Shakespeare is the master at creating the most timeless, realistic characters in all of his works. Not only does he make the characters seem believable enough to jump off of the page, but he reinforces their authenticity with believable relationships. Nowhere is this more evident than in his play Much Ado About Nothing. The relationships in this play are so convincing and so extremely plausible that readers have to constantly remind themselves that the play is a work of fiction. The two main relationships addressed in this play are, of course, love storiesthe affection between Claudio and Hero, and the fondness between Benedick and Beatrice. These two relationships, however, are very different.
Shakespeare provides evidence throughout the play that the bond between Benedick and Beatrice is more mature than that of Claudio and Hero. This is apparent because Benedick and Beatrice display hints of a previous, perhaps serious, history; they have more plausible reasons for having a relationship; and they display more trust for each other, especially in crucial times. These are all signs that they have a more significant relationship.
The first obvious sign that Benedick and Beatrice have a mature relationship is
that Shakespeare hints at a history between the two. It is obvious from the first act of the play that Beatrice knows Benedick. Her first line in the play is a question directed to a messenger to Leonato and others with him. She asks the messenger, I pray you, is Signior Mountanto returned from the wars, or no? (1.1.29-30). The Signior Mountanto that she refers to is Benedick. This tells the reader that Beatrice obviously knows Benedick, and this is confirmed by Hero and Leonato. It is not the fact that Beatrice knows Benedick, however, that makes one assume that they have a prehistory, but the fact that she asks about him before saying anything else. She is apparently concerned for his well-being and wants to be sure that he is in good health. This however, could simply mean that Beatrice and Benedick are merely friends, so Shakespeare adds to this incidence.
In a later part of the play, when Benedick and Beatrice are finally speaking to each other, they engage in a joking argument. However, when Beatrices words seem a little bit too harsh, Benedick abruptly stops the conversation. Beatrice then replies with a line of aggravation and, perhaps, hurt. She says, You always end with a jades trick. I know you of old (1.1.140-141). This leads the reader to assume that the two know each other well, and that Beatrice is perhaps thinking of a time when she and Benedick were a couple.
The main part of the play where Shakespeare reveals that Benedick and Beatrice have a former relationship is in the second act of the play. Beatrice is speaking to Don Pedro about Benedick, and in a joking manner, Don Pedro says, [] you have lost the heart of Signior Benedick (2.1.273-274). Beatrice, however, takes this in a more meaningful sense, and she replies in a very serious manner. Indeed, my lord, he lent it me awhile, and I gave him use for it, a double heart for his single one. Marry, once before he won it of me with false dice; therefore your Grace may well say I have lost it (2.1. 275-279). This significant set of lines tells the reader more about Benedick and Beatrices history than any other place in the entire play. In the spring, 1998, issue of Studies in English Literature, 1500-1900, writer Stephen Dobranski says, Beatrice seems to say that Benedick temporarily loved her, and she responded to his advances (4 of 18). Shakespeare uses this paragraph to confirm a previous relationship between Beatrice and Benedick.
Another noteworthy reason that Beatrice and Benedick have a more mature relationship than Claudio and Hero, is the couples reasons for loving each other. Upon meeting Hero, Claudio is instantly infatuated with her. Benedick, on the other hand, has known Beatrice for some time, and even still, it takes time for the two to become close. Claudios undeniable boyish charm, and the fact that he is sincere and earnest shine through to reveal a nave, inexperienced young man that knows little about the workings of love (Simon, 1 of 2). Claudios initial reasons for loving Hero are juvenile. The main reasons that he looks on her in the first place are simply because of her beauty and her social status. Had she been less attractive or less affluent, Claudio would probably not have ever glanced in her direction.
For Benedick and Beatrice, on the other hand, it takes time and effort for their
love to manifest itself. These two love each other for more valid reasons. It is obvious that they enjoy each others company, and it seems that their love is based on personality rather than appearance or social status, even with the fact that Benedick says that Beatrice exceeds [Hero] as much in beauty as the first of May doth the last of December (1.1.185-186). It actually takes quite a few events for Benedick to say that he loves Beatrice. In fact, without some meddling, and the coincidences that occur in the play, Benedick may have never declared his love for Beatrice. In her review of Kenneth Branaghs film version of Much Ado About Nothing, Sue Tweg addresses the fact that it takes quite a bit of coaxing to actually get Benedick and Beatrice together. She says,
Audiences want to see them united, even though they seem intent to maintain their merry wara tactic to avoid intimacy which only proves how obsessively they desire each others company and how deeply they have felt rejected by each other in the past. (2 of 5)
Claudio loves Hero conditionallyas long as the situation is favorablewhile Benedick loves Beatrice as much during the harder times as he does when everything is going well.
A third indication that Benedick and Beatrice have a more mature relationship than Claudio and Hero is that Beatrice and Benedick display higher levels of trust than Claudio and Hero do. When Borrachio and Don John try to ruin everyones fun by attempting to slander Hero, the harsh accusations and over-the-top arguments begin to fly around between the main characters of the play. The characters all begin to take sides based on whether or not they believe in Heros innocence. The fact that Claudio would believe Don Johns word is not surprising. Not only is Don John the Princes brother, but the word of a man was often worth more than that of a woman during the Renaissance. However, the fact that Claudio would simply slander Hero in public and not give her a chance to explain anything shows just how muchor, rather, how littleClaudio trusts his fiance. In his Commonweal review of Much Ado About Nothing, Richard Alleva assesses this fact when he says that [Claudio] convincingly shows how such unconditional adoration can turn quickly into equally unconditional hate (2 of 3). The fact that he totally disowns Hero in the blink of an eye shows that he has very little trust for her. One writer says that the fact that [Claudio] is curiously willing to believe the trumped-up evidence that justifies his backing out of a marriage and returning to the comfortable company of his male friends (Tiffany, para 1). Therefore, one can assume that Claudios love for Hero is not very deep or mature.
Benedick and Beatrice, on the other hand, display much more trust than Claudio and Hero could hope to have. Because Benedick sides with Hero to begin with, he is showing Beatrice that she and her family members are more important to him than the favor of Don Pedro and Don John. He also shows that he trusts Beatrices word, and the word of Hero. This, however, may simply be because Benedick has some common sense and feels that Hero is indeed telling the truth. He trusts Beatrice more than Don Johnrightly so, because Don John has not shown honesty and integrity in the past.
Shakespeare gives readers the most important sign that Benedick trusts Beatrice
when she asks him to help set everything straight.
Kill Claudio, Beatrice commands Benedick (4.1.289), a remark which in casting Beatrice in the unfamiliar role of a lady imposing a love test, assigns to Benedick the equally unwonted, and apparently unwanted, part of champion, an assignment which in confronting Benedick with the necessity of choosing between love and friendship, renders him momentarily, and uncharacteristically, at a loss for words []. (Moisan, 11 of 18)
Of course, after some deliberation, Benedick agrees to challenge Claudio and defend Heros honor. This decisionto risk losing his friends, his position, and his life all for the woman that he lovesis the ultimate, momentous declaration of true love. Thankfully, Benedick passes the test of love with flying colors, and his efforts are awarded in the long run. He does not have to fight his friend because, fortunately, everything is cleared up before any drastic action has to be taken. He wins, and keeps, the heart of the woman he loves, and even relinquishes his bachelor status to marry her. As clich as it sounds, they all live happily ever after, except of course, the villain, Don John, who gets what he deserves.
The complex, intricate, multidimensional characters are so incredibly true to reality that one can not help but forget that they are indeed fictional characters. Shakespeares amazing genius and precision with the pen bring these characters to life and allow them to change, evolve, and develop before the very eyes of the reader. The authenticity of these characters is reinforced by Shakespeares creation of an endless web of friendships, feuds, and love affairs between the individuals of his multifaceted and elaborate plays.
A prime example of Shakespeares amazing abilities is in his portrayal of the love stories in his play Much Ado About Nothing. The love stories of Benedick and Beatrice, the quarreling couple, and Claudio and Hero, the simple sweethearts are two of Shakespeares relationship masterpieces. The reality is even extended by the fact that the couples are so totally different from each other. Benedick and Beatrice are much more mature in their relationship than Claudio and Hero. This is obvious through their previous history, their reasons for being together, and their trust for each other. Shakespeare uses these aspects to reinforce the legitimacy and artistry of his work, to create one more masterpiece to add to his list.
Works Cited
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