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.