Effective Use of the Foil in Much Ado About Nothing
In The Marriage of Heaven and Hell, the famous British poet William Blake wrote that "without contraries there is no progression - Attraction and repulsion, reason and imagination, and love and hate are all necessary for human existence" (Blake 122). As Blake noted, the world is full of opposites. But, more importantly, these opposites allow the people of the world to see themselves and their thoughts more clearly. For, as Blake asserts, without attraction, one cannot understand repulsion, and without imagination, one cannot understand reason. In Much Ado About Nothing (MAAN), William Shakespeare uses this idea of the power of opposites to show the differences in two
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This is proven by the fact that he easily believes others comments about her and even goes so far as saying that "she knows the heat of a luxurious bed" and refusing to marry her based solely on false allegations made by other characters.
Hero, just like her suitor, follows the model, at least in the eyes of Claudio, of the perfect ideal woman. Even though Benedick does not like her and thinks that she is "too low..., too brown..., too little..., [and] unhandsome" (Shakespeare 1.1.138-141), Claudio thinks that she is "the sweetest lady that ever [he] looked on" (Shakespeare 1.1.151-152). Throughout the play, Hero is a model of speechless modesty. She has very little to say or do in the play except live up to the expectations of the courtly lover. For example, rather than violently or angrily objecting to the false accusations made against her by Claudio at the alter, she, as would be considered proper for the ideal woman, only swoons, blushes, and blanches.
If Claudio and Hero can be accepted as the perfect models of courtly love, than Beatrice and Benedick's love is easily proven as a flawless example of true love both through an understanding of their characters as well as their interaction. Benedick, a young lord of Padua, is, like Claudio, a gallant gentleman, but this is where their similarities cease. Benedick is baffled by the emotions which seize him
They are consistently brought up throughout the entirety of the play, especially when it comes to Benedick getting married. He himself declares that “if ever the sensible Benedick bears [marriage], pluck off the bull’s horns and set them on [his] head” (Shakespeare), allowing the reader to better see into his mind and thoughts on marriage. Clothing also becomes a symbol to show that Benedick is in love, Claudio telling that “[Benedick even] brushes his hat o’ mornings” to impress Beatrice (Shakespeare). Looks are the only means to determine a woman’s worth (Myhill). Claudio bids Hero goodbye calling her “…most foul, [yet] most fair…” (Shakespeare), declaring that even though Hero is beautiful, she has ruined her beauty with her betrayal, and he now cannot see her as he once did. No one is safe from these changing feelings in the play. Even Benedick and Beatrice went from not being able to be in the same room to being “…the sweet [youths] in love…” (Shakespeare). Looks also helped to prove Hero’s innocence when Friar Francis “[noted] of the lady…a thousand blushing apparitions…a thousand innocent shames…” and were alluded to when Hero’s father (Shakespeare), Leonato, attempted to further
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.
Deceit and trickery play a huge part in the play Much Ado About Nothing by William Shakespeare. Deception is a key theme in the play, it also moves the plot along. Trickery and deception is used in the love stories of couples Hero and Claudio, and Benedick and Beatrice, with opposite results. This play demonstrates two different kinds of deceit: the kind whose only purpose is to cause trouble, and the kind that is used to form a good outcome. In the relationship of Hero and Claudio, deception nearly succeeds in breaking them apart forever, while in the case of Benedick and Beatrice, it brings them closer together.
In Shakespeare’s play, Much Ado About Nothing, written in the early 15th century, the relationships between Benedick and Beatrice and Hero and Claudio are the key to the play and create a lot of tension and comedy. The two relationships are interesting in different ways, and this essay will explore this in terms of the language used, the plot, characterisation and how the two relationships stand thematically.
Claudio and Hero are the idealised Elizabethan couple in the book because of the patriarchal society that the story is based on. This is because Hero is shown as a weak and powerless young woman while Claudio is described as a powerful and honourable man. In the wedding Claudio decides to shame her and says ‘There, Leonato, take her back again Give not this rotten orange to your friend’. Even when Hero is being insulted and accused of being a prostitute she does not defend herself and says ‘Is my lord well, that he doth speak so wide?’ Instead of defending herself she asks if Claudio is alright which displays a sign of weakness in her.
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,
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.
The Love between Benedict and Beatrice is a strong love hate relationship after their previous ties had failed between each other. Heros plan is to trick Beatrice into entering the orchard and overhearing their conversations about her. Through their conversation Hero, Ursula praises the virtues of Benedick and to point out the flaws in herself(Act 3 Scene 1). By doing this Hero is able to convince Beatrice to her love of Benedick. However the same time Claudio and Don John are talking of Beatrice's secret love for Benedick. After this occurred both characters realize their true feelings and began to fall for one another through the deception played out by Hero and
Beatrice and Benedick, however, in much contrast to Hero and Claudio are the ideal couple who are both equal in the relationship. Beatrice is an opinionated and stubborn woman who will have no one if she doesn't have the one she wants, which she makes clear throughout the play by refusing to marry lightly and by the conversation in Act One between her and Pedro. She chooses
Benedick, a melodramatic character of the play, is worthy of receiving Beatrice’s love due to his noble qualities and actions. Although Benedick is first described bitterly by Beatrice and appears to be a light-hearted bachelor, he proves to be honorable, loyal, and loving. During the garden scene
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
Don Pedro and his men return from the war and visit the house of Leonato and his brother, Antonio. This sudden meeting reunites Beatrice with her archrival, Benedick, and it is here that Claudio and Hero fall in love.
She throws away her old self, stating "Contempt, farewell! and maiden pride, adieu!"(3.1.109). She also choses not to be so protective of her independence and declares love for Benedick, claiming "I will requite thee, Taming my wild heart to thy loving hand"(3.1.111-112). However, the true change in Beatrice does not show until the first church scene in which Claudio publicly humiliates Hero. Beatrice shows deep concern for her cousin Hero, the first time in the play where Beatrice shows concern for another. She is the first to claim Claudio is a liar and declare "on my soul, my cousin is belied!"(4.1.145). Beatrice then proves once again that she is a better person by demanding justice for Hero is met. Through Benedick, Beatrice plots to right the wrong and asks Benedick to "Kill Claudio"(4.1.290). It is in this scene as well that Beatrice, proving a complete turnaround in behavior, confesses to Benedick that "I love you with so much of my heart that none is left to protest "(4.1.287-288). This shows Beatrice transforming from someone who would scoff at marriage and love, declaring things like "I may sit in a corner and cry heigh-ho for a husband"(2.1.312-313), to someone who easily embraces love from the person she once mocked. But such a dramatic change is seen in her love as well.
Through rich imagery and a comic context Shakespeare uses characters to explore his ideas about love and marriage, using relationships to show the trials of love. In his play Shakespeare makes Beatrice and Benedick the critics of love and through them the modern audience is shown how Elizabethan society maltreats the female role and how the male code of honour and pride can lead to devastation.
Benedick tries to comfort Beatrice during this most distressing time and professes his love for her and she vows her love to him if he