One aspect that differs between the relationship of Claudio and Hero and the relationship of Benedick and Beatrice is the desire, and ability, to speak. In Shakespeare’s Much Ado About Nothing, both Claudio and Hero are represented as characters who do not actively speak, demonstrated by their conversations with other characters throughout the play. Due to the silent characterization of both Hero and Claudio, their relationship is not allowed to progress because their inability, or perhaps lack of desire, to speak produces a passive dynamic in which both of them submit to the power imbalance between husband and wife often encouraged in the time period of this play. Beatrice and Benedick, on the other hand, are often not only speaking for …show more content…
themselves, but speaking for other characters as well. The pattern of silence from Claudio and Hero compared to the pattern of talking and speaking from Benedick and Beatrice displays the importance of equality in marriage, specifically referring to the equality of power gained through the ability and choice of speaking. This essay will be focusing on two separ??????????????????????? It would be an easy mistake for modern readers to assume generalizations about the behaviors of all men and women from this time period, such as the idea that all women are silent and obedient, however, through Shakespeare’s foils between Claudio and Hero as a couple and Benedick and Beatrice as a couple, it becomes clear that speaking is a choice one makes. One of the early scenes in the play depicts the differences between Beatrice and Hero in their passivity in speaking. One scene in particular involves Antonia, Beatrice, Leonato, and Hero discussing Hero and Beatrice’s love lives and concerns over marriage, eventually resulting in Leonato instructing Hero to accept a possible proposal from Don Pedro. Throughout this scene, there are two instances where Shakespeare includes bracketed stage directions that read “[to Hero]” (2.1.47, 2.1.61). In both instances, Shakespeare not only includes the stage directions, but he also has the speakers (Antonio and Leonato) specifically address Hero by calling her either niece, in Antonio’s case, or daughter, in Leonato’s case. Ultimately, Beatrice responds to the quelms of her father and uncle, making the juxtaposition between Hero’s silence and Beatrice’s voice apparent. This scene is located in the second act of the play fairly early on in the play, and demonstrates how Shakespeare has clearly characterized Hero as silent and Beatrice as voiced, through the purposeful use of stage directions, which are infrequently used throughout the play. The masked dance scene that immediately follows the previous scene involving a masked Don Pedro (disguised as Claudio) attempting to woo Hero demonstrates both Hero and Claudio’s avoidance of speaking, specifically within the boundaries of the relationship blooming between them. The very idea of Don Pedro using his words as a way of seducing Hero for Claudio reflects on Claudio’s inability to use his words and voice, which equally pairs with Hero’s lack of voice. As they begin their dance routine, Hero informs the masked Don Pedro that as long as he nicely dances with her and says nothing, then she will dance with him (2.1.82-83). Hero’s confident and immediate aversion to the act of speaking and communicating with this fake Claudio foreshadows real Claudio and Hero’s disaster of a relationship, which, it could be argued, is caused by their similar desires to have active voices. It is so important for readers to have access to this dance scene because this is the only scene where readers are allowed to see Hero and a version of Claudio interact without anyone else to speak for them. The complicating factor of this scene is that this Claudio who uses his voice to communicate to Hero is obviously not the real Claudio. However, this complication only further reinforces the argument that Claudio and Hero are voiceless characters along with Hero’s verbal direction to Claudio instructing him to “say nothing,” even though they are in a moment of assumed privacy. Obviously these characters are unable to voice themselves whether in public or private settings, therefore amplifying the difference of voice between outspoken Beatrice and Beneick and the silent Hero and Claudio. All of the examples demonstrating how Hero and Claudio lack voices and how their marriage ultimately suffers because of it become more valuable in comparison to the never ending discussion and confrontation that consumes both Benedick and Beatrice’s lives.
Benedick and Beatrice use their wit as a form of flirtation, but what is more important is that both of these characters are significant and noticeable because of their voices and their abilities to speak up for themselves and others. Beatrice confronts and is confronted by various male and female characters throughout the play and Shakespeare makes it very obvious to readers that Beatrice will always have something to say and will always use her voice. She confronts Claudio, Antonio, Leonato, and Benedick, just to name a few characters, and she does so without any hesitation. Beatrice, like Benedick, chooses to talk, she will not remain silent. Benedick is easily the male reflection of Beatrice in that he is also willing to confront and be confronted by any of the other characters. Throughout their dialogues with various characters, both Benedick and Beatrice consistently use the words “tell” and “speak,” and it can be argued that these words are the embodiment of Beatrice and Benedick and separate characters as well as a couple. It is also important to note that unlike Hero and Claudio, Beatrice and Benedick have voices both privately and publicly, such as when Beatrice made jests about Benedick during the masked ball. The uncertainty of whether or not Beatrice knew it was Benedick under mask further fuels the argument that Beatrice will say what she wants publically, if she does not recognize Benedick, and privately, if she does realize it is
Benedick. Shakespeare’s use of these two couples as foils to each other allows readers to identify obvious and subtle differences between each of these characters and how they deal with their respective relationships. By comparing and contrasting Hero, Claudio, Beatrice, and Benedick throughout the entire play, Shakespeare tackles many large and small social issues that were present during the time period of the play, one of which is the power and strength of a strong voice. Both the content and language of the play perceives the ability to speak for oneself a necessary factor in a healthy relationship. Throughout the entire play, Hero is never given a strong voice. When she is confronted and directly addressed, she is never the one to respond back to the addresser, and there are few indications, if any, that she desires to speak up for herself. Instead, Beatrice not only reacts on behalf of herself, but she must also speak and react on behalf of her silent cousin. It is apparent from the events in the latter half the play and the happiness rewarded to Beatrice by the end of the play, that the play indicates the importance of individuals and couples having voices. Similarly to the relationship between Hero and Beatrice is the relationship between Claudio and Benedick. These couples are almost exact reflections of each other, which is quite a jarring realization to make about the play.
...e down by weeping. Shakespeare shows us that Beatrice is the only character despite some of these positive attributes of Beatrice’s character, she is very rude about men. She says ‘but manhood is melted into curtsies’ showing Benedick her lack of respect towards men. However it is possibly her refreshing honesty that leads her to be a positive role model.
“And when I lived, I was your other wife, And when you loved, you were my other husband(Shakespeare 60).” In the beginning of the play it was overwhelming, steeped in love at first sight between Hero and Claudio, until Don John’s evil-manner took a role in ruining the love between them. And because of this a conflict developed between them, but was resolved when their vigorous love for one another overcame the conflict. In Much Ado About Nothing by William Shakespeare, Hero serves as the foil character of Claudio because of Hero’s dignified, well-mannered, eminent reputation is illuminated through Claudio’s insecure, accusing, and doubtful weakness; thereby, interminably influencing the conflict in the plot.
The difference between Beatrice,Benedick,and the other two Claudio and Hero though is that, these two are very headstrong characters with a different outlook on love, but have very much love for one another. Benedick believes in just being a bachelor and spending the rest of his life messing with as many women as he pleases, well as for Beatrice she believes there is no man good enough and willing to show her the love she wants so she much rather be left alone. But the fact that they honestly want to believe what they say is what makes this get way more interesting. What they don’t know is that they are going to soon become curious trying to figure out what they truly feel for one
Benedick and Beatrice both benefit from the deceit that they encounter. At first, both are enemies in a battle of insults and wit, until they are each fooled into thinking that the other loves them. When Benedick hears that Beatrice is supposedly attracted to him, he thinks that it is “a gull, but that the white-bearded fellow speaks it: knavery cannot, sure, hide itself in such reverence” (111). Little does he know, Leonato, the "white-bearded fellow," is also in on the joke (111). Benedick starts to admire her when he is aware that Beatrice might actually be attracted to himself, as well. She is also astonished when she first hears that he loves her. However, when Beatrice comes to terms with their affection, she hopes "Benedick [will] love on... And [she] Believe it better than reportingly" (134). In other words, she falls in love with Benedick as soon as she believes that he, too, is fond of her. They each start to fall in love with one another under the pretense that other was hiding their affection from them. Now that they are both in love, they start to open up to each other and prove that the deception they endured was worth it in the end.
Throughout Act one and two, Benedick repeatedly says that he will never love a woman or get married. At some stage in the duration of the play his mindset changes. In the end he is head over heels in love for Beatrice whom he once quarreled with habitually. The turnabout in his behavior was brought about by the deceiving Claudio and Pedro who indirectly told Benedick that Beatrice loved him.
The main plot of Much Ado About Nothing is that of the relationship between Claudio and Hero. Their story is a melodramatic saga concerning the realities of relationships based on love at first sight. Claudio has no sooner seen the pure face of Hero than he professes his undying love and seeks her hand. This gesture could be regarded as the quintessence of romantic love. However, Claudio's admiration for Hero comes across as a school-boyish crush, rather than deep felt love and respect. He seeks the opinion of his friends to reinforce his judgment on Hero, thereby showing that he is not convinced of his own feelings. Claudio sees Hero as a flawless angel, a naive, boyish assumption.
Telling her gentlewomen that Benedick loves Beatrice is her secret and it just so happens that Beatrice overhears, because it was. all planned that she should overhear. In this scene, Hero is dominant. in the conversation and says whole paragraphs instead of a few words that she says sporadically throughout the play, like in Act 1 scene 1. where she only says one line in the whole scene, "My cousin means Signor Benedick of Padua. " Page 5, line 27.This is because she needs.
Set in the sixteenth century, Much Ado About Nothing is revolved around the thought of love and marriage. Primarily, this is prevalent in the two main characters, Beatrice and Benedick. They have once been courted which suggests more maturity than the majority of couples in Shakespeare’s various plays. In the duration of the play, the violent language between Benedick and Beatrice is most evident through their ridicule. Both characters always speak critically regardless of whether they are talking to each other or out loud about one another. This is highlighted when Beatrice exclaims, “What should I do with him—dress him in my apparel / and make him my waiting gentlewoman? He that hath a / beard is more than / a youth, and he that hath no beard is less than a/ man; and he that is more than a youth is not for me, and he that is less than a/ man, I am not for him...
Whedon's production of Much Ado About Nothing is a modern, black and white retelling of the famous Shakespeare play of the same name which tells the story of love and deceit between two couples: Hero and Claudio, and Beatrice and Benedick. While Hero and Claudio court and prepare to marry each other, Beatrice and Benedick steal the show away with their wit, humor, and constant bickering. Though they both insist that they hate each other, the flashback presented at the start of the film suggests that there is far more to the story than meets the eye. While the style of the film certainly enhances the story being told, making it a timeless classic entangled with modern society, it is the ensemble cast that work both individually and as a unit which make the film a true masterpiece, as well as the genius idea of a change in scenery that propels a sense of realism not often found in your average Shakespeare adaptation.
Beatrice is the ever-witty Lady Disdain, outspoken and opinionated niece of Leonato. She and Benedick are involved in a "merry sort of war". Always ragging on each other in a sort of easy going way, but never the less hurting each other's feelings. Both are cynical about Love. Beatrice is described by her uncle to mock all of her wooers out of suite.
Beatrice’s dialogue with Benedick in Much Ado about Nothing establishes her control over him, dissimilar to the discourse between Katherina and Petruchio in The Taming of the Shrew. Beatrice’s first lines reveal much about her attraction to Benedick. “I pray you, is Signor Moun...
Beatrice and Benedick are interesting due to Shakespeare’s use of language. Confusion is created as to whether they love or hate each other owing to their snide comments, such as Beatrice’s response “A bird of my tongue is better than a beast of yours” (1.1.104), notably continuing the reference to animals, after Benedick insults her and calls her a “rare parrot- teacher” (1.1.103). This suggests that Benedick is capable of using words to provoke Beatrice. He also suggests that she always makes a repetitive squawking noise, of which she holds high esteem of herself for doing. This verbal sparring between the couple increases the mystery early on in the play. It could be that they love each other and, because of this, increases the chance of potential romance as they could be hiding their feelings for each other under this cloud of quick- fire exchanges. However, it can also show the level of contempt that Benedick has for Beatrice. Also, their ability to extend the metaphor and almost predict the next insult is a factor of their conversations that continue throughout the play. Their ability to maintain such intelligent sparring is witness to the strong bond that they share. During the masked ball scene, when Benedick doesn’t say who he is, Beatrice starts a rant about how annoying Benedick is- “He is the Prince’s jester...
...he other hand, Beatrice and Benedick are comedy-makers and Beatrice is not ruled by her father as Hero clearly is. It does take Don Pedro’s benevolent plot to bring Benedick and Beatrice together, however. A modern audience would prefer Beatrice to Hero as she is her own self and admirable. The relationships also differ because Benedick and Beatrice’s relationship slowly grew whereas Claudio and Hero’s relationship was love at first sight. Perhaps it was a little hasty as we see in Act 4 how their love turns sour.
Both Beatrice and Benedick are strong-willed, intelligent characters, who fear that falling in love will lead to a loss of freedom and eventually heartbreak. This causes them to deny their love for each other and it is only through the machinations of other characters in the play that their true feelings emerge. When these feelings are finally acknowledged, both characters are changed, but the changes are subtle. They are neither drastic nor monumental.
Shakespeare makes sure that Beatrice comes off as a woman who is not afraid to speak her mind to anyone. This is portrayed in the beginning of act one, when the mail messenger comes to announce that the soldiers are on their way to Messina. They start a conversation about Benedick and he tells Beatrice that Benedick is a "lord to a lord, a ...