All speeches (lines) and cues for Dogberry in "Much Ado about Nothing" :|: Open Source Shakespeare First Watchman. Hugh Otecake, sir, or George Seacole; for they can write and read. Dogberry. Come hither, neighbour Seacole. God hath blessed you with a good name: to be a well-favoured man is the gift of fortune; but to write and read comes by nature. 5 Second Watchman. Both which, master constable,— Dogberry. You have: I knew it would be your answer. Well, for your favour, sir, why, give God thanks, and make no boast of it; and for your writing and reading, let that appear when there is no need of such vanity. You are thought here to be the most senseless and fit man for the constable of the watch; therefore bear you the lantern. This is your charge: you shall comprehend all vagrom men; you are to bid any man stand, in the prince's name. 6 Second Watchman. How if a' will not stand? Dogberry.

Why, then, take no note of him, but let him go; and presently call the rest of the watch together and thank God you are rid of a knave. 7 Verges. If he will not stand when he is bidden, he is none of the prince's subjects. Dogberry. True, and they are to meddle with none but the prince's subjects. You shall also make no noise in the streets; for, for the watch to babble and to talk is most tolerable and not to be endured. 8 Watchman. We will rather sleep than talk: we know what belongs to a watch. Dogberry. Why, you speak like an ancient and most quiet watchman; for I cannot see how sleeping should offend: only, have a care that your bills be not stolen. Well, you are to call at all the ale-houses, and bid those that are drunk get them to bed. 9 Watchman. How if they will not? Dogberry. Why, then, let them alone till they are sober: if they make you not then the better answer, you may say they are not the men you took them for. 10 Dogberry.

If you meet a thief, you may suspect him, by virtue of your office, to be no true man; and, for such kind of men, the less you meddle or make with them, why the more is for your honesty. 11 Watchman. If we know him to be a thief, shall we not lay hands on him? Dogberry. Truly, by your office, you may; but I think they that touch pitch will be defiled: the most peaceable way for you, if you do take a thief, is to let him show himself what he is and steal out of your company. 12 Verges. You have been always called a merciful man, partner. Dogberry. Truly, I would not hang a dog by my will, much more a man who hath any honesty in him. 13 Watchman. How if the nurse be asleep and will not hear us? Dogberry. Why, then, depart in peace, and let the child wake her with crying; for the ewe that will not hear her lamb when it baes will never answer a calf when he bleats. 14 Leonato. Brief, I pray you; for you see it is a busy time with me.

Dogberry. Marry, this it is, sir. 20 Leonato. What is it, my good friends? Dogberry. Goodman Verges, sir, speaks a little off the matter: an old man, sir, and his wits are not so blunt as, God help, I would desire they were; but, in faith, honest as the skin between his brows. 21 Verges. Yes, I thank God I am as honest as any man living that is an old man and no honester than I. Dogberry. Comparisons are odorous: palabras, neighbour Verges. 22 Leonato. Neighbours, you are tedious. Dogberry. It pleases your worship to say so, but we are the poor duke's officers; but truly, for mine own part, if I were as tedious as a king, I could find it in my heart to bestow it all of your worship. 23 Leonato. All thy tediousness on me, ah? Dogberry.

Yea, an 'twere a thousand pound more than 'tis; for I hear as good exclamation on your worship as of any man in the city; and though I be but a poor man, I am glad to hear it. 24 Verges. Marry, sir, our watch to-night, excepting your worship's presence, ha' ta'en a couple of as arrant knaves as any in Messina. Dogberry. A good old man, sir; he will be talking: as they say, when the age is in, the wit is out: God help us! it is a world to see. Well said, i' faith, neighbour Verges: well, God's a good man; an two men ride of a horse, one must ride behind. An honest soul, i' faith, sir; by my troth he is, as ever broke bread; but God is to be worshipped; all men are not alike; alas, good neighbour! 25 Leonato. Indeed, neighbour, he comes too short of you. Dogberry. Gifts that God gives. 26 Leonato. I must leave you. Dogberry.

One word, sir: our watch, sir, have indeed comprehended two aspicious persons, and we would have them this morning examined before your worship. 27 Leonato. Take their examination yourself and bring it me: I am now in great haste, as it may appear unto you. Dogberry. It shall be suffigance. 28 (stage directions). [Exeunt LEONATO and Messenger] Dogberry. Go, good partner, go, get you to Francis Seacole; bid him bring his pen and inkhorn to the gaol: we are now to examination these men. 29 Verges. And we must do it wisely. Dogberry. We will spare for no wit, I warrant you; here's that shall drive some of them to a non-come: only get the learned writer to set down our excommunication and meet me at the gaol. 30 (stage directions). [Enter DOGBERRY, VERGES, and Sexton, in gowns; and] the Watch, with CONRADE and BORACHIO] Dogberry. Is our whole dissembly appeared? 31 Sexton. Which be the malefactors? Dogberry.

Marry, that am I and my partner. 32 Sexton. But which are the offenders that are to be examined? let them come before master constable. Dogberry. Yea, marry, let them come before me. What is your name, friend? Conrade. Away! you are an ass, you are an ass. Dogberry. Dost thou not suspect my place? dost thou not suspect my years? O that he were here to write me down an ass! But, masters, remember that I am an ass; though it be not written down, yet forget not that I am an ass. No, thou villain, thou art full of piety, as shall be proved upon thee by good witness. I am a wise fellow, and, which is more, an officer, and, which is more, a householder, and, which is more, as pretty a piece of flesh as any is in Messina, and one that knows the law, go to; and a rich fellow enough, go to; and a fellow that hath had losses, and one that hath two gowns and every thing handsome about him. Bring him away. O that I had been writ down an ass! 46 (stage directions).

[Enter DOGBERRY, VERGES, and the Watch, with CONRADE and BORACHIO] Dogberry. Come you, sir: if justice cannot tame you, she shall ne'er weigh more reasons in her balance: nay, an you be a cursing hypocrite once, you must be looked to. 47 Don Pedro. Officers, what offence have these men done? Dogberry. Marry, sir, they have committed false report; moreover, they have spoken untruths; secondarily, they are slanders; sixth and lastly, they have belied a lady; thirdly, they have verified unjust things; and, to conclude, they are lying knaves. 48 Claudio. Sweet Hero! now thy image doth appear In the rare semblance that I loved it first. Dogberry. Come, bring away the plaintiffs: by this time our sexton hath reformed Signior Leonato of the matter: and, masters, do not forget to specify, when time and place shall serve, that I am an ass. 49 Borachio.

No, by my soul, she was not, Nor knew not what she did when she spoke to me, But always hath been just and virtuous In any thing that I do know by her. Dogberry. Moreover, sir, which indeed is not under white and black, this plaintiff here, the offender, did call me ass: I beseech you, let it be remembered in his punishment. And also, the watch heard them talk of one Deformed: they say be wears a key in his ear and a lock hanging by it, and borrows money in God's name, the which he hath used so long and never paid that now men grow hard-hearted and will lend nothing for God's sake: pray you, examine him upon that point. 50 Leonato. I thank thee for thy care and honest pains. Dogberry. Your worship speaks like a most thankful and reverend youth; and I praise God for you. 51 Leonato. There's for thy pains. Dogberry. God save the foundation! 52 Leonato. Go, I discharge thee of thy prisoner, and I thank thee. Dogberry.

I leave an arrant knave with your worship; which I beseech your worship to correct yourself, for the example of others. God keep your worship! I wish your worship well; God restore you to health! I humbly give you leave to depart; and if a merry meeting may be wished, God prohibit it! Come, neighbour. How does Shakespeare make Dogberry in Much Ado About Nothing such an entertaining character? | eNotes How does Shakespeare make Dogberry in Much Ado About Nothing such an entertaining character? Tamara K. H. | Middle School Teacher | (Level 3) Educator Emeritus Posted on July 5, 2012 at 12:14 AM Part of what makes Dogberry such a humorous character is the irony Shakespeare employs in Dogberry's characterization. Dogberry is a poorly educated individual, as seen in his poor use of language, but he is also a very prideful character. In fact, Dogberry is a bit of an idiot and does his job as Constable very poorly, but also feels an ironic sense of pride in what he does, unable to perceive that he is doing his job very badly.

As part of his poor use of language, we see Dogberry mixing up words all throughout the play and his partner Verges follows suit. A few examples can be seen when we first meet both characters. Dogberry is asking the men he has selected to guard the prince if they will be honest and loyal servants of the law and Verges attempts to threaten them if are not honest and loyal by reminding them that if they are not, they might "suffer salvation" (III.iii.2). Of course, Verges actually means " damnation ," or eternal judgement of the soul, should they prove to be dishonest. Dogberry continues this mix-up of words by saying that the punishment of "salvation" would be "too good for them, if they have any allegiance in them" (4-5). Here, Dogberry not only mistakes the word "salvation" for "damnation," he also mistakes the word "allegiance" for treachory, or " disloyalty ". All of these word mix-ups show us that Dogberry considers himself to be far more educated and intelligent than he actually is. This use of irony helps to relay Dogberry as a very humorous and entertaining character.

This pep talk reminding his watch to be faithful and honorable men also portrays Dogberry's pride in his job as Constable. It is quite clear that Dogberry sees himself as an honorable man, otherwise he would not be reminding his men to follow suit. However, the irony in this scene, as well as in Dogberry's character, is that Dogberry actually performs his job as Constable quite poorly. We especially see one instance of this when Dogberry advises his men not to "meddle" with any thieves they spot for meddling with thieves may compromise their own honor. Dogberry is confusing the act of meddling, or interfering with thieves, with the act of working along side of thieves, as we see in his line, "[T]he less you meddle or make with them, why, the more is for your honesty" (48-49). When Dogberry is asked by his men if they should arrest thieves, Dogberry further portrays his poor qualities as Constable by advising them to prove that the thieves are thieves by allowing them to "steal out of [their] company" (55).

Later, when Borachio and Conrade have been caught and Dogberry is attempting to interrogate them, the sexton even points out how bad Dogberry is at his job by pointing out that Dogberry does not understand how to carry out an interrogation, as we see in his line, "Master Constable, you go not the way to examine. / You must call forth the watch that are their accusers" (29-30). All of these examples of Dogberry's poor performance in his job as Constable helps to point out that, while Dogberry is very proud of his post, he ironically performs it very badly. Hence, we see that it is the irony behind Dogberry's characterization concerning his poor education and the poor performance of his job that makes his character such a humorous and entertaining character. Sources: Much Ado About Nothing 3.3 - Dogberry gathers the Watchmen Explanatory Notes for Act 3, Scene 3 From Much Ado About Nothing. Ed. A. Wilson Verity. London: Rivingtons. I feel sure that in writing these Dogberry and Verges scenes Shakespeare had in his mind's eye one of Lyly's comedies; viz., Endimion. (iv.

2.) Lyly's work is crude and incomplete; but I believe that he furnished the prototypes of the immortal constables. It would be easy to show from other places how familiar Shakespeare was with the works of his contemporary. For a single example take the beautiful "Hark, hark! the lark at heaven's gate sings." (Cymbeline, ii. 3. 21; and Sonnet 29); it was "conveyed" from Campaspe, v. i. I have not thought it necessary to note the magnificent Malapropisms scattered up and down the scene. Who runs may read. Dogberry and Verges. "Dogberry occurs as a surname in a charter of the time of Richard II, and Verges as that of a usurer in MS. Ashmol, 38, where this epitaph is given: 'Here lyes father Verges, who died to save charges.'" (Halliwell, quoted by Mr. Marshall.) Verges is a vulgarism for verjuice. Dogberry appears to be the name of a shrub.

The order of seniority is � Dogberry, Verges (Headborough, to give him his official title), and Seacole, appointed (pro hac vice) "constable of the watch" for the night. The stage-directions in the scenes where they appear are rather confused, an unimportant matter for us. 10 George Seacole. Halliwell thinks that we should read Francis, identifying the watchman here with the Seacole in scene 5, who was to bring "his pen and inkhorn to the gaol." Perhaps, however, the Seacole family was numerous and fertile of dignified and accomplished officials. 13 Well-favour'd. 'Good-looking.' 40 Bills. "A kind of pike or halbert ... the usual weapon of watchmen." (Nares.) 50 Meddle or make. So Troilus and Cressida, i. I. 14, "I'll not meddle nor make." 55 They that touch. An old saying, found in Ecclesiasticus xiii. I, "He that toucheth pitch, shall be defiled with it." Shakespeare refers to the proverb in i Henry IV, ii. 4.

455, and Love's Labour's Lost, iv. 3. 3. 74 Statues. An intentional blunder, which the later Folios needlessly correct to statutes. 84 Till two. When they would go off duty. 88 Coil. 'Fuss,' 'bother.' A Celtic word. 98 Pent-house. 'A shed, sloping out from the main building.' 99 Like a true drunkard. A quibble on his own name, which seems to have meant 'drunkard.' 104 Any villany. Some editors change to villain; needlessly, I think. 109 Unconfirm'd. 'Inexperienced.' SparkNotes: Much Ado About Nothing: Character List Much Ado About Nothing Plot Overview Analysis of Major Characters Beatrice - Leonato’s niece and Hero’s cousin. Beatrice is “a pleasant-spirited lady” with a very sharp tongue. She is generous and loving, but, like Benedick, continually mocks other people with elaborately tooled jokes and puns. She wages a war of wits against Benedick and often wins the battles. At the outset of the play, she appears content never to marry.

Read an in-depth analysis of Beatrice. Benedick - An aristocratic soldier who has recently been fighting under Don Pedro, and a friend of Don Pedro and Claudio. Benedick is very witty, always making jokes and puns. He carries on a “merry war” of wits with Beatrice, but at the beginning of the play he swears he will never fall in love or marry. Read an in-depth analysis of Benedick. Claudio - A young soldier who has won great acclaim fighting under Don Pedro during the recent wars. Claudio falls in love with Hero upon his return to Messina. His unfortunately suspicious nature makes him quick to believe evil rumors and hasty to despair and take revenge. Hero - The beautiful young daughter of Leonato and the cousin of Beatrice. Hero is lovely, gentle, and kind. She falls in love with Claudio when he falls for her, but when Don John slanders her and Claudio rashly takes revenge, she suffers terribly.

Don Pedro - An important nobleman from Aragon, sometimes referred to as “Prince.” Don Pedro is a longtime friend of Leonato, Hero’s father, and is also close to the soldiers who have been fighting under him—the younger Benedick and the very young Claudio. Don Pedro is generous, courteous, intelligent, and loving to his friends, but he is also quick to believe evil of others and hasty to take revenge. He is the most politically and socially powerful character in the play. Read an in-depth analysis of Don Pedro. Leonato - A respected, well-to-do, elderly noble at whose home, in Messina, Italy, the action is set. Leonato is the father of Hero and the uncle of Beatrice. As governor of Messina, he is second in social power only to Don Pedro. Don John - The illegitimate brother of Don Pedro; sometimes called “the Bastard.” Don John is melancholy and sullen by nature, and he creates a dark scheme to ruin the happiness of Hero and Claudio. He is the villain of the play; his evil actions are motivated by his envy of his brother’s social authority.

Margaret - Hero’s serving woman, who unwittingly helps Borachio and Don John deceive Claudio into thinking that Hero is unfaithful. Unlike Ursula, Hero’s other lady-in-waiting, Margaret is lower class. Though she is honest, she does have some dealings with the villainous world of Don John: her lover is the mistrustful and easily bribed Borachio. Also unlike Ursula, Margaret loves to break decorum, especially with bawdy jokes and teases. Borachio - An associate of Don John. Borachio is the lover of Margaret, Hero’s serving woman. He conspires with Don John to trick Claudio and Don Pedro into thinking that Hero is unfaithful to Claudio. His name means “drunkard” in Italian, which might serve as a subtle direction to the actor playing him. Conrad - One of Don John’s more intimate associates, entirely devoted to Don John. Several recent productions have staged Conrad as Don John’s potential male lover, possibly to intensify Don John’s feelings of being a social outcast and therefore motivate his desire for revenge. Dogberry - The constable in charge of the Watch, or chief policeman, of Messina.

Dogberry is very sincere and takes his job seriously, but he has a habit of using exactly the wrong word to convey his meaning. Dogberry is one of the few “middling sort,” or middle-class characters, in the play, though his desire to speak formally and elaborately like the noblemen becomes an occasion for parody. Verges - The deputy to Dogberry, chief policeman of Messina. Antonio - Leonato’s elderly brother and Hero's uncle. He is Beatrice’s father. Balthasar - A waiting man in Leonato’s household and a musician. Balthasar flirts with Margaret at the masked party and helps Leonato, Claudio, and Don Pedro trick Benedick into falling in love with Beatrice. Balthasar sings the song, “Sigh no more, ladies, sigh no more” about accepting men’s infidelity as natural. Ursula - One of Hero’s waiting women.

More Help The Recording of an Ass: The Role of Dogberry in Much Ado About Nothing, Printable URL: It would be all to easy to dismiss the character of Dogberry in William Shakespeare's Much Ado About Nothing as so much comedic nonsense, as just another excuse for a few laughs in a play that seems to grow darker and darker as it rolls on towards the final act. Indeed, Dogberry may be both of those things, but amidst his linguistic foibles, his legal incompetance, and perhaps most importantly his seeming complete lack of self-awareness, it is easy to miss the fact that he's also quite a bit more complicated. An "officer," certainly; a "wise fellow," perhaps; "as pretty a piece of flesh as any in Messina," well, probably not-but what Dogberry can certainly claim bragging rights to is a key role in highlighting the action of the rest of play (IV.ii.80-2).

He becomes, at various points, a kind of foil to several of the characters whose wit is fundamental to the action of the play, a buttress against the lagging comedic action of the middle acts, and a symbol of overarching stability, of rightful order even, in a town that knows very little of potential evil. Much has been made of Dogberry's linguistic incompetance; partially because Shakespeare's knowing mutilation of the constable's lines demonstrates a brilliant manipulation of language, but mostly because Dogberry is just simply hilarious. So hilarious, in fact, that we have to wonder if there isn't an element of tragedy in the character. There seems to be echoes here of the Mel Brooks line, the one that goes something like, "tragedy is when I stub my toe, comedy is when you fall down a sewer and die." Certainly there can be said to be both bits of the comedic and the tragic pent up in Dogberry. It would be all to easy to delve into some psychoanalysis of Dogberry's assertion that he is a man who "hath had losses" as a means of generating sympathy for the guy, but, in all honesty, this is not really neccesary (IV.ii.84).

Because in a play where words represent a sort of ultimate power-where Benedick's and Beatrice's love lives and dies by the sword play of their wit, and Caudio nearly crushes Hero to death with his misguided wrath-it is not too hard to imagine the impotence of a character who cannot clearly convey the simplest of ideas. The play quite rightly is "much ado about nothing," the "ado" having been created over the careless wielding of words. Dogberry's character is essential in completing the other side of this dialectic; he is a somewhat less than developed foil to characters like Don John and Claudio, who destroy with words in counterpoint to the one person who posesses the knowledge-just not the words-to set things right. Throughout the play we see words brandished with incredible power. Take Don John, and the effortless way he plants, with a few words, seeds of doubt that will ultimately be Claudio's undoing. "Leonato's Hero," he calls her, "your hero, every man's Hero"; sure, he sets up an elaborate scheme to back up his artifice, but one wonders if the effort wasn't wasted (III.ii.106-7).

Claudio seems already convinced by Don John's artful turns of phrase-such "mischief strangely thwarting" needs little impetus to become buried in Claudio's brain (III.ii.132). Shakespeare as well seems convinced that Claudio has taken the Don's baited words, as he wastes no space in illustrating the actual scene of Hero's supposed infidelity. The scene in which Claudio is fooled takes on a new resonance, however, when considered in terms of another: the scene in which Dogberry sets about what should be a relatively simple task in revealing the treachery to Leonato. Here Dogberry's conversational impotence contrasts sharply with Don John-and nearly every other character in the play-for it is in terms of Dogberry, the would be hero, that we understand the semantical mess that drives much of the conflict in the play. In this scene we find Dogberry and his equally mishappen sidekick, Verges completely incapable of rousing Leonato's attention. Dogberry drags out what he has to say in an annoying, self-important preface in a matter that should "decern" (instead of concern) Leonato greatly (III.v.3).

He then exchanges a few quips with Verges in an attempt to be witty which culminates in the classic muffed line, "Comparisons are odorous," before losing Leonato's attention completely (16). The end result is Hero's nearly tragic rebuff. Dogberry becomes an essential reference point in a play about "nothing"-nothing, that is, except the potential power in misused words. Beyond his relevence as a potential foil to reflect the excesses of other characters, Dogberry also fulfills an important structural role in the play. First and most obviously, he has to be there to bring Don John's and Borachio's treachery out into the light of day. But he also plays a more subtle role in that he helps to pick up some of the comedic slack through the middle of the play, specifically act IV. The extreme darkness that follows Hero's supposed death threatens the autonomy of the play as a comedy. Throughout act IV, the play seems more akin to Shakespeare's tragic side, as opposed to anything humourous. Dogberry, however, doggedly upholds the comedic principles upon which Much Ado was based, even in the play's darkest moments.

In scene 2 of act IV, his pedantic antics continue to delight, even though Benedick, not moments before, has agreed to kill off Claudio in one of the tensest scenes of the whole piece. His first line, "Is our whole dissembly appear'd?" shocks the audience back into a humourous mode (IV.ii.1). For the next eighty-seven lines, he misuses the words eftest, burglery, redemption, and opinion'd, to name a few, and also manages to assert that Verges and himself are indeed the malefactors. (1-87) The scene culminates in Dogberry's outrage at having been called an ass and a rather conceited speech in which he demands that the whole incident, particularly the fact of his ass-ness, be recorded. As a brief aside, this notion of recording Conrade's slight seems to reflect another scene-Hero's shameful rebuff at the wedding and Claudio's curious desire to "write against" her apparent dishonor (IV.i.56-7). It's almost as if writing represents a way for both Dogberry and Claudio to ossify the events swirling around them into something concrete, something tangible.

In a play whose driving conflict is generated by a virtual swamp of misunderstood, misguiding words, it seems like no coincidence that these two key characters are both looking for solid ground-an immutable text-upon which to base judgment. Returning to the notion of Dogberry as comic relief Works Cited Shakespeare, Willam. Much Ado About Nothing. The Riverside Shakespeare. Ed. G. Blakemore Evans et al. Boston: Houghton Mifflin Co., 1974. 327-364. Back to the Top ... What is the dramatic significance of Dogberry in Shakespeare's Much Ado About Nothing ? | eNotes What is the dramatic significance of Dogberry in Shakespeare's Much Ado About Nothing ? Tamara K. H. | Middle School Teacher | (Level 3) Educator Emeritus Posted on July 23, 2012 at 11:50 PM The dramatic significance is the purpose of any particular element in a play. Every single element of a play, such as a character, action, line, soliloquy, monologue, etc., is carefully constructed and used with some sort of purpose in mind.

An author or playwright can use elements to serve many purposes, or for dramatic significance, including but not limited to, moving the plot forward, creating tension, relieving tension, and creating characterization. Dogberry is dramatically significant for several reasons, some of those are to provide comic relief, create irony, and to relay a theme. We know that one dramatic significance of Dogberry is to create comic relief because we meet the odd character for the first time after a significantly dramatic moment. In Act 3, Scene 2, Don John has successfully tricked Claudio and Don Pedro into believing that Hero is promiscuous and unfaithful. Plus, Claudio has decided to publicly humiliate Hero, and Don Pedro has supported that decision. Immediately after this tense scene, we meet Dogberry and the watch. Dogberry is a very classic Shakespearean fool who is a complete idiot but actually turns out to do more and know more than the other characters of the play. We know that the second dramatic significance of Dogberry is to create irony because Dogberry ironically becomes the play's hero. Ironically, Dogberry had absolutely no intention of apprehending any criminals that night.

He in fact instructed his men of the watch to "sleep" rather than to "talk," as sleeping cannot "offend" (III.iii.34, 37). He also instructs them to allow thieves to "steal out of [their] company," as it is the best way to prove that such men are thieves (54-55). Hence, it is ironic that Dogberry, who is the most ridiculous character, should be the only character who unearths Don John's evil plot of slander and treachery. The third dramatic significance of Dogberry is that he particularly reveals the theme of appearance vs. reality. Due to Dogberry's ironic success of revealing Don John's treachery, we see just how ridiculous the leaders of the city of Messina truly are. While both Governor Leonato and Prince Don Pedro appear to be honorable men, the reality is that they are actually quite foolish. Leonato is foolish enough to have chosen Dogberry as the city's Constable. Also, had Leonato come with Dogberry to interrogate the prisoners that morning, Leonato would have saved Hero from a great deal of suffering.

Also, Don Pedro is foolish enough to keep his brother Don John in his company after his brother has just attempted to overthrow his crown. He is foolish enough to believe himself to be "reconciled" to his brother when it is very evident that Don John only has more treachery in mind (I.i.132). Hence, seeing Dogberry become the hero of the play shows us the true reality of the other character's natures. Sources: Shakespearean fools: Their modern equivalents - BBC News BBC News Shakespearean fools: Their modern equivalents By Denise Winterman BBC News Magazine 1 April 2012 Read more about sharing. Close share panel Shakespeare loved a fool and not just on 1 April. He used them in most of his well-known plays, but who would their equivalents be today? It was never about bright clothes, eccentric hats and slippers with bells on them. Shakespeare's fools were the stand-ups of their day and liked to expose the vain, mock the pompous and deliver a few home truths - however uncomfortable that might be for those on the receiving end.

"Shakespearean fools, like stand-ups today, had a licence to say almost anything," says Dr Oliver Double, who teaches drama at the University of Kent and specialises in comedy. "It was an exalted position." About Shakespeare William Shakespeare was born in Stratford-upon-Avon in 1564 He married Anne Hathaway in 1582 and they had three children He published poetry before his plays, starting in 1593 Records of his plays begin to appear in 1594 Explore the BBC's Shakespeare season He doesn't use just one type of fool, he uses different characters for different jobs. There are the knowing, wise fools. Professionals, they are employed by royalty and nobility to entertain. They are smarter than those in positions of authority and used by Shakespeare to mock them, reveal the truth of a situation and provide social commentary. Then there are the natural fools, who simply lack any grey matter and common sense. As well as providing some slapstick, they are also used to inadvertently reveal some home truths.

"They [the fools] are these strange characters that show up and make witty observations and very often become very central to the action," says Dr Jacquelyn Bessell, a lecturer at the University of Birmingham's Shakespeare Institute. "They do share a sort of capacity to stir things up, to say things that other characters in their social bracket couldn't possibly get away with saying. In that respect, they're a really useful vehicle driving your moral and argumentative point home if you're a dramatist. They deflate pompous, socially superior characters. They're able to criticise kings." So smart and articulate or stupid and foolish, who are the closest modern equivalents of Shakespeare's fools and comic characters? Homer Simpson - Dogberry (Much Ado About Nothing) Role:Dogberry in Much Ado About Nothing is one of Shakespeare's unwitting fools, but one who ultimately comes good. A figure of comic incompetence, he is a clownish policeman who mangles nearly every word he says and botches nearly everything he does. Despite all of this he inadvertently uncovers a villainous plan and saves the day. Incompetent he may be, but ultimately he is the play's real hero.

"Characters like Dogberry are humorous and silly, but what they say and do often has a telling significance," says Kiernan Ryan, professor of English Language and Literature at the University of London. "While the characters might not realise this themselves, Shakespeare designs it so the audience doesn't miss the point." Homer and Dogberry wisdom Homer to Bart and Lisa: "Kids, you tried, you failed. The lesson is never try" Dogberry: "O villain! Thou wilt be condemned into everlasting redemption for this" Modern-day equivalent:Homer Simpson, from Fox Broadcasting's The Simpsons, is greedy, lazy, opportunistic and largely incompetent as a husband, father, friend and employee. Despite his shortcomings and failings he often comes good as well, but in his own amoral way - like taking daughter Lisa to see an exhibition she is devastated to have missed, but doing it by breaking into the museum after hours. Why:Dogberry and Homer are both incompetents. The policeman fumbles his job the same way Homer has fumbled his way though life, marriage and parenthood for years. But they are both fools who eventually do good, without quite knowing how they did it. Both characters are used to provide moments of insight without being aware of it themselves.

And just as Dogberry is one of the Bard's most-loved fools, Homer is one of television's most-loved idiots. Miranda (Hart) - Bottom (A Midsummer Night's Dream) Role:In A Midsummer Night's Dream Bottom is silly and bossy, but ultimately very lovable. He makes a fool of himself, but his idiocy is almost endearingly innocent and never malicious. In the play his head is transformed into a donkey's and a spell is cast upon Titania which causes her to fall in love with him. "The Queen of the Fairies falling in love with an ass is the ultimate symbol of comic topsy-turveydom," says Dr Stephen Purcell, who teaches English and Comparative Literary Studies at Warwick University. Modern-day equivalent:In her sitcom Miranda is likeable, but always stumbling into awkward and often hopeless situations. She usually ends up looking like a fool as she tries to extract herself, and small mistakes end up growing into ­comic disasters. Why:Blustering and silly, both Bottom and Miranda end up in all sorts of comic confusion. What they also have in common is that neither has a dark or morally ambiguous side, they are just immensely likeable.

"The role of Bottom also involves physical comedy and Miranda Hart is a brilliant physical clown," says the University of Kent's Double. Frank Gallagher - Falstaff (The Merry Wives of Windsor) Well, if my wind were but long enough to say my prayers, I would repent Sir John Falstaff, The Merry Wives of Windsor Role:Not strictly a fool, Sir John Falstaff is one of Shakespeare's comic characters - but one of ill-repute. He is likeable, humorous and witty, and revels in the pleasures of the flesh, but doesn't think too hard about the consequences. Falstaff - who appears in both The Merry Wives of Windsor and Henry IV (Part I and II) - also has a darker side and is a drunkard who lies, cheats and exploits people. Modern-day equivalent:An unemployed drunk, Frank Gallagher in Channel 4's Shameless spends most of his time in the pub or trying to get money to go to the pub. Irresponsible and rude, he usually leaves a trail of destruction and insults people wherever he goes. He is the father of countless children by several mothers. But while he usually shirks responsibility for them, he does loves them and they love him.

He has been known to step up when it matters most. Why:Both are classic loveable rogues. They are deeply flawed but their wit and moments of kindness mean they are still loved by those around them, despite some truly appalling behaviour. They are also prone to some drunken philosophising. Frank is even fond of quoting Shakespeare during an alcohol-fuelled rant. "Many of Falstaff's qualities can be detected in Frank Gallagher, but the main difference is that he is not nearly as eloquent or as witty as Falstaff," says Warwick University's Purcell. Frankie Boyle - Trinculo (The Tempest) Role:The king's jester in The Tempest , Trinculo is a comical character and a professional fool. It means he is funny but also smart and clever verbally, playing around with words. Also, while a lot of Shakespeare's fools have redeeming features, Trinculo is downright bad. In the play he plots with Caliban and Stephano to kill Prospero. Modern-day equivalent:Arguably one of the most controversial comics around, Frankie Boyle often provokes outrage. Last year he was censured by Ofcom after it received 500 complaints about one of his jokes.

But he is also popular, appearing on television and headlining his own tour. He says he is simply "telling it like it is". There is definitely no sugar-coating going on. Why:Trinculo and Boyle aren't too worried about being nice or who likes them. They pretty much do what they want. The difference between them is Trinculo gets repeatedly outwitted in The Tempest. Ian Hislop - King Lear's fool (King Lear) Have more than thou showest, speak less than thou knowest, Ride more than thou goest... King's Lear's fool Role:The fool in King Lear is far removed from Shakespeare's unwittingly wise ones. A professional fool, he is clever and sharp - a social commentator and a satirist. Being the king's fool he gets away with talking to Lear in the way no-one else would, and takes full advantage. Modern-day equivalent:Editor of the satirical magazine Private Eye, Ian Hislop has made a career of taking on and mocking authority. In his work as a journalist and commentator in print and on television, he demonstrates a healthy scepticism towards people in positions of power. Why:Hislop and Lear share a verbal dexterity and a talent for words.

Both are satirical, political and poke fun at those in power. One difference is that King Lear's fool often speaks in riddles and in a roundabout way that Lear cannot always pin down his meaning. Hislop's meaning is usually very clear. Russell Brand - Feste (Twelfth Night) Role:Feste in Twelfth Night is part of the household of Countess Olivia, her licensed fool. He is frivolous and naughty, but extremely eloquent. "He is a clever satirist and describes himself as a 'corrupter of words'," says Purcell. "He is quite the opposite of clowns like Dogberry and Bottom, who are merely foolish." But he also has a darker side that occasionally emerges. Modern-day equivalent:Russell Brand is idiosyncratic, with very distinct mannerisms and use of language. His speech is excessively articulated and flowery and he plays around with tone. "He's almost created his own language," says Double. He also dresses like a modern-day dandy, all tight trousers and flowing scarves. But he has his demons and is a former drug addict. Why:Both Feste and Brand are slightly bohemian and very imaginative with the way they play with words.

Feste sums it up well in his first scene when he says: "Better a witty fool, than a foolish wit." But despite their playful and outwardly frivolous nature, they can be brooding. Additional reporting by Keith Moore.

Question: In which Shakespeare play does Dogberry appear?
Answer: Much Ado About Nothing