3.1.3
Key Lines 2
Claudio and Benedick
Claudio and Benedick
These lines emphasises the importance of noting and also the subtle difference between simply looking (a quick glance) and paying close attention to detail (noting).
Key lines
Key lines
- CLAUDIO: Benedick, didst thou note the the daughter of Signor Leonato?
- BENEDICK: I noted her not, but I looked on her.
Claudio
Claudio
- Claudio is a young soldier who, despite his prowess on the battlefield, is inexperienced in other affairs of the society in which he lives, including love and courtship.
- He is keen to seek the approval and advice of his elder friends and colleagues.
The inferior sex
The inferior sex
- Significantly, he does not refer to Hero by her own name, rather she is “the daughter of Signor Leonato”.
- The possessive language “of” represents how in Shakespearean times, women were seen as the inferior sex.
Patrilineal succession
Patrilineal succession
- Queen Elizabeth’s father, Henry VIII was so desperate for a male heir that he broke away from the Roman Catholic Church to enable him to divorce his first wife (Catherine of Aragon) and marry Anne Boleyn.
- It was only very recently (in 2011) that the laws of succession to the British monarchy were changed to grant royal daughters the same equal rights as sons.
Noting
Noting
- Benedick’s response continues the motif of noting that is so important to the play and also highlights the subtle difference between simply looking (a quick glance) and paying close attention to detail (noting).
Act 4, Scene 1
Act 4, Scene 1
- Structurally, this foreshadows the Friar’s assertion of Hero’s innocence in Act 4, Scene 1:
- “By noting of the lady. I have mark'd
A thousand blushing apparitions
To start into her face, a thousand innocent shames
In angel whiteness beat away those blushes”
Benedick
Benedick
Benedick has a reputation for being a misogynist, a “tyrant” towards women and a bachelor. However he shows a level of self-awareness.
Key line
Key line
- BENEDICK: would you have me speak after my custom, as being a profess’d tyrant to their sex?
Reputation
Reputation
- Reputation is, it seems, also important to Benedick.
- He is well known for his “custom” of being a misogynist or “profess’d tyrant” to women.
- However, this also demonstrates a degree of self-awareness within Benedick’s character and this may be what enables him to change so willingly when he learns the ‘truth’ of Beatrice’s ‘love’ for him in Act 2, Scene 3.
Appearances and deception
Appearances and deception
- Benedick’s “custom” also relates to the theme of appearances and deception.
- Whilst he may appear to be a “tyrant” towards women and insistent on dying a bachelor (“for truly I love none”), it is simply a role or a part he plays.
- An audience may interpret this a step further and suggest he is deceiving himself, too.
Claudio
Claudio
Claudio refers to Hero as a "jewel", which to modern audiences may seem to objectify women.
Key line
Key line
- CLAUDIO: Can the world buy such a jewel?
The “problem plays”
The “problem plays”
- Towards the end of his life, Shakespeare wrote three plays (All's Well That Ends Well, Measure for Measure and Troilus and Cressida) that have come to be known as the “problem plays”, so called due to them not always following the established conventions of comedy or tragedy.
Established conventions
Established conventions
- Whilst Much Ado About Nothing has not been labelled in the same manner, the treatment of its female characters by their male counterparts does not always sit comfortably with a modern audience.
A compliment?
A compliment?
- In simple, contemporary (Elizabethan) terms, Claudio is paying Hero a compliment by comparing her to a “jewel”.
- It suggests she is beautiful and, as shown through his question, that her beauty surpasses all others and that she is priceless.
Objectification?
Objectification?
- However, a modern - especially feminist - interpretation could regard this line as being both materialistic, as shown through the imagery of an expensive jewel, and objectifying towards women.
- Claudio is attracted to Hero because of her physical attraction, nothing more.
Female restrictions
Female restrictions
- This problematic interpretation is sustained through Benedick’s response: “Yea, and a case to put it into”.
- Again, initially it is likely this was intended by Shakespeare to demonstrate Benedick’s preference for Beatrice.
- However, the idea of men limiting women’s freedom by keeping them in cases is not an image modern audiences would feel entirely comfortable about.
1Key Terminology
1.1Key Terminology
2Structure & Form
3Act 1: Plot Summary
3.2Act 1, Scene 2
3.3Act 1, Scene 3
4Act 2: Plot Summary
4.1Act 2, Scene 1
4.2Act 2, Scene 2
5Act 3: Plot Summary
5.1Act 3, Scene 1
5.2Act 3, Scene 2
5.3Act 3, Scene 3
5.4Act 3, Scene 4
5.5Act 3, Scene 5
6Act 4: Plot Summary
6.1Act 4, Scene 1 (Part 1)
6.2Act 4, Scene 1 (Part 2)
6.3Act 4, Scene 2
7Act 5: Plot Summary
7.1Act 5, Scene 1
7.2Act 5, Scene 2
7.3Act 5, Scene 3
7.4Act 5, Scene 4
Jump to other topics
1Key Terminology
1.1Key Terminology
2Structure & Form
3Act 1: Plot Summary
3.2Act 1, Scene 2
3.3Act 1, Scene 3
4Act 2: Plot Summary
4.1Act 2, Scene 1
4.2Act 2, Scene 2
5Act 3: Plot Summary
5.1Act 3, Scene 1
5.2Act 3, Scene 2
5.3Act 3, Scene 3
5.4Act 3, Scene 4
5.5Act 3, Scene 5
6Act 4: Plot Summary
6.1Act 4, Scene 1 (Part 1)
6.2Act 4, Scene 1 (Part 2)
6.3Act 4, Scene 2
7Act 5: Plot Summary
7.1Act 5, Scene 1
7.2Act 5, Scene 2
7.3Act 5, Scene 3
7.4Act 5, Scene 4
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