Much Ado About Nothing
...t of Beatrice. / Disdain and scorn ride sparkling in her eyes, / Misprising what they look on, and her wit / Values itself so highly that to her / All matter else seems weak. (Act III scene i) She does not hate men, but takes great pleasure in deflating what she considers male arrogance. A good example of the way Beatrice bends boundaries is when, finding herself powerless to act against Claudio for the way he has treated her cousin, she demands that Benedick kill Claudio. When at first he refuses she says, ‘you kill me to deny it […] I am gone, though I am here; there is no love in you; nay I pray you let me go.’ (Act IV scene i) The fact that Beatrice, usually so independent, feels she has to enlist the help of Benedick to help her with this situation, demonstrates two things. Firstly, it demonstrates the lack of power held by women in the society of Messina, so much so, that Beatrice, as a woman, cannot confront Claudio, even though she knows emphatically, that what he has done is wrong. Secondly, it highlights the ways in which Beatrice can manipulate the male dominated rules of her society, albeit through Benedick’s love for her, to get what she wants. When considering the question of the male and masculinity in the play, one must of course examine the male characters and their roles in Messinian society. Firstly, there is Benedick; to some extent, he is the male equivalent of Beatrice. At the start of the play, he quite publicly states that he is a confirmed bachelor and has no need of a wife. …all women shall pardon me. Because I will not do them the wrong to mistrust any, I will do myself the right to trust none: and the fine is, for the which I may go the finer, I will live a bachelor. (Act I scene i) Again, similarly to Beatrice, Benedick initially rejects the conventional route into marriage expected by society, preferring the company of his fellow soldiers. His volley of jibes against women and the men who submit to marriage with them, are obviously machismo counteraction against the sharp tongue of Beatrice. As we learn of their past relationship, it becomes clear that Benedick’s opposition to marriage is merely a macho defence mechanism, suggesting that although part of a society where males dominate everything, including women, he feels vulnerable towards the fairer sex. Towards the end of the play, somewhat paradoxically, Benedick’s true colours finally shine through. In order for him to let his defences down, he needs to be sure that Beatrice really does love him. Not only does he let his defences drop, he also actively sides with the women, when all the men have grouped together to condemn the innocent Hero. I think this shows true manliness when it would be expected of him, in such a patriarchal society, to side with the other men, particularly those of such high status. Another one of the main male characters is Leonato. He is the governor of Messina, and in the opening scenes is presented as a dutiful father. In a society where women are viewed as the property of men, one cannot really criticise him for the way he reacts upon hearing the news that Don Pedro may be interested in his daughter. After all, in a culture where status and respectability are everything, Leonato could not find a more suitable husband for his daughter. As it unfolds that it is actually Claudio who is interested in Hero, it takes only a quiet word from Don Pedro, and Leonato is again perfectly happy to give his daughter away. Again, at this point in the play, taking the society in which they live into account, Leonato is presented as a dutiful father who wants only the best for his daughter. It is only as Don John’s plot begins to unfold, and Claudio, backed up by Don Pedro, accuses Hero of being unchaste, the Leonato’s true colours become evident. His sudden change of heart towards his daughter is, in my opinion, the truest reflection of Messinian society in the whole play. The fact that Leonato believes Claudio’s accusations so swiftly before even asking Hero for her side of the story shows how status and respectability are more important than flesh and blood. His cutting words to hero as she lies in a faint, ‘do not live Hero, do not ope thine eyes’ (Act IV scene i), display his self centred, uncaring attitude, preferring to see his daughter as damaged property, and wishing she was ...