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    Beaucoup de Bruit pour Rien
    Beaucoup de Bruit pour Rien
    Beaucoup de Bruit pour Rien
    Livre électronique180 pages1 heure

    Beaucoup de Bruit pour Rien

    Par François Guizot et William Shakespeare

    4/5

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    Lire l'aperçu
    LangueFrançais
    ÉditeurArchive Classics
    Date de sortie1 janv. 1825
    Beaucoup de Bruit pour Rien
    Auteur

    François Guizot

    François Guizot (1787-1874) est un historien et homme d'État français, membre de l'Académie française à partir de 1836, plusieurs fois ministre sous la monarchie de Juillet. Il a joué un rôle important dans l'histoire de l'école en France, en tant que ministre de l'Instruction publique, par la loi de 1833, demandant la création d'une école primaire par commune et d'une école normale primaire par département.

    En savoir plus sur François Guizot

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    • 5/5

      Dec 31, 2018

      Phenomenal scholarly edition.
    • 3/5

      Feb 24, 2017

      It's a perfectly good play, although the humor almost never works. Shakespeare is just not funny.
    • 5/5

      Feb 24, 2017

      My favorite love story and my favorite Shakespeare. I love the relationship between Beatrice and Benedick.
    • 5/5

      Mar 31, 2013

      This is the second of the plays being performed at the Shakespeare Festival this year. Like Midsummer Night's Dream, I read the play shortly before going to see it.

      Much Ado is my favorite out of all of Shakespeare's comedies, though I tend to like his tragedies better.

      Some of his plays, especially his comedies, get bogged down a bit by silly arguments that have nothing to do with the real plot like the "Knock me well, and Knock me soundly" argument in Taming of the Shrew. Funny, yes, but it's not much to do with the rest of the play. However, in Much Ado the banter is very much an inextricable part of the plot. The play just couldn't be the same without the quick witted arguments between Benedict and Beatrice. I love it when humor is both funny and has a point.

      The huge contrast between the Hero/Claudio and Benedict/Beatrice relationships adds greatly to it all, even though I can't stand Claudio.
    • 5/5

      Apr 7, 2019

      Much Ado is, by far, my absolute favorite Shakespeare. The humor, the wit, the back and forth (especially between Benedick and Beatrice) just ticks all the boxes for greatness.

      This particular copy I picked up from a local library sale just before I was supposed to teach Shakespeare to 10th graders as part of my student teaching. I chose Much Ado because it was the lightest of my three choices (the others being Othello and Julius Caesar), but also the play I knew best. As I told my students at the time, Much Ado is a prime example of an early form of the situational comedy, where all the misunderstandings could be easily avoided if only certain parties would talk to one another, but then there really would be Nothing going on.

      And, always remember, Dogberry is an ass.
    • 5/5

      Jun 18, 2017

      I'm surprised that I haven't commented on this one after a previous reading, as it's one of my very favorites. Though I'll admit that the Claudio/Hero plot is pretty infuriating, Beatrice and Benedick have more than enough charm to compensate for Claudio's shallow, opportunistic fickleness and Hero's pathetic lack of spunk. B&B are easily my favorite pair of lovers in Shakespeare – witty, sensitive, thoughtful, complex... just utterly delightful. And this time I had Marjorie Garber's excellent piece to point out some things I'd missed up til now. My favorite new tidbit – not important but a fun, “insider” joke (as in, Shakespeare's original audience would have appreciated it) was about the malapropism spouting Dogberry...
      ”The role of Dogberry was originally played by Will Kemp, the same actor who played Bottom in A Midsummer Night's Dream, and we might imagine that spectators would make this connection. Dogberry/Kemp has already be “writ down an ass,”with equal insouciant triumph, in Shakespeare's earlier play.”

      Garber also explains the connection between “nothing” and “noting,” which I'd previously not “noted.” (the Folger edition also comments on this, saying “There is some evidence that 'nothing' and 'noting' were pronounced alike in Shakespeare's day. If so, this word is yet another pun on 'nothing,' and the title of the play itself could be heard as 'Much Ado about Noting.'”) She elaborates on this a bit, highlighting some of the many places where “noting” is significant. Just another detail that helped me enjoy the play even more.

      I listened to the Arkangel audio performance while I read, which is, as always, well done, though perhaps lacking the intensity and sparkle that I want with some of this dialogue. Also, I watched (for the umpteenth time) the Tate/Tennant performance, which is my favorite, though the Thompson/Branagh is also brilliant and wonderful (and might be my favorite if I'd just watched it), and I enjoyed the Whedon too. Today I'm planning to watch the Shakespeare Retold version, which I've never seen, but the others in the series have been good, so I have high hopes for this one. Did I mention that this is my favorite of the comedies?
    • 4/5

      Nov 12, 2013

      I really enjoyed reading William Shakespeare's "Much Ado About Nothing." I suspected I would like it, having seen the Kenneth Branaugh movie many years ago... and the play itself did not disappoint.

      The play is a lot of "he loves me... he loves me not." With the most interesting characters being Beatrice and Benedick, who hate each other enough that it's got to be love. There are good side plots and the well-work Shakespearean disguise, which actually works fairly well here.
    • 4/5

      Apr 23, 2013

      Viel Lärm um nichts ist eine Komödie um Liebe und Intrigen von William Shakespeare. Das Buch ist wohl eine der lebendigsten Komödien von William Shakespeare. In dem Intrigenstück geht es vor allem um Wahrheit und Täuschung, Verstellung und Verkleidung, aber auch um Liebe, Freundschaft und Verrat.
      Auf dem Rückweg von einem siegreichen Kriegszug besuchen Don Pedro, Claudio und Benedikt den Gouverneur von Messina, Leonato. Während sich Benedikt und Leonatos Nichte Beatrice bei jeder Gelegenheit Wortgefechte liefern und sich die gegenseitige Liebe nicht eingestehen, hält Claudio um die Hand der Gouverneurstochter Hero an. Don Pedros Halbbruder Don Juan missgönnt Claudio das Glück und verhindert mit einer Intrige die Hochzeit. Dieser Klassiker ist leicht und flüssig zu lesen und reißt den Leser durch seine witzigen Dialoge mit.
    • 5/5

      Mar 9, 2013

      In this Shakespeare comedy, we have two pairs to keep track of: Hero and Claudio, and Beatrice and Bernadick. Hero and Claudio seem well on their way to matrimony until Don John, the bastard brother of the prince Don Pedro, decides to make trouble and break them up. Meanwhile, Beatrice and Bernadick seem more interested in trading barbs than anything else, but their friends decide to set them up and make them fall in love.

      While this play doesn't have many recognizable one liners that are constantly quoted even once we've forgotten they're Shakespeare, I found myself wondering why Much Ado wasn't one of the plays I studied in high school or college. Because for just pure fun, and funny moments, and witticisms galore, this has suddenly become one of my favorite plays. Plus, it's fairly accessible - I truly barely needed the notes, and it's been a few years since I've read Shakespeare. It's worth reading just for the (very minor) characters of Verges and Dogberry, the witless malapropists. Why haven't I read this before now?
    • 4/5

      Oct 15, 2012

      I watched the movie with Kenneth Branagh and Emma Thompson before I read the play. I'm glad I did, because it brought a depth of imagery which enhanced the reading. I enjoy this story very much, so clever, although, my modern sensibilities are quite wounded that Hero would consent so easily to marry Claudio after his great lack of faith in her and his horrible treatment of her. The working of Beatrice and Benedick is a joy to behold.
    • 3/5

      Aug 23, 2012

      My favourite Shakespeare! I love the interactions between the characters in this book, very witty. Much emphasis placed on how things can become misconstrued when eavesdropping occurs - lots to take into your own life, whilst being very entertaining. Obviously being Shakespeare though not an "easy read".
    • 4/5

      Jul 9, 2012

      I have long held that plays were meant to be performed, not read. This holds true for this play, which is quite a good one. I've seen performance versions before, which significantly helped me follow the play as it was written, but found that without the deliveries of actors, the result largely falls flat compared to the spoken, performed versions. I enjoyed it far more than I would have had I not been familiar with the story through performance.
    • 3/5

      Nov 4, 2011

      Appignanesi, Richard. Manga Shakespeare: Much Ado About Nothing. Illustrated by Emma Vieceli. 208p. Amulet Books, 2009.Tr. $10.95. ISBN9780810943230; LC0810943239.Benedick and Beatrice are masters at witty banter. Constantly bickering, they can hardly believe when they overhear their loved ones saying that they have secretly been pining for one another. Just like Claudio can hardly believe his eyes and ears when he is led to discover his fiancée, Hero, having a tryst with another man. Dramatic events unfold in this tale of love, misunderstanding, and honor. This classic comedy from William Shakespeare gets a major revamping. Utilizing the Bard’s original text, black and white illustrations depict the action of the play. Rather than stuffy Elizabethan characters, however, the overly-stylized characters are illustrated in modern Japanese fashion (but in Elizabethan garb). Although the text can be confusing at times, each frame offers comedic caricatures of the players, bringing their personalities and absurd plot to life. The most poignant feature of the Manga is in the emotion illustrated on the characters’ faces, embracing the vast array of emotions encapsulated within the original play. This adaptation efficiently brings Much Ado About Nothing to life without the use of a stage, and is a recommended addition to teen manga collections. (Manga, Grades 8-12)
    • 5/5

      May 14, 2011

      I've always enjoyed this Shakespearean comedy. I love the portrayal of Beatrice and the interaction between her and Benedick. Shakespeare shows his genius in adding these two characters to the very sad (although it is a comedy) story of Hero. Recommended.
    • 5/5

      Feb 24, 2011

      A fun comedy with love, intrigue, deceit for good and deceit for bad. As a mouthy broad, I love Beatrice and could relate to the hesitation to drop the tough act and be vulnerable.
    • 5/5

      Jul 8, 2010

      For the first time I can actually say that I liked a Shakespeare play! This translation helped me get through the text with it's side and end notes. Much Ado About Nothing was a book that I enjoyed reading.It had all the components I like: drama and romance, yet wasn't focused on just one area. The only thing I didn't like was the ending, I thought Benedick and Beatrice had actually changed, but really hadn't. This book deserves it's stars.
    • 5/5

      Jun 11, 2009

      This is one of my favorite Shakespeare plays! The worthy Claudio falls for the beautiful Hero, but will his love hold up when he thinks her unvirtuous? To me the real scene grabber is the word play between the quick witted Beatrice and the glory hound Benedick. Both swear they will never love; Benedick a sworn bachelor and Beatrice finds men, in particular Benedick, a 'stuffed man' equal to 'pestilence'. This book is fun and clever! Don't be afraid of Shakespeare's words- a must read!
    • 5/5

      Dec 23, 2008

      Much Ado is definitely my favorite of Shakespeare's comedies. It's good on its own, and a good performance just makes it incredible.
    • 5/5

      Dec 14, 2008

      The play itself is genuinely funny, not quite as funny as A Comedy of Errors, but a better play - the characters are better rounded, and the drama frankly more believable. Beatrice is surely one of the most memorable female roles in Shakespeare (I think only Portia is in the same league). I see from IMDB that her role was played by Penelope Keith in the 1978 BBC version, and by Maggie Smith in a 1967 version which also starred Caroline "Liz Shaw" John as Hero. But the overall frame is good too, the contrast between the Claudia/Hero and Beatrice/Benedick romances, neither of which is straightforward, but complicated in different ways. The Dogberry bits are, for once, pretty integral to the plot, though I suspect it is difficult to integrate them with satisfactory unity of style. (If I were staging it, I'd have Dogberry's guards and maybe even Dogberyy himself visible in the background in all the early crowd scenes, so that they don't appear out of nowhere in Act III.)

      Branagh's version is generally beautiful to watch and listen to. The good points include the general sense of movement on screen; the quite gorgeous Kate Beckinsale, who dropped out of Oxford to make this (and who can dispute that she made the right decision); the brilliance of most of the cast (especially the elders, Richard Briers, Brian Blessed, and, where she is allowed, Phyllida Law); and above all the sparkling chemistry between Branagh himself and Thompson (indeed, they almost seem to like each other too much at the beginning). The most serious misfire is with Keanu Reeves, who doesn't quite seem to understand what he is doing there except being Bad. I didn't object as much to Michael Keaton as Dogberry, perhaps because he kept inflicting senseless violence on Ben Elton, which is never a bad thing. I did, however, feel that the darker passages of Act IV hit the tone unduly; most of Branagh's cuts to the script are from the funny bits earlier in the play, and I think that unbalances Shakespeare's original plot dynamic, and results a darker piece perhaps than was intended perhaps by Branagh and certainly by Shakespeare.
    • 5/5

      Oct 21, 2008

      Much Ado About Nothing is simply a fun play to read. Plenty of banter, wordplay, and just ridiculous situations - and it all reads in a very modern way, not dated or irrelevant at all. There are some more sobering bits about female sexuality and how the society treasures virginity with Hero's storyline, but really, the relationship between Beatrice and Benedick is what keeps this play afloat
    • 3/5

      Jul 22, 2008

      I loved this play so much that I wrote my thesis on it (partially). If I had known of this play in high school I would not have hated Shakespeare as much as I did.
    • 5/5

      Dec 24, 2007

      Since I was a pretty young child, this has been my favorite Shakespeare play, and because of that I chose it for my Shakespeare research project. I am really looking forward to having a lot of fun with it, since I know it ridiculously well.
    • 5/5

      Jul 5, 2007

      My favourite Shakespeare. i am amazed that a comedy written 500 years ago is still relevant today - as in I still get the sly remarks and subtle humor.

      Branaughs production was extremely enjoyable.
    • 3/5

      Jan 10, 2007

      Had this been written today, I can say it'd probably be one of those dime-a-dozen romance novels you can barely give away, or one of the run-of-the-mill romantic comedy movies.

      The basic plot of the play is ok (think of any romantic comedy, and you'll most likely think of something with an element similar to this), and it does have its entertaining bits, but really, only Shakespeare's wording and humor save it. Don't get me wrong--Shakespeare is very humorous, and I was laughing at some of his writing ever since I was a kid--but something about combining the humor with a love story just doesn't entertain me.

      Maybe I just look for more action and less lovey-dovey stuff in my reading...
    • 5/5

      Jul 25, 2006

      Yet another play that I first saw as a production/film, with Kenneth Branagh and, again, Emma Thompson. I loved what I saw, so I decided to read it, in case anything had been left out. But of course, with Branagh doing the screenplay, not much was abandoned. I could never really understand why John the Bastard was so...much of a bastard (perhaps because he was one?), but I really love the humor and the oh-so-cheesy ending--much different from most of Shakespeare's.

    Aperçu du livre

    Beaucoup de Bruit pour Rien - François Guizot

    Project Gutenberg's Beaucoup de Bruit pour Rien, by William Shakespeare

    This eBook is for the use of anyone anywhere at no cost and with

    almost no restrictions whatsoever. You may copy it, give it away or

    re-use it under the terms of the Project Gutenberg License included

    with this eBook or online at www.gutenberg.net

    Title: Beaucoup de Bruit pour Rien

    Author: William Shakespeare

    Release Date: May 17, 2005 [EBook #15846]

    Language: French

    *** START OF THIS PROJECT GUTENBERG EBOOK BEAUCOUP DE BRUIT POUR RIEN ***

    Produced by Paul Murray, Renald Levesque and the Online Distributed

    Proofreading Team. This file was produced from images generously

    made available by the Bibliothèque nationale de France (BnF/Gallica)

    Note du transcripteur:

    =================================================================

    Ce document est tiré de:

    OEUVRES COMPLÈTES DE

    SHAKSPEARE

    TRADUCTION DE

    M. GUIZOT

    NOUVELLE ÉDITION ENTIÈREMENT REVUE

    AVEC UNE ÉTUDE SUR SHAKSPEARE

    DES NOTICES SUR CHAQUE PIÈCE ET DES NOTES

    Volume 2

    Jules César.

    Cléopâtre.—Macbeth.—Les Méprises.

    Beaucoup de bruit pour rien.

    PARIS

    A LA LIBRAIRIE ACADÉMIQUE

    DIDIER ET Cie, LIBRAIRES-ÉDITEURS

    35, QUAI DES AUGUSTINS

    1864

    =================================================================

    BEAUCOUP DE BRUIT

    POUR RIEN

    COMÉDIE

    NOTICE

    SUR

    BEAUCOUP DE BRUIT POUR RIEN

    L'histoire de Ginévra, dans le cinquième chant de l'Arioste, a quelque rapport avec la fiction romanesque de cette pièce; plusieurs critiques, et entre autres Pope, ont cru que le Roland Furieux avait été la source où Shakspeare avait puisé. On remarque aussi dans plusieurs anciens romans de chevalerie des épisodes qui rappellent la calomnie de don Juan, et la mort supposée d'Héro; mais c'est dans les histoires tragiques que Belleforest a empruntées à Bandello qu'on trouve la nouvelle qui a évidemment fourni à Shakspeare l'idée de Beaucoup de bruit pour rien.

    «Pendant que Pierre d'Aragon tenait sa cour à Messine, un certain baron, Timbrée de Cardone, favori du prince, devint amoureux de Fénicia, fille de Léonato, gentilhomme de la ville: sa fortune, la faveur du roi, et ses qualités personnelles plaidèrent si bien sa cause, que Timbrée fut en peu de temps l'amant préféré de Fénicia, et obtint l'agrément de Léonato pour l'épouser.

    «La nouvelle en vint aux oreilles d'un jeune gentilhomme appelé Girondo-Olerio-Valentiano, qui depuis longtemps cherchait vainement à faire impression sur le coeur de Fénicia. Jaloux du bonheur de Timbrée, il ne songe plus qu'à le traverser, et met dans ses intérêts un autre jeune homme qui, affectant pour Timbrée un zèle officieux, va le prévenir qu'un de ses amis faisait de fréquentes visites nocturnes à sa fiancée, et offre de lui donner le soir même les preuves de sa perfidie.

    «Timbrée accepte; il suit son guide qui lui fait voir en effet son prétendu rival, qui n'était qu'un valet travesti, montant par une échelle de corde dans l'appartement de Fénicia. Timbrée ne veut pas d'autre éclaircissement, et dès le lendemain il va retirer sa parole, et révèle à Léonato la trahison de sa fille.

    «Fénicia, accablée de cet affront, s'évanouit et ne reprend ses sens qu'au bout de sept heures. Tout Messine la croit morte, car elle-même, résolue de renoncer au monde, se fait transporter secrètement à la campagne, chez un de ses oncles, pendant qu'on célèbre ses funérailles.

    «Le remords poursuit partout Girondo; il se décide à faire à Timbrée l'aveu de sa coupable calomnie; il le mène à l'église, auprès du tombeau de Fénicia, se met à genoux, offre un poignard à son rival, et, lui présentant son sein, le conjure de frapper le meurtrier de la fille de Léonato.

    «Timbrée lui pardonne, et court lui-même chez Léonato lui offrir toute sa fortune en réparation de sa crédule jalousie; le vieillard refuse, et n'exige de Timbrée que la promesse d'accepter une autre épouse de sa main.

    «Quelque temps après il le conduit à sa campagne et lui présente Fénicia sous le nom de Lucile, et comme sa nièce. Fénicia était tellement changée, qu'elle ne fut reconnue qu'à la fin de la noce, et lorsqu'une tante de la mariée ne put garder plus longtemps le secret;» tel est l'extrait succinct de la nouvelle du prolixe Bandello.

    On verra quel intérêt dramatique le poëte a ajouté à ce récit déjà intéressant. La scène de l'église, où Claudio accuse hautement Héro, est vraiment tragique. Combien est touchant l'appel que fait la fille de Léonato à son innocence! Quelle profonde connaissance du coeur humain décèle le caractère de ce don Juan, cet homme essentiellement insociable, pour qui faire le mal est un besoin, et qui s'irrite contre les bienfaits de son propre frère!

    Mais les personnages les plus brillants et les plus animés de la pièce sont Bénédick et Béatrice. Que d'originalité dans leurs dialogues, où l'on trouve quelquefois, il est vrai, un peu trop de liberté! Leur aversion pour le mariage, leur conversion subite, fournissent une foule de situations des plus comiques. Les deux constables, Dogberry et Verges, avec leur suffisance, leurs graves niaiseries et leurs lourdes bévues, sont des modèles de naturel.

    Il y a dans cette pièce un heureux mélange de sérieux et de gaieté qui en fait une des plus charmantes productions de Shakspeare: c'est encore une de celles que l'on revoit avec le plus de plaisir sur le théâtre de Londres. Bénédick était un des rôles favoris de Garrick, qui y faisait admirer toute la souplesse de son talent.

    Selon le docteur Malone, la comédie de Beaucoup de bruit pour rien aurait été composée en 1600, et imprimée la même année.

    BEAUCOUP DE BRUIT

    POUR RIEN

    COMÉDIE

    PERSONNAGES

    DON PÈDRE, prince d'Aragon.

    LEONATO, gouverneur de Messine.

    DON JUAN, frère naturel de don Pèdre.

    CLAUDIO, jeune seigneur de Florence, favori de don Pèdre.

    BENEDICK, jeune seigneur de Padoue, autre favori de don Pèdre.

    BALTHAZAR, domestique de don

    Pèdre.

    ANTONIO, frère de Léonato.

    BORACHIO,  ) attaché à don Juan.

    CONRAD,     )

    DOGBERRY,  ) deux constables.

    VERGES,       )

    UN SACRISTAIN.

    UN MOINE.

    UN VALET.

    HÉRO, fille de Léonato.

    BÉATRICE, nièce de Léonato.

    MARGUERITE,  ) dames attachées

    URSULE,            ) à HÉRO.

    MESSAGERS, GARDES ET VALETS.

    La scène est à Messine.

    ACTE PREMIER

    SCÈNE I

    Terrasse devant le palais de Léonato.

    Entrent LÉONATO, HÉRO, BÉATRICE et autres, avec UN MESSAGER

    LÉONATO.—J'apprends par cette lettre que don Pèdre d'Aragon arrive ce soir à Messine.

    LE MESSAGER.—A l'heure qu'il est, il doit en être fort près. Nous n'étions pas à trois lieues lorsque je l'ai quitté.

    LÉONATO.—Combien avez-vous perdu de soldats dans cette affaire?

    LE MESSAGER.—Très-peu d'aucun genre et aucun de connu.

    LÉONATO.—C'est une double victoire, quand le vainqueur ramène au camp ses bataillons entiers. Je lis ici que don Pèdre a comblé d'honneurs un jeune Florentin nommé Claudio.

    LE MESSAGER.—Bien mérités de sa part et bien reconnus par don Pèdre.—Claudio a surpassé les promesses de son âge; avec les traits d'un agneau, il a fait les exploits d'un lion. Il a vraiment trop dépassé toutes les espérances pour que je puisse espérer de vous les raconter.

    LÉONATO.—Il a ici dans Messine un oncle qui en sera bien content.

    LE MESSAGER.—Je lui ai déjà remis des lettres, et il a paru éprouver beaucoup de joie, et même à un tel excès, que cette joie n'aurait pas témoigné assez de modestie sans quelque signe d'amertume.

    LÉONATO.—Il a fondu en larmes?

    LE MESSAGER.—Complètement.

    LÉONATO.—Doux épanchements de tendresse! Il n'est pas de visages plus francs que ceux qui sont ainsi baignés de larmes. Ah! qu'il vaut bien mieux pleurer de joie que de rire de ceux qui pleurent!

    BÉATRICE.—Je vous supplierai de m'apprendre si le signor Montanto¹ revient de la guerre ici ou non.

    Note 1: (retour) Montanto est un des anciens termes de l'escrime et s'appliquait à un fier-à-bras, à un bravache.

    LE MESSAGER.—Je ne connais point ce nom, madame. Nous n'avions à l'armée aucun officier d'un certain rang portant ce nom.

    LÉONATO.—De qui vous informez-vous, ma nièce?

    HÉRO.—Ma cousine veut parler du seigneur Bénédick de Padoue.

    LE MESSAGER.—Oh! il est revenu; et tout aussi plaisant que jamais.

    BÉATRICE.—Il mit un jour des affiches² dans Messine, et défia Cupidon dans l'art de tirer de longues flèches; le fou de mon oncle qui lut ce défi répondit pour Cupidon, et le défia à la flèche ronde.—De grâce, combien a-t-il exterminé, dévoré d'ennemis dans cette guerre? Dites-moi simplement combien il en a tué, car j'ai promis de manger tous les morts de sa façon.

    Note 2: (retour) Il était d'usage parmi les gladiateurs d'écrire des billets portant des défis. Flight et bird bolt étaient différentes sortes de flèches.

    LÉONATO.—En vérité, ma nièce, vous

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