The early seventeen century play Much Ado About Nothing by William Shakespeare follows the story of young men returning from war, including Don Pedro, his illegitimate brother Don John, Claudio, and Benedick. From there, two love stories become intertwined. Don Pedro helps Claudio and Hero become a couple. Additionally, Benedick and Beatrice get tricked into falling in love, despite the fact that they always playfully insult one another. There is also Don John who devises a plan to ruin Claudio and Hero’s relationship. This is considered a popular Shakespeare comedy, successfully combining elements of deceit, betrayal, proving one’s innocence, and love into one story, making them relatable to today’s audiences and readers.
Benedick (Henry Irving) and Beatrice (Ellen Terry) in the 1870-90 production
Borachio: Comrade of Don John and Margaret’s lover
Conrad: Comrade of Don john
Leonato: Governor of Messina and father of Hero
Hero: Daughter of Leonato and suitor of Claudio
Beatrice: Niece of Leonato and Benedick’s suitor
Antonio: Brother of Leonato
Margaret: Servant to Hero and Borachio’s lover
Ursula: Servant to Hero
Dogberry: The head of the Watch
Verges: Dogberry's Partner
Friar Francis
A Sexton
Watchmen
Attendants and Messenger
3. Plot
Claudio (Robert Sean Leonard), Benedick (Kenneth Branagh) and Don Pedro (Denzel Washington) in the film adaptation (1993)
Act 1
Scene 1: Don Pedro, Don John, Claudio, and Benedick come home from war. Don Pedro wants to help Claudio and Hero become a couple. He says that at the masked ball they are having that night, he will dress up as Claudio and tell Hero that he loves her. Benedick and Beatrice swap jokes at each other’s expense. Scene 2: Antonio confides in his brother Leonato that his servant overheard Don Pedro telling Claudio how much he loves Hero. Leonato decides to let Hero know so she is prepared if Don Pedro declares his love for her that evening at the ball. Scene 3: Don John tells Conrad that he is sad because he is overshadowed by his brother Don Pedro in everything. Borachio arrives with the news that Don Pedro plans to help set Claudio up with Hero at the ball that night. Don John enlists the help of his two comrades to foil their plan.
Act 2
Scene 1: At the ball, all the men wear masks to hide their identities or pretend to be someone else as they dance with the women. Don John tells Claudio, who is disguised as Benedick, that he heard Don Pedro confess his love to Hero which makes Claudio feel betrayed. Benedick talks to Don Pedro for Claudio and realizes that he actually did win Hero over for Claudio. Leonato gives Claudio his approval to marry Hero which makes everyone happy. Until the wedding, Don Pedro devises a plan to get Beatrice and Benedick to fall in love, since everyone wants them to get married too. Scene 2: Borachio devises a plan to prevent the wedding by tricking Don Pedro and Claudio into thinking that Hero is a whore. He will do this by making out with Margaret in front of a window, making it look as if she is Hero. Scene 3: Benedick talks aloud swearing that he will never fall in love. When he sees Don Pedro, Claudio, Leonato and Balthasar, Benedick hides. From their conversation, they successfully convince Benedick that Beatrice has fallen in love with him, which he returns.
Hero (Amara Karan) and Margaret (Chetna Pandya) in Iqbal, Khan Production (2012)
Act 3
Scene 1: With the help of her two servants, Hero convinces the hidden Beatrice that Benedick is in love with her. She says they should not let Beatrice know, since she would just make fun of him. Beatrice decides to put her pride aside and love Benedick back. Scene 2: Don John approaches Claudio and Don Pedro and tells them that Hero is a whore and Claudio should not marry her. At first neither will believe him, but after Don John says that he has proof, the two are inclined to follow. Scene 3: Dogberry and the Watch are ordered to watch over Leonato’s house for the night because of the wedding. Borachio and Conrad enter and talk about how the plan to make Hero look like a whore worked. The Watch arrest them. Scene 4: It is the morning of Hero’s wedding to Claudio and she enlists in Margaret, Ursula, and Beatrice to help her get ready. Scene 5: Leonato is getting ready for the marriage of his daughter when Dogberry and Verges arrive and say that they need to talk to him about something important. Leonato does not stay to listen and Dogberry and Verges leave to question Conrad and Borachio.
Beatrice (Catherine Tate) and Benedick (David Tennant) in Bourke's production, performed at the Wyndham’s Theatre, London (2005)
Act 4
Scene 1: During the wedding ceremony Claudio accuses Hero of being whore. Hero faints, and it is assumed that she is dead. Leonato is upset that his daughter has been unfaithful. The Friar is the only one who thinks that she is faithful and when she wakes up he devises a plan to prove that she is innocent but for now to let everyone think that she is dead. Benedick tries to comfort Beatrice who thinks Hero is dead and for the first time they express their love for one another. Beatrice then asks Benedick to kill Claudio for her since she believes that he is to blame for Hero’s death, which Benedick reluctantly agrees to. Scene 2: Dogberry and the other members of the Watch question Borachio and Conrad who admit to the crime.
Act 5
Scene 1: Leonato accuses Claudio of Hero’s death and challenges him to a duel, which Claudio does not accept. Benedick enters and challenges Claudio to a duel, which neither Claudio nor Don Pedro can take seriously. Dogberry and Verges bring in Conrad and Borachio who confess the crime. Leonato will forgive Claudio if he writes a poem or an epigraph honoring Hero. Scene 2: Benedick admits that he tried to write poetry to Beatrice, but is really bad at it. Benedick also tells Beatrice he loves her again. Scene 3: Claudio reads Hero’s epigraph and places it on her tomb. He prepares to marry Leonato’s niece, a woman who looks like Hero. Scene 4: During the second wedding ceremony of Claudio’s, Claudio discovers that Hero is still alive and they marry. Benedick and Beatrice deny any feelings for one another, but Claudio and Hero reveal love letters they have written to one another. Benedick and Beatrice decide to marry. Don John has been captured and accused of the crime against Hero. Everyone is merry.
Excerpt from the First Folio (1623)
1600 Quarto 1 Title Page
4. Date and Text
While most scholars believe that Much Ado About Nothing was written in late 1598 or early 1599, the first edition of the play did not appear in the First Quarto until August of 1600 (Tardiff 108). In that year the play was very popular, particularly among Lord Chamberlain’s Men (108). This Quarto continued to receive widespread attention and was not reprinted until the First Folio was published in 1623 (108). As a side note, the First Folio was considered to be a close copy of the Quarto (Scott & Williamson 2). This was evident because the Folio reprinted some of the same errors this Quarto had, such as pronouncing Hero’s name as “Bero” (2).The pattern of reprinting continued when the Second Folio was printed in 1632, and this was just taken from the First Folio (2).
5. Sources
The Major Influence
There has been speculation among scholars pondering whether Much Ado About Nothing is a revision of earlier plays, the most accurate and popular being Bandello’s Novelle, which was performed in 1583 (Gaw 713). The characters in this play match up with the characters in Much Abo About Nothing. The following elements that both plays share are a close relationship of two central characters, King Piero (Don Pedro) and Lionato de’Lionato (Leonato), Piero wanting to help his friend get a girl he likes by the name of Fenicia (Hero) and then asking for the approval of her father in marriage (719). Additionally, there is a character by the name of Girondo (Don John) who tries to break off the impending marriage and convince Piero that Fenicia is unfaithful (719). Other similarities include the lover’s consent to marry a woman of the father’s desire, the arrangement of a second wedding, a fake death, and wrapping up the story with a dance, among others (719). Since Novelle was written and performed before Much Ado About Nothing, it is always possible (and very likely) that Shakespeare could have copied the material from Bandello.
Other Influences
Much Ado About Nothing could have been influenced by other pieces of literature as well, such as Edmund Spenser’s The Faerie Queene. Although it is pretty general, both texts incorporate elements of the “deceived lover” (Scott & Williamson 2). Since The Faerie Queene was written before Much Ado About Nothing, Shakespeare could have read Spenser’s epic and gotten some ideas from it. There are also major differences between the two works. While Spenser’s play ends on a tragic note with the villain conquering, Shakespeare’s does not, illustrating that while one is a comedy, the other is a tragedy (2).
Critic Mary Augusta Scott noted that in Castiglione’s 1528 play Il Cortegiano, the pair closely resemble that of Benedick and Beatrice in elements of cleverness and intelligence, citing another influence for Shakespeare as well (Scott & Williamson 2).
None of these plays confirm that Shakespeare borrowed any material from them, since they were all written before his time. It could only be assumed and interpreted by critics and other scholars.
6. Major Themes
Reality vs. Appearance
Don john (Matthew Pidgeon) performing at the Globe Theatre, London (2011)
The most prominent theme in Much Ado About Nothing is being able to distinguish appearance from reality. As critic Graham Storey has noted, this play is about, "man's irresistible propensity to be taken in by appearances"(Dennis 223). While there are literal appearances vs. reality scenes that occur during the masquerades, such as in the beginning of the play when the men wear masks to the ball and attempt to trick their dates, the characters themselves are so taken in by appearances or what they believe to be true that they do not realize that the truth is actually within. While this is accurate when examining Don John, this theme is also illustrated through two central pairs: Claudio and Hero and Beatrice and Benedick.
When it comes to Don John, he appears to be a trustworthy friend to Claudio and an equally trusting brother towards Don Pedro. However in reality he is bitter towards everyone. In the beginning of the play he reveals his true self by stating that:
“I cannot hide what I am. I must be sad when I have cause, and smile at no man’s jests” (1.3. 10-11).
Because he is the bastard brother of Don Pedro, he feels as if he needs to act the part of the bad brother, which he does in an attempt to ruin everyone's lives. Through his intrinsically evil motives, Don John is the mastermind behind wanting to ruin Claudio and Hero’s relationship and impending marriage. However, the truth eventually comes out.
By examining Claudio and Hero's relationship, Claudio becomes convinced that Hero is a whore through Don John’s allegations. Claudio must overcome these false appearances by finding out who she really is. While in reality, Hero embodies all of the qualities of beauty and virtue, Claudio cannot see past the image of her as a whore (Lewalski 248). When Claudio says,
“She knows the heat of a luxurious bed. Her blush is guiltiness, not modesty,” this proves that Claudio does not know the real Hero, because she embodies all of the virtues of innocence and modesty, not a whore as he perceives her to be (4. 1. 39-40).
Eve Best (Beatrice), Ony Uhiara (Hero) and Joseph Marcell (Benedick) performing at the Globe Theatre, London (2011)
When Claudio figures out the truth after he believes Hero to be dead, Leonato offers him a new woman to marry. While this woman is clearly Hero covering her face, Claudio only has appearances to go by, and thus does not know the truth. However, when she unveils herself to him and Claudio realizes that she is actually Hero, he comes to understand what true knowledge and perfected love means (Lewalski 250). He even says:
"Sweet Hero, now thy image doth appear in the rare semblance that I loved it first” (5.1. 235-236).
Now that Claudio finally overcomes appearances and knows who the true Hero is, they can finally marry.
Beatrice and Benedick’s relationship requires both of them to look beyond appearances as well. Their relationship is based on battle of wits, which they engage between themselves through the form of clever and sharp remarks (Lewalski 242). Additionally, they both believe that love produces foolish and mad behavior, which they witness through Claudio and Hero's relationship specifically (342). Benedick notes that:
“Man is a fool when he dedicates his behaviors to love” (2. 3 9).
This line shows how much Beatrice and Benedick detest love, or so it appears. Love allows the two of them to understand confusions between appearance and reality, not only within themselves, but when it comes to realizing Hero’s innocence as well (Lewalski 245). When Beatrice literally and figuratively unmasks herself for Benedick at the end of the play, such as Hero did for Claudio, the truth is out in the open. Benedick’s view of love changes when he admits,
“I did think to have beaten thee, but in that thou art like to be my kinsman, live unbruised, and love my cousin” (5. 4 105-107).
Instead of appearing to scorn love and the idea of marriage, the truth eventually comes out with the uncovering of Beatrice’s mask.
As demonstrated among Don Pedro and between the two couples, appearances function as a means to uncover the truth, which then in turn becomes reality.
The Role of Wittiness
Considering the word witty or wittiness appears in the play more than twenty times, the role of wittiness is a major part of Much Ado About Nothing, particularly when it comes to the words that are spoken (McCollom 166). These words present the characters as being truly witty themselves, which further emphasizes their intelligence and quick-mindedness, playing a huge part when it comes to thematic action and adding on to the comedy (166). While wittiness is expressed through most of the characters in the play, the wittiest characters would be Beatrice and Benedick.
Beatrice and Benedick engage in a battle of the wits throughout the play, their jokes taking the form of insults because they want to portray themselves as being completely uninterested about the opposite sex (Dennis 226). Below is a conversation that emphasizes their battle of wits.
Benedick: What, my dear Lady Disdain! Are you yet living?
Beatrice: Is it possible disdain should die while she hath such meet food to feed it as Signor Benedick? Courtesy itself must convert to disdain if you come in her presence.
Benedick: Then is courtesy a turncoat…. For truly I love none.
Beatrice: A dear happiness to women. (1.1 97-105)
As shown by this conversation, both characters throw each other intelligent, quick remarks, the basis of their relationship. It is used as a tool of practical reason, when it comes to distrust and pride (Dennis 228). Additionally, it represents light-heartedness of love (228). Although they act like they do not like one another based off these words, they are actually suppressing true, passionate feelings which grows stronger when are forced into falling in love.
Below is a conversation between the two of them that analyze that although they embrace the power of love, their wittiness towards one another has not changed.
Benedick: And now tell me, how doth your cousin?
Beatrice: Very ill.
Benedick: And how do you?
Beatrice: Very ill too.
Benedick: Serve God, love me, and mend. (5. 2. 74-78)
This is one of the last conversations Beatrice and Benedick have in the play, which demonstrates that while they are both clearly in love with one another, there will always be that wittiness about them that defines their relationship.
Dogberry (John Cariani) and Borachio (Michael Stewart Allen) as performed in the Lowell Davies Festival Theatre, London (2011)
Contrasting with wittiness are the witless, which is evident in examining Dogberry and Verges. Although they add humor to the play and help advance the plot, they do not know how to do use their words correctly. People who are witty know how and when to use words. Dogberry's lack of correct word usage is clear when he says:
"This is your charge: you shall comprehend all vagrom men. You are to bid any man stand, in the Prince’s name” (3. 3 21-23).
As demonstrated, Dogberry cannot get his words right. When he says “comprehend” he means to say “apprehend.” Verges and Dogberry constantly say the opposite of what they mean, or do not use words in appropriate ways.
7. Stage Productions
Much Ado About Nothing was probably first performed by the Lord Chamberlain's Men soon after it was written, between the years 1598-1600, at their theatre in London (Scott & Williamson 1). It is also important to note that their acting is the only evidence of the performance of the play during Shakespeare’s lifetime (Tardiff 108). Additionally, twenty performances of the play were performed in 1613 in order to honor the marriage of Princess Elizabeth to Elector Palatine, a Protestant Prince (108). Although the play very rarely performed during the seventeenth and early eighteenth centuries, parts of Much Ado about Nothing was included in other plays such as the 1662 performance of William Davenant’s The Law Against Lovers and the 1723 performance of Charles Johnson’s Love in a Forest (111).
Listed below are other notable stage productions:
1879:Shakespeare Memorial Theatre, Stratford-upon-Avon: Directed by Barry Sullivan and stars Edward Compton as Claudio, Helen Faucit as Beatrice, and Miss Wallis as Hero.
1895:Shakespeare Memorial Theatre Stratford-upon-Avon:Directed by Ben Greet and stars Winifred Fraser as Hero, Henry Irving as Don Pedro, and Frank Westerton as Claudio.
1916:Shakespeare Memorial Theatre Stratford-upon-Avon: Directed by Ben Greet and stars Mary Sumner as Hero, Duncan Yarrow as Claudio and Corney Grain as Don John.
1952:Phoenix Theatre, London:Directed by John Gielgud and stars Dorothy Tutin as Hero, Paul Scofield as Don Pedro, and Robert Hardy as Claudio.
1971:Royal Shakespeare Theatre: Directed by Ronal Eyre and stars Jeffery Dench as Don Pedro, Alison Fiske as Hero, and Roger Rees as Claudio.
1983:Barbican Theatre, London: Directed by Terry Hands and stars Ken Bones as Don Pedro, Clare Byam Shaw as Hero, and Robert O’Mahoney as Claudio.
2002:Haymarket Theatre, London: Directed by Gregory Doran and stars Clive Wood as Don Pedro, John Hopkins as Claudio, and Kirsten Parker as Hero.
2011:Wyndham’s Theatre, London: Directed by Josie Rourke and stars David Tennant as Benedick and Catherine Tate as Beatrice.
2012:Courtyard Theatre: Directed by Iqbal Khan and stars Sagar Arya as Claudio, Amara Karan as Hero, and Meera Syal as Beatrice.
8. Adaptations
Popular Film Adaptations
While there have been prominent stage productions of Much Ado About Nothing, there has been movie versions as well. The two most well-known adaptations are from 2012 and 1993. The film created in 1993 was directed and written by Kenneth Branagh (IMDb). Additionally, he also plays Benedick (IMDb). The movie stars well-known actors such as Emma Thompson who portrays Beatrice, Denzel Washington who portrays Don Pedro, and Keanu Reeves who portrays Don John (IMDb). A well-known movie critic Roger Ebert praises the movie and director by saying that, “the movie finds its own reality” which takes into consideration that this was not just a play made into a movie, but actually takes on a life of its own (Roger Ebert review). The more recent movie actually received a more positive praise. This screenplay was directed by Joss Whedon and stars Amy Acker who plays Beatrice, Sean Maher who plays Don John, and Reed Diamond who plays Don Pedro (IMDb). Not only does Roger Ebert say that the movie is one of the best films of the year, but he quotes, “Beatrice and Benedick steal the show, though, and in this version and in every version I’ve seen, on film or on the stage” (Roger Ebert review). He further praises the characters, saying how they outshine the actors who play Claudio and Hero (Roger Ebert review).
Other Film Adaptations
Beatrice (Sarah Parish) and Benedick (Damian Lewis) in the Shakespeare Re-told adaptation (2005)
Shakespeare Re-told was aired on BBC in 2005, which is a series of four Shakespeare plays modernized to fit present day.Three of the plays shown were Macbeth,The Taming of the Shrew, and A Midsummer’s Night Dream. Then there was Much Ado About Nothing. This updated version tells the story of a TV news host named Beatrice whose co-host gets fired. Under desperate circumstances, she is forced to work with Benedick, whom she cannot stand. There is also the weather girl Hero, who falls in love with a young man new to the station. Similar to what happens in the original, Beatrice and Benedick’s coworkers trick the two into falling in love (IMDb). This version directed by Brian Percival and stars Sarah Parish as Beatrice and Damian Lewis as Benedick (IMDb).
Much Ado About Nothing was also turned into a TV movie back in 1984. This version of the play was directed by Stuart Burge and stars Cherie Lunghi as Beatrice and Robert Lindsay as Benedick (IMDb). There are two other TV movie versions of Much Ado About Nothing that came out, both released in 1973. The first version actually won a Primetime Emmy and was directed by Nick Havinga (IMDb). This adaptation stars Sam Waterston as Benedick and Kathleen Widdoes as Beatrice (IMDb). The other movie is a Russian version, directed by Samson Samsonov and stars Konstantin Raykin as Benedick and Galina Jovovich as Beatrice (IMDb).
9.Criticism
Listed below are what some critics have to say about Much Ado About Nothing throughout history:
George Steevens:"I wish some other method had been found to entrap Beatrice than that very strange stratagem which before had been successfully praised on Benedick" (Scott & Williamson 12)
Leigh hunt :"The comedy of Much Ado About Nothing is one of those happy compounds of wit and humour which can alternately delight the fancy of the polite part of the audience , and call down the jovial roar from the galleries" (Tardiff 231)
Anna Brownell Jameson:"Shakespeare has exhibited in Beatrice a spirited and faithful portrait of the fine lady of his own time" (Scott & Williamson 14)
Sir Authur Quiller-Couch:"Kill Claudio. These two words nail the play, and may well seem overpoweringly too strong to be converted by Comedy into hey nonny, nonny" (Scott & Williamson 41)
C. Pettet:"Now one of the chief points to be noticed about these three great comedies that Shakespeare composed at the turn of the century-probably in the order Much Ado, As You Like It, and Twelfth Night- is the shift of dramatic gravity away from love romance" (Scott & Williamson 53)
Dorothy C. Hockey:"Each tricked character at some time or other insists upon the validity of his own observation: either he can believe his own eyes or ears, or he should have trusted no others" (Scott & Williamson 73)
Gore Vidal:"The play is perfectly hopeless, except for the charming subplot involving Benedick and Beatrice" (Tardiff 165)
Harry Berger Jr:"Men have a bad conscience about their use and abuse of women in both love and marriage" (Scott & Williamson 125)
10. References
Dennis, Carl. "Wit and Wisdom in Much Ado about Nothing." Studies in English Literature 3.2 (Spring, 1973): 223-37. JSTOR. Web. 3 Nov. 2014.
Ebert, Roger. "Much Ado About Nothing Movie Review (2013) | Roger Ebert." All Content. 21 May 1993. Web. 04 Nov. 2014.
Ebert, Roger. "Much Ado About Nothing Movie Review (2013) | Roger Ebert." All Content. 21 June 2013. Web. 04 Nov. 2014.
Gaw, Allison. "Is Shakespeare's Much Ado a Revised Earlier Play?" PMLA 50.3 (1935): 715-38. JSTOR. Web. 04 Nov. 2014.
IMDb. IMDb.com, Web. 24 Nov. 2014.
Lewalski, B.K. "Love, Appearance and Reality: Much Ado about Something." Studies in English Literature 8.2 (Spring, 1968): 235-51. JSTOR. Web. 31 Oct. 2014.
McCollom, William G. "The Role of Wit in Much Ado About Nothing." Shakespeare Quarterly 19.2 (1968): 165-74. JSTOR. Web. 25 Nov. 2014.
"Royal Shakespeare Company | Theatre." Royal Shakespeare Company | Theatre. Web. 23 Nov. 2014.
Scott, Mark W., and Sandra L. Williamson, eds. Shakespearean Criticism: Volume 5, Excerptsfrom the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations. Vol. 8. Detroit, MI: Gale Research, 1989. Print.
Tardiff, Joseph C., ed. Shakespearean Criticism: Volume 5, Excerpts. Vol. 18. Destroit, MI: Gale Research, 1992. Print.
Taylor, Gary and Stanley Wells. Ed. The Norton Shakespeare: based on the Oxford Edition. W.W.orton & Company, Inc. New York. Second Edition, 2008: p. 322 - 376.
Much Ado About Nothing
1. Overview
The early seventeen century play Much Ado About Nothing by William Shakespeare follows the story of young men returning from war, including Don Pedro, his illegitimate brother Don John, Claudio, and Benedick. From there, two love stories become intertwined. Don Pedro helps Claudio and Hero become a couple. Additionally, Benedick and Beatrice get tricked into falling in love, despite the fact that they always playfully insult one another. There is also Don John who devises a plan to ruin Claudio and Hero’s relationship. This is considered a popular Shakespeare comedy, successfully combining elements of deceit, betrayal, proving one’s innocence, and love into one story, making them relatable to today’s audiences and readers.
2. Characters
Table of Contents
3. Plot
Act 1
Scene 1: Don Pedro, Don John, Claudio, and Benedick come home from war. Don Pedro wants to help Claudio and Hero become a couple. He says that at the masked ball they are having that night, he will dress up as Claudio and tell Hero that he loves her. Benedick and Beatrice swap jokes at each other’s expense.Scene 2: Antonio confides in his brother Leonato that his servant overheard Don Pedro telling Claudio how much he loves Hero. Leonato decides to let Hero know so she is prepared if Don Pedro declares his love for her that evening at the ball.
Scene 3: Don John tells Conrad that he is sad because he is overshadowed by his brother Don Pedro in everything. Borachio arrives with the news that Don Pedro plans to help set Claudio up with Hero at the ball that night. Don John enlists the help of his two comrades to foil their plan.
Act 2
Scene 1: At the ball, all the men wear masks to hide their identities or pretend to be someone else as they dance with the women.Don John tells Claudio, who is disguised as Benedick, that he heard Don Pedro confess his love to Hero which makes Claudio feel betrayed. Benedick talks to Don Pedro for Claudio and realizes that he actually did win Hero over for Claudio.
Leonato gives Claudio his approval to marry Hero which makes everyone happy. Until the wedding, Don Pedro devises a plan to get Beatrice and Benedick to fall in love, since everyone wants them to get married too.
Scene 2: Borachio devises a plan to prevent the wedding by tricking Don Pedro and Claudio into thinking that Hero is a whore. He will do this by making out with Margaret in front of a window, making it look as if she is Hero.
Scene 3: Benedick talks aloud swearing that he will never fall in love. When he sees Don Pedro, Claudio, Leonato and Balthasar, Benedick hides. From their conversation, they successfully convince Benedick that Beatrice has fallen in love with him, which he returns.
Act 3
Scene 1: With the help of her two servants, Hero convinces the hidden Beatrice that Benedick is in love with her. She says they should not let Beatrice know, since she would just make fun of him. Beatrice decides to put her pride aside and love Benedick back.Scene 2: Don John approaches Claudio and Don Pedro and tells them that Hero is a whore and Claudio should not marry her. At first neither will believe him, but after Don John says that he has proof, the two are inclined to follow.
Scene 3: Dogberry and the Watch are ordered to watch over Leonato’s house for the night because of the wedding. Borachio and Conrad enter and talk about how the plan to make Hero look like a whore worked. The Watch arrest them.
Scene 4: It is the morning of Hero’s wedding to Claudio and she enlists in Margaret, Ursula, and Beatrice to help her get ready.
Scene 5: Leonato is getting ready for the marriage of his daughter when Dogberry and Verges arrive and say that they need to talk to him about something important. Leonato does not stay to listen and Dogberry and Verges leave to question Conrad and Borachio.
Act 4
Scene 1: During the wedding ceremony Claudio accuses Hero of being whore. Hero faints, and it is assumed that she is dead. Leonato is upset that his daughter has been unfaithful. The Friar is the only one who thinks that she is faithful and when she wakes up he devises a plan to prove that she is innocent but for now to let everyone think that she is dead.Benedick tries to comfort Beatrice who thinks Hero is dead and for the first time they express their love for one another. Beatrice then asks Benedick to kill Claudio for her since she believes that he is to blame for Hero’s death, which Benedick reluctantly agrees to.
Scene 2: Dogberry and the other members of the Watch question Borachio and Conrad who admit to the crime.
Act 5
Scene 1: Leonato accuses Claudio of Hero’s death and challenges him to a duel, which Claudio does not accept. Benedick enters and challenges Claudio to a duel, which neither Claudio nor Don Pedro can take seriously.Dogberry and Verges bring in Conrad and Borachio who confess the crime. Leonato will forgive Claudio if he writes a poem or an epigraph honoring Hero.
Scene 2: Benedick admits that he tried to write poetry to Beatrice, but is really bad at it. Benedick also tells Beatrice he loves her again.
Scene 3: Claudio reads Hero’s epigraph and places it on her tomb. He prepares to marry Leonato’s niece, a woman who looks like Hero.
Scene 4: During the second wedding ceremony of Claudio’s, Claudio discovers that Hero is still alive and they marry.
Benedick and Beatrice deny any feelings for one another, but Claudio and Hero reveal love letters they have written to one another. Benedick and Beatrice decide to marry. Don John has been captured and accused of the crime against Hero. Everyone is merry.
4. Date and Text
While most scholars believe that Much Ado About Nothing was written in late 1598 or early 1599, the first edition of the play did not appear in the First Quarto until August of 1600 (Tardiff 108). In that year the play was very popular, particularly among Lord Chamberlain’s Men (108). This Quarto continued to receive widespread attention and was not reprinted until the First Folio was published in 1623 (108). As a side note, the First Folio was considered to be a close copy of the Quarto (Scott & Williamson 2). This was evident because the Folio reprinted some of the same errors this Quarto had, such as pronouncing Hero’s name as “Bero” (2).The pattern of reprinting continued when the Second Folio was printed in 1632, and this was just taken from the First Folio (2).
5. Sources
The Major Influence
There has been speculation among scholars pondering whether Much Ado About Nothing is a revision of earlier plays, the most accurate and popular being Bandello’s Novelle, which was performed in 1583 (Gaw 713). The characters in this play match up with the characters in Much Abo About Nothing. The following elements that both plays share are a close relationship of two central characters, King Piero (Don Pedro) and Lionato de’Lionato (Leonato), Piero wanting to help his friend get a girl he likes by the name of Fenicia (Hero) and then asking for the approval of her father in marriage (719). Additionally, there is a character by the name of Girondo (Don John) who tries to break off the impending marriage and convince Piero that Fenicia is unfaithful (719). Other similarities include the lover’s consent to marry a woman of the father’s desire, the arrangement of a second wedding, a fake death, and wrapping up the story with a dance, among others (719). Since Novelle was written and performed before Much Ado About Nothing, it is always possible (and very likely) that Shakespeare could have copied the material from Bandello.
Other Influences
Much Ado About Nothing could have been influenced by other pieces of literature as well, such as Edmund Spenser’s The Faerie Queene. Although it is pretty general, both texts incorporate elements of the “deceived lover” (Scott & Williamson 2). Since The Faerie Queene was written before Much Ado About Nothing, Shakespeare could have read Spenser’s epic and gotten some ideas from it. There are also major differences between the two works. While Spenser’s play ends on a tragic note with the villain conquering, Shakespeare’s does not, illustrating that while one is a comedy, the other is a tragedy (2).
Critic Mary Augusta Scott noted that in Castiglione’s 1528 play Il Cortegiano, the pair closely resemble that of Benedick and Beatrice in elements of cleverness and intelligence, citing another influence for Shakespeare as well (Scott & Williamson 2).
None of these plays confirm that Shakespeare borrowed any material from them, since they were all written before his time. It could only be assumed and interpreted by critics and other scholars.
6. Major Themes
Reality vs. Appearance
The most prominent theme in Much Ado About Nothing is being able to distinguish appearance from reality. As critic Graham Storey has noted, this play is about, "man's irresistible propensity to be taken in by appearances"(Dennis 223). While there are literal appearances vs. reality scenes that occur during the masquerades, such as in the beginning of the play when the men wear masks to the ball and attempt to trick their dates, the characters themselves are so taken in by appearances or what they believe to be true that they do not realize that the truth is actually within. While this is accurate when examining Don John, this theme is also illustrated through two central pairs: Claudio and Hero and Beatrice and Benedick.
When it comes to Don John, he appears to be a trustworthy friend to Claudio and an equally trusting brother towards Don Pedro. However in reality he is bitter towards everyone. In the beginning of the play he reveals his true self by stating that:
“I cannot hide what I am. I must be sad when I have cause, and smile at no man’s jests” (1.3. 10-11).
Because he is the bastard brother of Don Pedro, he feels as if he needs to act the part of the bad brother, which he does in an attempt to ruin everyone's lives. Through his intrinsically evil motives, Don John is the mastermind behind wanting to ruin Claudio and Hero’s relationship and impending marriage. However, the truth eventually comes out.
By examining Claudio and Hero's relationship, Claudio becomes convinced that Hero is a whore through Don John’s allegations. Claudio must overcome these false appearances by finding out who she really is. While in reality, Hero embodies all of the qualities of beauty and virtue, Claudio cannot see past the image of her as a whore (Lewalski 248). When Claudio says,
“She knows the heat of a luxurious bed. Her blush is guiltiness, not modesty,” this proves that Claudio does not know the real Hero, because she embodies all of the virtues of innocence and modesty, not a whore as he perceives her to be (4. 1. 39-40).
When Claudio figures out the truth after he believes Hero to be dead, Leonato offers him a new woman to marry. While this woman is clearly Hero covering her face, Claudio only has appearances to go by, and thus does not know the truth. However, when she unveils herself to him and Claudio realizes that she is actually Hero, he comes to understand what true knowledge and perfected love means (Lewalski 250). He even says:
"Sweet Hero, now thy image doth appear in the rare semblance that I loved it first” (5.1. 235-236).
Now that Claudio finally overcomes appearances and knows who the true Hero is, they can finally marry.
Beatrice and Benedick’s relationship requires both of them to look beyond appearances as well. Their relationship is based on battle of wits, which they engage between themselves through the form of clever and sharp remarks (Lewalski 242). Additionally, they both believe that love produces foolish and mad behavior, which they witness through Claudio and Hero's relationship specifically (342). Benedick notes that:
“Man is a fool when he dedicates his behaviors to love” (2. 3 9).
This line shows how much Beatrice and Benedick detest love, or so it appears. Love allows the two of them to understand confusions between appearance and reality, not only within themselves, but when it comes to realizing Hero’s innocence as well (Lewalski 245). When Beatrice literally and figuratively unmasks herself for Benedick at the end of the play, such as Hero did for Claudio, the truth is out in the open. Benedick’s view of love changes when he admits,
“I did think to have beaten thee, but in that thou art like to be my kinsman, live unbruised, and love my cousin” (5. 4 105-107).
Instead of appearing to scorn love and the idea of marriage, the truth eventually comes out with the uncovering of Beatrice’s mask.
As demonstrated among Don Pedro and between the two couples, appearances function as a means to uncover the truth, which then in turn becomes reality.
The Role of Wittiness
Considering the word witty or wittiness appears in the play more than twenty times, the role of wittiness is a major part of Much Ado About Nothing, particularly when it comes to the words that are spoken (McCollom 166). These words present the characters as being truly witty themselves, which further emphasizes their intelligence and quick-mindedness, playing a huge part when it comes to thematic action and adding on to the comedy (166). While wittiness is expressed through most of the characters in the play, the wittiest characters would be Beatrice and Benedick.
Beatrice and Benedick engage in a battle of the wits throughout the play, their jokes taking the form of insults because they want to portray themselves as being completely uninterested about the opposite sex (Dennis 226). Below is a conversation that emphasizes their battle of wits.
Benedick: What, my dear Lady Disdain! Are you yet living?
Beatrice: Is it possible disdain should die while she hath such meet food to feed it as Signor Benedick? Courtesy itself must convert to disdain if you come in her presence.
Benedick: Then is courtesy a turncoat…. For truly I love none.
Beatrice: A dear happiness to women.
(1.1 97-105)
As shown by this conversation, both characters throw each other intelligent, quick remarks, the basis of their relationship. It is used as a tool of practical reason, when it comes to distrust and pride (Dennis 228). Additionally, it represents light-heartedness of love (228). Although they act like they do not like one another based off these words, they are actually suppressing true, passionate feelings which grows stronger when are forced into falling in love.
Below is a conversation between the two of them that analyze that although they embrace the power of love, their wittiness towards one another has not changed.
Benedick: And now tell me, how doth your cousin?
Beatrice: Very ill.
Benedick: And how do you?
Beatrice: Very ill too.
Benedick: Serve God, love me, and mend.
(5. 2. 74-78)
This is one of the last conversations Beatrice and Benedick have in the play, which demonstrates that while they are both clearly in love with one another, there will always be that wittiness about them that defines their relationship.
Contrasting with wittiness are the witless, which is evident in examining Dogberry and Verges. Although they add humor to the play and help advance the plot, they do not know how to do use their words correctly. People who are witty know how and when to use words. Dogberry's lack of correct word usage is clear when he says:
"This is your charge: you shall comprehend all
vagrom men. You are to bid any man stand, in the Prince’s name” (3. 3 21-23).
As demonstrated, Dogberry cannot get his words right. When he says “comprehend” he means to say “apprehend.” Verges and Dogberry constantly say the opposite of what they mean, or do not use words in appropriate ways.
7. Stage Productions
Much Ado About Nothing was probably first performed by the Lord Chamberlain's Men soon after it was written, between the years 1598-1600, at their theatre in London (Scott & Williamson 1). It is also important to note that their acting is the only evidence of the performance of the play during Shakespeare’s lifetime (Tardiff 108). Additionally, twenty performances of the play were performed in 1613 in order to honor the marriage of Princess Elizabeth to Elector Palatine, a Protestant Prince (108). Although the play very rarely performed during the seventeenth and early eighteenth centuries, parts of Much Ado about Nothing was included in other plays such as the 1662 performance of William Davenant’s The Law Against Lovers and the 1723 performance of Charles Johnson’s Love in a Forest (111).
Listed below are other notable stage productions:
8. Adaptations
Popular Film Adaptations
While there have been prominent stage productions of Much Ado About Nothing, there has been movie versions as well. The two most well-known adaptations are from 2012 and 1993. The film created in 1993 was directed and written by Kenneth Branagh (IMDb). Additionally, he also plays Benedick (IMDb). The movie stars well-known actors such as Emma Thompson who portrays Beatrice, Denzel Washington who portrays Don Pedro, and Keanu Reeves who portrays Don John (IMDb). A well-known movie critic Roger Ebert praises the movie and director by saying that, “the movie finds its own reality” which takes into consideration that this was not just a play made into a movie, but actually takes on a life of its own (Roger Ebert review). The more recent movie actually received a more positive praise. This screenplay was directed by Joss Whedon and stars Amy Acker who plays Beatrice, Sean Maher who plays Don John, and Reed Diamond who plays Don Pedro (IMDb). Not only does Roger Ebert say that the movie is one of the best films of the year, but he quotes, “Beatrice and Benedick steal the show, though, and in this version and in every version I’ve seen, on film or on the stage” (Roger Ebert review). He further praises the characters, saying how they outshine the actors who play Claudio and Hero (Roger Ebert review).
Other Film Adaptations
Shakespeare Re-told was aired on BBC in 2005, which is a series of four Shakespeare plays modernized to fit present day.Three of the plays shown were Macbeth, The Taming of the Shrew, and A Midsummer’s Night Dream. Then there was Much Ado About Nothing. This updated version tells the story of a TV news host named Beatrice whose co-host gets fired. Under desperate circumstances, she is forced to work with Benedick, whom she cannot stand. There is also the weather girl Hero, who falls in love with a young man new to the station. Similar to what happens in the original, Beatrice and Benedick’s coworkers trick the two into falling in love (IMDb). This version directed by Brian Percival and stars Sarah Parish as Beatrice and Damian Lewis as Benedick (IMDb).
Much Ado About Nothing was also turned into a TV movie back in 1984. This version of the play was directed by Stuart Burge and stars Cherie Lunghi as Beatrice and Robert Lindsay as Benedick (IMDb). There are two other TV movie versions of Much Ado About Nothing that came out, both released in 1973. The first version actually won a Primetime Emmy and was directed by Nick Havinga (IMDb). This adaptation stars Sam Waterston as Benedick and Kathleen Widdoes as Beatrice (IMDb). The other movie is a Russian version, directed by Samson Samsonov and stars Konstantin Raykin as Benedick and Galina Jovovich as Beatrice (IMDb).
9.Criticism
Listed below are what some critics have to say about Much Ado About Nothing throughout history:
10. References
Dennis, Carl. "Wit and Wisdom in Much Ado about Nothing." Studies in English Literature 3.2 (Spring, 1973): 223-37. JSTOR. Web. 3 Nov. 2014.
Ebert, Roger. "Much Ado About Nothing Movie Review (2013) | Roger Ebert." All Content. 21 May 1993. Web. 04 Nov. 2014.
Ebert, Roger. "Much Ado About Nothing Movie Review (2013) | Roger Ebert." All Content. 21 June 2013. Web. 04 Nov. 2014.
Gaw, Allison. "Is Shakespeare's Much Ado a Revised Earlier Play?" PMLA 50.3 (1935): 715-38. JSTOR. Web. 04 Nov. 2014.
IMDb. IMDb.com, Web. 24 Nov. 2014.
Lewalski, B.K. "Love, Appearance and Reality: Much Ado about Something." Studies in English Literature 8.2 (Spring, 1968): 235-51. JSTOR. Web. 31 Oct. 2014.
McCollom, William G. "The Role of Wit in Much Ado About Nothing." Shakespeare Quarterly 19.2 (1968): 165-74. JSTOR. Web. 25 Nov. 2014.
"Royal Shakespeare Company | Theatre." Royal Shakespeare Company | Theatre. Web. 23 Nov. 2014.
Scott, Mark W., and Sandra L. Williamson, eds. Shakespearean Criticism: Volume 5, Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published
Appraisals to Current Evaluations. Vol. 8. Detroit, MI: Gale Research, 1989. Print.
Tardiff, Joseph C., ed. Shakespearean Criticism: Volume 5, Excerpts. Vol. 18. Destroit, MI: Gale Research, 1992. Print.
Taylor, Gary and Stanley Wells. Ed. The Norton Shakespeare: based on the Oxford Edition. W.W.orton & Company, Inc. New York. Second Edition, 2008: p. 322 - 376.