Amazon.com description: Product Description: Much Ado About Nothing is a comedic play by William Shakespeare. Much Ado about Nothing, together with As You Like It, King Henry the Fifth, and Ben Jonson's Every Man in his Humour, was registered in the Stationers' books August 4, 1600; all with a caveat "to be stayed." Why the plays were thus locked up from the press by an injunction, does not appear; perhaps to keep the right of publishing them in the hands of those who made the entry. Much Ado about Nothing was entered again on the 23d of the same month, and was issued in quarto in the course of that year, with "as it hath been sundry times publicly acted" in the title-page; which would naturally infer the play to have been written in 1599, or in the early part of 1600. All the internal marks of style and temper bear in favour of the same date; as in these respects it is hardly distinguishable from As You Like It. It has also been ascertained from Vertue's manuscripts, that in May, 1613, John Heminge the actor, and the Poet's friend, received £40, besides a gratuity of £20 from the King, for presenting six plays at Hampton Court, Much Ado about Nothing being one of them. After the one quarto of 1600, the play is not met with again till it reappeared in the folio of 1623. Some question has been made whether the folio was a reprint of the quarto, or from another manuscript. Considerable might be urged on either side; but the arguments would hardly pay the stating; the differences of the two copies being so few and slight as to make the question a thing of little consequence. The best editors generally agree in thinking the quarto the better authority of the two. Remains but to add that, with the two original copies, the text of the play is so clear and well-settled as almost to foreclose controversy. As with many of the author's plays, a part of the plot and story of Much Ado about Nothing was borrowed. But the same matter had been so often borrowed before, and run into so many variations, that we cannot affirm with certainty to what source Shakespeare was immediately indebted. Mrs. Lenox, an uncommonly deep person, instructs us that the Poet here "borrowed just enough to show his poverty of invention, and added enough to prove his want of judgment"; a piece of criticism so choice and happy, that it ought by all means to be kept alive; though it is indeed just possible that the Poet can better afford to have such things said of him than the sayer can to have them repeated. So much of the story as relates to Hero, Claudio, and John, bears a strong resemblance to the tale of Ariodante and Ginevra in Ariosto's Orlando Furioso. The Princess Ginevra, the heroine of the tale, rejects the love-suit of Duke Polinesso, and pledges her hand to Ariodante. Thereupon Polinesso engages her attendant Dalinda to personate the Princess on a balcony by moonlight, while he ascends to her chamber by a ladder of ropes; Ariodante being by previous arrangement stationed near the spot, so as to witness the supposed infidelity of his betrothed. This brings on a false charge against Ginevra, who is doomed to die unless within a month a true knight comes to do battle for her honour. Ariodante betakes himself to flight, and is reported to have perished. Polinesso now appears secure in his treachery. But Dalinda, seized with remorse for her part in the affair, and flying from her guilty paramour, meets with Rinaldo, and declares to him the truth. Then comes on the fight, in which Polinesso is slain by the champion of innocence; which done, the lover reappears, to be made happy with his Princess. Here, of course, the wicked Duke answers to the John of the play. But there is this important difference, that the motive of the former in vilifying the lady is to drive away her lover, that he may have her to himself; whereas the latter acts from a spontaneous malignity of temper, that takes a sort of disinterested pleasure in blasting the happiness of others.