ABSTRACT
Windows in the William Shakespearean age became larger in architectures, and were commonly employed on the stage, particularly in the Bard’s plays. As a buffer between private and public space, the spatial changes in window space require more attention. Mainly focusing on Much Ado about Nothing, this chapter explores the Bard’s design for Hero’s chamber window with spatial senses. The space of her bedchamber window experiences a spatial transformation from private to public. The focus on the triple spaces of the chamber window in Much Ado brings new insights into our understanding of a series of plays, containing a general trend in spatial changes from private to public in Shakespeare. The shifts from private to public indicate the basis of the mental space from reality to fiction. The chapter sheds light on the spatial changes from private to public in the Bard’s craft.
