Synopsis
Shakespeare’s comedic play Much Ado About Nothing was first published in 1600. Set in Messina, it focuses on two intertwined stories of love and deception: the gulling of Benedick and Beatrice that results in them declaring their love for one another and the trickery that led Claudio into believing his wife-to-be Hero was unchaste.
In Shakespeare’s time “nothing” was pronounced as “noting”, indicating that the play focuses on the characters’ obsession with noting things, along with their frequent inability to do so accurately. This obsession with paying attention to others’ lives leads the characters to intensely focus on upholding their reputations. Indeed, it is people’s fear of being shamed that catalyses much of Much Ado About Nothing’s plot. For instance, Beatrice and Benedick mask their true feelings to protect themselves from judgement, and Leonato would rather his daughter die than damage the family’s reputation. Men in the play are afraid of the shame that comes with being deceived by women, and women bemoan their lack of power to resist being denounced by men. Therefore, at its heart, Much Ado About Nothing is a play about deception and the humorous and devastating consequences it has on relationships.
This guide will focus on:
1. Themes
2. Key Quotes
3. Sample Essay Plans
4. Essay Topics
5. FAQs
Themes
Deception
Deception drives the plot of Much Ado About Nothing, with many of the play’s events taking place due to accidental or deliberate trickery. Language often catalyses this deception, with misunderstandings arising due to ineffective or deliberately misleading speech. Importantly, Shakespeare explores both the benign and malignant consequences of deception. Whilst Don John’s deceit leads to the destruction of Hero’s reputation and relationships, the gulling of Beatrice and Benedick brings the couple together. Likewise, Hero’s fake death is what ultimately allows her to restore her reputation and reunite with Claudio. Additionally, the play explores the uncertainty that masking one’s true feelings causes amid relationships. It should also be noted that the majority of Shakespeare’s characters are both victims and perpetrators of deception, perhaps indicating that a tendency to mislead others is simply a part of human nature. Ultimately, deception is shown to be a means to an end, or a tool that can be utilised to help one succeed socially.
Related evidence:
- Act 2 Scene 1: “I am a plain dealing villain.”
- Act 2 Scene 3: “Bait the hook well; this fish will bite.”
- Act 4 Scene 1: “Behold how like a maid she blushes here! O, what authority and show of truth can cunning sin cover itself withal!”
Love and Marriage
In Elizabethan society marriage was highly valued, especially for women, who often lacked social security without it. Shakespeare challenges the importance placed on marriage by exploring its ability to compromise an individual’s autonomy and freedom. For example, Benedick views marriage as restrictive and fears women’s ability to damage their husband’s reputation through unfaithfulness. Likewise, Beatrice shows an aversion to marriage, viewing it as stifling women’s independence. Additionally, marriage is shown to be a tool to restore or improve one’s reputation. For instance, it is Hero’s eventual marriage to Claudio that allows her public image to overcome the effects of being shamed. Despite this, the play concludes with both couples marrying, adhering to the conventions of Elizabethan comedy. There is, however, uncertainty as to whether the women are pleased with this arrangement, as both remain silent during the hesitantly happy conclusion of the play.
Shakespeare also shows the ability of deception to generate and hinder love. Beatrice and Benedick’s love for one another is sparked by trickery, and Claudio and Hero’s relationship is temporarily destroyed by it. Moreover, whilst Shakespeare emphasises the importance of love, he also reveals that honour is often prioritised over it. For instance, both Claudio and Leonato allow their concerns about reputation to overpower their love for Hero. Similarly, Benedick’s hesitancy to allow himself to fall in love stems from his insecurities surrounding cuckoldry. Thus, Shakespeare illustrates that reputation is a larger concern than love for many individuals.
Related evidence:
- Act 2 Scene 1: “Speak low if you speak love.”
- Act 2 Scene 1: “Wooing, wedding and repenting is as a Scotch jig, a measure, and a cinquepace.”
- Act 3 Scene 1: “Taming my wild heart to thy loving hand.”
- Act 2 Scene 1: “I will in the interim undertake one of Hercules’ labors, which is to bring Signor Benedick and the Lady Beatrice into a mountain of affection, th’ one with th’ other.”
- Act 2 Scene 1: “We are the only love gods.”
- Act 1 Scene 3: “Shall I never see a bachelor of threescore again?”
Gender
In the Elizabethan era men were considered to be superior to women, who had little power and autonomy. There were also strict gender-based expectations that governed people’s actions. Men were expected to be brave and honourable, whereas women were expected to be chaste, subservient and beautiful. In Much Ado About Nothing there is a strong emphasis placed on female chastity, with male characters repeatedly commenting on women’s virtue or supposed wantonness. Jokes about cuckolds and the motif of horns further reveal the anxiety that men felt surrounding female chastity, which culminates in the public shaming of Hero.
Shakespeare characterises Hero as the ideal woman. She has few lines when speaking around men and her beauty is emphasised by her male counterparts. For example, Claudio refers to her as “the sweetest lady that ever I looked on.” The reaction of Claudio and Leonato to Hero’s supposed engagement in a sexual relationship prior to marriage highlights the importance placed on women’s chastity. Claudio tarnishes her reputation by calling her a “stale” “rotten orange” and her father goes so far as wishing her dead, stating that “death is the fairest cover for her shame that may be wish’d for.”
Contrasting Hero’s adherence to gender-based expectations, Beatrice refuses to conform to gender roles. She is outspoken and witty, communicating in a way that was usually reserved for men. Indeed, she is not afraid to mock Benedick during their “merry war” of wits by “speaking poniards, and every word stabs”. For instance, she insults Benedick by labelling him “the prince’s jester: a very dull fool.” Yet, even the outspoken Beatrice is limited by gender roles, stating that “I cannot be a man with wishing; therefore I will die a woman with grieving.” This reveals the powerful pressure of gender-based expectations. Likewise, the marriages at the conclusion of the play mean that even characters who initially challenge gender roles begin to align with the expectations pervading their society.
Related evidence:
- Act 4 Scene 1: “He is now as valiant as Hercules that only tells a lie and swears it. I cannot be a man with wishing, therefore I will die a woman with grieving.”
- Act 4 Scene 1: “O God, that I were a man! I would eat his heart in the marketplace.”
- Act 3 Scene 3: “I should think this a gull, but that the white-bearded fellow speaks this.”
Reputation and Honour
Individuals in Much Ado About Nothing express great concern toward upholding their reputations. Yet, male and female honour are conceptualised differently. For women, honour is centred around chaste behaviour and faithfulness to one’s partner. Hence, when Hero is accused of being unfaithful to Claudio, her name is besmirched and she is disowned by her father. Following this, her false death is a social ritual designed to allow her to symbolically die and be reborn pure, so that Claudio may forgive her. It is then through marrying Claudio that she is able to rebuild her tarnished reputation. Don John is also a victim of the harsh treatment of unchaste women and their families. As an illegitimate child he is unable to achieve the social standing that he desires. Interestingly, men are not held to the same standards when it comes to chastity, with Benedick being praised for having numerous relationships with women. In fact, male honour is shown to depend on male alliances and displays of strength amid times of conflict. Men were able to defend their reputation by physically fighting one another, whereas women were not. This is emphasised when Beatrice urges Benedick to duel Claudio, as she is unable to do so herself. Ultimately, Shakespeare critiques the overemphasis that individuals place on appearing honourable by showcasing the harms that can result from pursuing one’s reputation above all else.
- Act 4 Scene 1: “O she is fallen into a pit of ink, that the wide sea hath drops too few to wash her clean again.”
- Act 3 Scene 2: “Go but with me tonight, you shall, see her chamber window entered, even the night before her wedding day: if you love her then, tomorrow wed her; but it would better fit your honour to change your mind.”
- Act 4 Scene 1: “The wide sea hath…salt too little which may season give to her foul tainted flesh!”
- Act 1 Scene 1: “Doing in the figure of a lamb the feats of a lion.”
Language and Communication
Class and language interact closely throughout the play. In particular, lower-class characters often speak in ineffective prose that includes malapropisms. For example, in Act 3 Scene 5, Dogberry and Verges attempt to warn Leonato of Don John’s plot. Leonato is unwilling to listen to Dogberry’s concerns as it is a “busy time”, which ultimately hinders him from finding out about Don John’s plot and preventing Hero’s downfall.
It is ultimately Dogberry’s lacking language skills that lead Leonato to discredit him. When Leonato tells Dogberry and Verges that they are “tedious”, Dogberry responds as if this insult were a compliment about his wealth, stating that “if I were as tedious as a king, I could find in my heart to bestow it all of your worship.” Leonato appears amused by this, and his reply “all thy tediousness on me, ah?” just prompts further time-wasting conversation about Dogberry’s riches (or lack thereof). Analysing this more closely, Dogberry may have mistaken the word “tedious” for “copious” and interpreted it as a praise on his language skills (i.e., as copiousness refers to having a plentiful command of language). Indeed, the words “tedious” and “copious” are used as synonyms in Shakespeare’s other works, such as Venus and Adonis. Hence, Dogberry’s verbose references to his humble status as a “poor Duke’s officer” may be an attempt to live up to Leonato’s praise by showcasing his witty ability to create wordplay with the word “copious”. This is ironic in the sense that Leonato’s criticism of Dogberry’s tiring verbosity is what prompts the following drawn-out feats of verbal copiousness that ultimately lead Leonato to ignore Dogberry’s warnings. Paradoxically, this scene accomplishes nothing, yet it is instrumental to the plot. It is also important to note that it is not just lower-class characters who use language ineffectively. It is Claudio’s consistent hesitancy to talk to Hero that ultimately culminates in the misunderstanding that almost destroys their reputations. Thus, Shakespeare reveals the power of language by showing the consequences that arise when it is used ineffectively.
Related evidence:
- Act 5 Scene 1: “O that he were here to write me down an ass! But, masters, remember that I am an ass; though it be not written down, yet forget not that I am an ass.”
- Act 5 Scene 1: “For there was never yet a philosopher. That could endure the toothache patiently, However they have writ the style of gods. And made a push at chance and sufferance.”
- Act 1 Scene 1: “They never meet but there’s a skirmish of wit between them.”
- Act 5 Scene 1: “Runs not this speech like iron through your blood?”
- Act 3 Scene 5: “Our watch, sir, have indeed comprehended two auspicious persons.”
- Act 4 Scene 1: “He is now as valiant as Hercules that only tells a lie and swears it. I cannot be a man with wishing, therefore I will die a woman with grieving.”
- Act 4 Scene 1: “O God, that I were a man! I would eat his heart in the marketplace.”
- Act 3 Scene 3: “I should think this a gull, but that the white-bearded fellow speaks this.”
Key Quotes
Act 1 Scene 1:
“Doing in the figure of a lamb the feats of a lion.”
“They never meet but there’s a skirmish of wit between them.”
Act 1 Scene 3:
“Shall I never see a bachelor of threescore again?”
Act 2 Scene 1:
“I am a plain dealing villain.”
“I will in the interim undertake one of Hercules’ labors, which is to bring Signor Benedick and the Lady Beatrice into a mountain of affection, th’ one with th’ other.”
“Speak low if you speak love.”
“We are the only love gods.”
“Wooing, wedding and repenting is as a Scotch jig, a measure, and a cinquepace.”
Act 2 Scene 3:
“Bait the hook well; this fish will bite.”
Act 3 Scene 1:
“Taming my wild heart to thy loving hand.”
Act 3 Scene 2:
“Go but with me tonight, you shall, see her chamber window entered, even the night before her wedding day: if you love her then, tomorrow wed her; but it would better fit your honour to change your mind.”
Act 3 Scene 3:
“I should think this a gull, but that the white-bearded fellow speaks this.”
Act 3 Scene 5:
“Our watch, sir, have indeed comprehended two auspicious persons.”
Act 4 Scene 1:
“The wide sea hath…salt too little which may season give to her foul tainted flesh!”
“Behold how like a maid she blushes here! O, what authority and show of truth can cunning sin cover itself withal!”
“He is now as valiant as Hercules that only tells a lie and swears it. I cannot be a man with wishing, therefore I will die a woman with grieving.”
“O God, that I were a man! I would eat his heart in the marketplace.”
“O she is fallen into a pit of ink, that the wide sea hath drops too few to wash her clean again.”
Act 5 Scene 1:
“For there was never yet a philosopher. That could endure the toothache patiently, However they have writ the style of gods. And made a push at chance and sufferance.”
“O that he were here to write me down an ass! But, masters, remember that I am an ass; though it be not written down, yet forget not that I am an ass.”
“Runs not this speech like iron through your blood?”
Sample Essay Plans
Here are some sample essay plans to get you started. If you'd like to give these and the essay topics below a go, we'd love to help mark them when you're done with the essays. Simply head to this page for more information about our essay marking services.
Topic 1: “Men were deceivers ever.” Is this true of the men in Much Ado About Nothing?
Contention: Whilst Shakespeare critiques the deceptive tendencies of the men in Much Ado About Nothing, he does not refrain from also showcasing women’s deceitful characteristics. Thus, Shakespeare posits that it is human nature to mislead others for one’s own benefit.
Paragraph 1: Shakespeare criticises men who utilise trickery as a means to navigate the class hierarchy and alter their social standing.
- Don John’s motivation for deceiving others is his low standing and his jealousy toward the more powerful Don Pedro.
- Claudio uses deception to heighten his status by forming a relationship with Hero.
Paragraph 2: Much Ado About Nothing warns its audience of the deceptive nature of mens’ external appearances, suggesting that men use deception to hide their true flaws and insecurities.
- Benedick masks his true insecurity about marriage by emphasising his pride in being a bachelor.
- Leonato appears to be a wise “white bearded fellow”, but in reality he fails to recognise Don John’s plot.
Paragraph 3: However, Shakespeare does not disregard the ability of women to engage in deceptive acts, thus suggesting that it is human nature to deceive others.
- Shakespeare shows Hero’s ability to deceive Beatrice, highlighting her intelligence (rather than her evil/cunning). This challenges the societal perception of women as lacking intelligence.
- Deception is used by Hero to regain hero reputation.
Topic 2: “The women in Much Ado About Nothing are the true holders of power.” Discuss.
Contention: Whilst the women in Much Ado About Nothing are able to attain superficial power, it is the men who truly dominate the patriarchal society of Messina.
Paragraph 1: In Much Ado About Nothing it is a woman’s witty use of language that allows her to gain superficial power amid a society that believes she should be silent in the presence of men.
- Beatrice uses witty language (e.g., war imagery, metaphors, puns and double entendres) to gain emotional power over Benedick.
- Hero uses metaphors, animal imagery and religious allusions to gain power over Beatrice whilst deceiving her. This reveals the deceptive power of women’s words.
- Margaret is not subjected to the same expectations as the noble women and is thus more able to exercise her true beliefs and sexuality through her language. In this sense, she is able to achieve superficial freedom from her restricted place in society through her flirtatious and bawdy comments.
Paragraph 2: Much Ado About Nothing reveals that society’s rigid attitudes towards women catalyse men to fear the power women hold over their reputations.
- Claudio and Leonato’s slander of Hero shows that men fear the damages that a woman’s unchaste behaviour could do to their reputation.
- Benedick’s wish to remain unmarried reflects his fear of cuckoldry and being controlled by a woman within a relationship.
Paragraph 3: However, Shakespeare implies that it is men who hold true power in Much Ado About Nothing, due to the patriarchal structures and values ingrained in Messina.
- The play concludes with the women silently conforming to gender-based expectations.
- Leonato and Claudio objectify Hero and fail to account for her opinions about her own marriage.
- Hero lacks the verbal capacity to defend herself from slander and is silenced throughout the play.
- Despite Beatrice’s ability to threaten men using words, she is unable to truly fight against a man and must rely on men to do so on her behalf.
Essay Topics
Now it’s your turn! Have a go at applying your newfound knowledge to these essay prompts.
- “Marriage is valued more than love in Much Ado about Nothing.” To what extent do you agree?
- “Forgiveness is granted too freely in Much Ado About Nothing.” Discuss.
- How does Much Ado About Nothing explore human transformation?
- “Shakespeare’s characters hide their insecurities behind language.” Do you agree?
- “Are our eyes our own?” How does Much Ado About Nothing reveal the flaws of human perception?
FAQs
What is the overall message of Much Ado About Nothing?
The overall message of "Much Ado About Nothing" is multifaceted. It explores themes of love, deceit, perception versus reality, honor, and social expectations. Through comedy, it shows that love can triumph over deception and misunderstandings, and that it is always important to question what appears to be true.
What is the last line in Much Ado About Nothing?
The last line is delivered by Benedick and is, "Strike up, pipers."
BENEDICK
Since I do purpose to marry, I will think nothing to any purpose that
the world can say against it, and therefore never flout at me
for what I have said against it.
Strike up, pipers.
Crazy Dance
Exeunt
What is the most important scene in Much Ado About Nothing?
It can be argued that the most important scene is Hero's wedding scene in Act 4, Scene 1, where Claudio publicly shames Hero, accusing her of being unfaithful. This is the climax of the play and sets in motion the actions of the rest of the narrative.
What do eyes symbolise in Much Ado About Nothing?
Eyes in the play often symbolize perception and judgment. They are frequently referred to when discussing deception and the act of seeing or not seeing the truth. The idea that one's eyes can be deceived underscores the theme of appearance vs. reality in the play.
What is the irony in Much Ado About Nothing?
Dramatic irony occurs when the audience has knowledge of something that the characters do not. In Much Ado About Nothing it is often used to dramatise the conflict, such as when Don John’s plot comes to fruition. It also creates humour, such as when the audience are aware of the plan to trick Beatrice and Benedick into falling in love, whilst the pair remain oblivious.
Situational irony occurs when something happens that is very different to what was expected. The most prominent example of this in Much Ado About Nothing is the fact that Beatrice and Benedick fall in love by the end of the play, when they initially appeared to dislike each other.
What is a metaphor in Much Ado About Nothing?
Here, Don Pedro uses a metaphor to foreshadow Benedick’s eventual surrender to love, presenting it as an inescapable and powerful force. The taming of wild animals is a recurring motif that represents the process that must occur for free-spirited people to submit themselves to relationships.
Who is the villain Much Ado About Nothing?
The villain in "Much Ado About Nothing" is Don John, the illegitimate brother of Don Pedro. He plots to ruin the happiness of others, particularly by attempting to sabotage the relationship between Hero and Claudio.
Why did Claudio refuse to marry Hero?
Claudio refuses to marry Hero because he has been tricked into believing that she has been unfaithful to him. Don John, the villain of the play, arranges a deception that leads Claudio and Don Pedro to believe that they've witnessed Hero's infidelity.
Who is the most powerful person in Much Ado About Nothing?
Power can be seen in different forms in the play. In terms of social standing and influence, Don Pedro, the Prince of Aragon, holds significant power. He is able to influence the actions and decisions of others. However, one could argue that characters like Beatrice also wield a unique form of power through their wit, intelligence, and independence.
