How Does Shakespeare Present Claudio And Hero's Relationship

Hero is then perceived dead after she faints. Claudio's perception of Hero's death causes him to remorse when he finds out that Hero was innocent. Hero's death is very symbolic as she is then re-born into society clean and pure. Hero developed from thought to be un clean to clean, innocent and wronged. Claudio is seen in a negative light after Hero's death however redeems himself as honourable. Dramatic irony as we know Hero is innocent ensures our perception of her character is pure.

Claudio and Hero’s relationship is not strong because Claudio does not trust anyone in the affairs of love. He says ‘friendship is constant in all other things, save in the office and affairs of love’. He also says ‘and trust no agent for beauty is a witch’.

Shakespeare has demonstrated the ramifications of human nature that have arisen through the misunderstandings of the characters. Shakespeare does this by effectively conveying the dramatic technique reversal. The purpose of the technique is to show the reader the complexities of human nature by demonstrating that even a common example of misunderstanding could change the direction of one's life, and the perception of an object. This is evident through the quote “That I love her, I feel” in Act 1 scene 1, said by Claudio about Hero, which is later contradicted with the quote “There, Leonato, take her back again. Give not this rotten orange to your friend”, who is referencing Claudio’s betrayal. Claudio believed that the person Borachio was making love to was Hero instead of Margaret, due to the succession of Don John’s master plan. During this scene, Claudio displays a sense of misunderstanding by falsely concluding that his fiancée had been ‘unfaithful’ to him. Reversal is shown when Claudio is enraged by the fictitious actions of Hero when he abandons her at the day of their wedding. Shakespeare has demonstrated misunderstanding through the dramatic technique, reversal to explore the complexities of human nature.

Shakespeare uses both Claudio and Leonato to represent the males of the time and the honor code they were held to. Claudio is in no way held to the same pre-marital expectations as Hero, which, at the time, was the case for all men. For instance, when Hero is accused of being with a man prior to her marriage, no one questions what man and, quite frankly, no one cares what man. Shakespeare also shows how men are judged and given honor based on how their women act. When Leonato learns of the accusations his daughter receives on her wedding day he scolds her and says,

Claudio’s love for Hero appeared very suddenly and many of his actions show that he is very quick to let her go. For example, when Don John tricks Claudio into thinking Don Pedro wooed Hero for himself, Claudio said, “Farewell therefore Hero!” (Shakespeare 23). Rather than defending his relationship he is fully capable of parting ways immediately. It is safe to assume that if he truly loved her, he would have fought for her affection, or at the least, have a formal break up. Another example is when Leonato says, “My brother hath a daughter, Almost the copy of my child that’s dead, And she alone is heir to both of us” (Shakespeare 90-91). At this point, he believes that Hero is dead and this is when Leonato informs Claudio about another person he can marry that is similar to her. He accepts the

Claudio also says that Hero has known a “luxurious bed”, a shocking accusation which implies that she has slept with another man just the night before their wedding; something extraordinarily shameful for Hero as women at that time were valued for being a virgin up to the time they got married. Claudio then refers to Hero explicitly as an “approved wanton” in line 41 provides extra shock as his rage is now very high. Calling her a proven whore in front of every one at the wedding is very mean and at the same time scandalous.

            Hero does not get a chance to mull over the idea of Claudio as a husband.  Even the audience knows little about her going into the now famous “shaming scene.”  Details about Hero’s virtues and personality are purposely left out, partially to satisfy the dominant male perspective in the play, but also to give more clout to the heinous claim that Claudio makes during the wedding.  The reactions of Hero’s father and others indicate that a woman’s virtues are only as good as a man says they are.

Earlier in the play, a scene was described where Borachio and Don John plan to trick Claudio into thinking that Hero is diwsloyal because of a man in her chamber the night prior to her wedding. After the stated quote, the intent is to try and trick Claudio and show that Hero is disloyal when she is actually not. This quote presents significance by describing the overall trait of the entire act and scene which is the trickery and sabotage of Borachio and Don John upon the hapiness of all of the other characters in the play. Overall, the previouly described scene, in part with an already confused Claudio, makes this quote important to the wedding of Claudio and

Leonato deceived Claudio and Don Pedro by telling them Hero had died because of Claudio's words; when in reality her death was portrayed to prove the innocence of Hero. The news devastated Claudio, and is instantly feeling guilty for the accusing her and humiliating the young bride in front of all of Messina.

Characters in this play have experience love in different ways; starting with Claudio that falls in love with Hero from the first time he sees her, and decided to get married. “In mine eye she is the sweetest lady that ever I looked on,” (1,1,168) it would seem that the love Claudio has for Hero is a result of first attraction on looks, however, Claudio’s character seems to be immature and inexperienced. Later in the play, when Claudio is suspicious of her, he instantly forgets the love he had for her, and that love turned to a full of hatred. On the other hand, Hero’s willingness to forgive Claudio is just as disturbing as Claudio’s rejection of her. She does not fight for her pride after what Claudio did to her but instead marries him willingly. “And when I lived, I was your other wife, And when you loved, you were my other husband,” (62, 5, 4) this line shows how forgiving and innocent Hero is as a character.

The humiliation caused to Hero in the event would be inconceivable to an audience at the time, being accused of adultery would no doubt ruin a woman’s reputation and therefore create difficulty for her when finding a husband; especially for a woman of high status such as Hero. Claudio is being presented as a potential threat at this part in the play, contrasting with the gallant war hero we were first introduced to. This emphasizes how bitter and sinister Claudio has turned, consequently reminding the audience by irony that is he only interested in wealth and status when marrying Hero. Claudio’s shallow fickleness plays into the villain’s hands. Shakespeare uses the threat of Claudio to generate further anxiety in the audience and concern for Hero’s welfare. This scene shows the men of the play coinciding with each other in their response to the defamation of Hero. Don Pedro personally insults Hero during the commotion of this scene, “to link my dear friend to a common stale,” he suggests here that he believes her status has been lowered by what she has supposedly done and rendered her ‘common’. This personal attack on Hero which has come from someone who shouldn’t really be involved advocates the idea that she is isolated in a patriarchal society in which men group together to defend male interests. Hero’s reputation is being publicly ruined here, and at the time this would have ruined Hero’s life and her

Shakespeare portrays Claudio and Hero as a pair of conventional lovers who go through an unadventurous and predictive courtship. Through this relationship he shows the modern audience how women were largely dominated by men. As Claudio metaphorically asks, ‘can the world buy such a jewel' Hero is portrayed as an object and someone to possess and

Tis once, thou lovest, And I will fit thee with the remedy. I know we shall have revelling to-night. I will assume thy part in some disguise And tell fair Hero I am Claudio, And in her bosom I’ll unclasp my heart And take her hearing prisoner with the force And strong encounter of my amorous tale (14).

When the prince congratulates Claudio upon Hero's father's approval to marry him he begins to be confused. In fact, it was the Prince wooing Hero for Claudio at the masked ball. Don John lied to Claudio to create a disturbance at the ball.

“The course of true love never did run smooth,” comments Lysander of love’s complications in an exchange with Hermia (Shakespeare I.i.136). Although the play A Midsummer Night’s Dream certainly deals with the difficulty of romance, it is not considered a true love story like Romeo and Juliet. Shakespeare, as he unfolds the story, intentionally distances the audience from the emotions of the characters so he can caricature the anguish and burdens endured by the lovers. Through his masterful use of figurative language, Shakespeare examines the theme of the capricious and irrational nature of love.