their lives. In ‘Much Ado about Nothing’, all of the characters seem to be willing to be deceived; for example Claudio doesn’t think to suspect that Don John may be lotting against him; Benedick and Beatrice seem to change their views on love in both of their gulling scenes; Claudio is willing to marry Hero whom he doesn’t appear to know that well to appease Leonato. Deception is so closely linked into the play that it becomes too familiar to the characters of ‘Much Ado about Nothingâ⠂¬â„¢. Shakespeare shows that deception does not have to be evil in ‘Much Ado about Nothing’; he reveals that it can be used for positive and negative results.However, in the play it is difficult for the audience to differentiate between good and bad deception; During the masked ball, Claudio declares his desire to woo Hero but he’s too nervous, Don Pedro woos Hero claiming its for Claudio’s benefit, Don John uses this opportunity to convince Claudio that he’s being deceived, similar to how the audience temporarily believe. The theatre creates illusions for the audience and also for the characters, which become caught up in these illusions of which they help create for each other.The illusion of Hero’s honour is debated in public by Claudio-she is the ‘sign and semblance of her honour’- for Claudio’s appearances are not only deceiving but amount to honour itself. Furthermore, in the masked ball Benedick and Beatrice flirt with one another, pretending not to know who is hiding behind the mask but in fact are aware of each other’s presence. Another example of masking is when after ‘Hero’s death’; Claudio is made to marry Leonato’s niece (who is actually Hero wearing a mask), Claudio must wed blindly. Hero assumes the mask of passive victim, the masking of Hero exposes how marriage has little to do with love.Claudio’s willingness to marry an unknown person relates to his guilt of slandering the innocent, and the fact he was deceived by male passions not by women, he cares more about appeasing Leonato then marrying for love. Shakespeare uses deceit for neither a positive or negative effect, it is a means to an end. In the period of time of which the play is set, ‘nothing’ was a homophone of ‘noting’. There are various examples throughout the play of ‘noting’ type statements, for instance Claudio notes the scandal with his own eyes.The characters see what they want to see and take note. In the play there is ‘much ado about nothing’; lots of things happen and by the end nothing has changed really. Though Benedick and Beatrice declare their love for each other and they get married, perhaps they already loved each other, but just know it now. Deception is not the result for the mishaps in ‘Much Ado about Nothing’, the main plots in the play occur by the characters susceptibility to suggestion. The characters see what they want to see, they’re no more mislead then which they allow themselves to be.