English Coursework - needs a conclusion and bit more to the argument
The conventional main plot concerning Claudio and Hero 'with its simple pattern of courtship, betrayal and restoration is not merely artificial but distastefully so' especially when juxtaposed with the subplot between Beatrice and Benedick
Beatrice and Benedick have more entertainment value because of their witty repartee
However, Beatrice and Benedick similarly follow the same basic 'simple pattern' but it is more disguised by their talk and by the crisis of Claudio and Hero
If it were not for the crisis point, Benedick and Beatrice would've remained as the shrew and misogynist.
Claudio and Hero are obviously the young, inexperienced lovers that need to deal with reality - it does not make it more artificial but more realistic in some cases.
Claudio is forgiven by the audience, for his horrible behaviour by the powerful scene of mourning.
Shakespeare is obviously drawing on the classic conventional tale from Matteo Bandello so Claudio and Hero are the stock characters that will bring the play forwards
In fact, one could even say that Claudio and Hero, having overcome obstacles makes the happy ending.
The two main plots in Much Ado About Nothing would never have differed more for the audience, with Beatrice and Benedick exciting the audience with their insufferable banter and constant opposition of each other being 'too wise to woo peaceably' whilst Claudio and Hero represent the ideal example of courtship in the Renaissance period, restricted and solemn. Thus, audience and critics alike easily differentiate their preferences - however, this does not mean the conventional main plot lacks force, especially when it provides the happy ending which was essential in Elizabethan comedies. It is more likelier that Shakespeare merely gives us a view of the fragility of younger romances against the more experiences Benedick and Beatrice and how 'the course of true love never did run smoothly', even for both.
For the majority of the play, it would seem as if Shakespeare had taken pains to present Beatrice and Benedick more favourably, setting up the 'skirmish of wit between them' in comparison to the conventional Claudio, the naïvely excited lover and Hero, the 'modest young lady' who speaks little. However, it is important to note that for all it's fun, Beatrice was the stereotypical shrew and Benedick the misogynist, both commonplace Elizabethan people that realistically existed. From the outset, Benedick described her as the 'Lady Disdain', characterizing her, as Hero later says, with 'scorn rid[ing]...in her eyes', whose 'every word stabs' and 'speak poniards'. Here, the metaphor contrasts her with something dangerously sharp, thus giving us an extent of fear in Benedick of her sharp tongue which was characteristic of a Shrew. Conversely, Benedick is demonstrated as a conventional misogynist who is constantly harassed by his fear of the 'curst... horns' of cuckold. Indeed, this was not uncommon in England at the time - having your spouse act promiscuously without your knowing wounded your dignity and honour considerably as it showed your lack of control over the second class sex, and the phantom horns were the sign of such things. - how to fit into argument????
The 'simple pattern of courtship, betrayal and restoration' cannot be denied in Claudio and Hero's plot, but it also exists for Beatrice and Benedick though it is often disguised by their witty repartee. Analogous to the former pair's betrothal, they engage in a sense of preliminary flirtation identified by the audience. When Hero is slandered at the wedding ceremony, Beatrice equally decides to test Benedick with the words 'Kill Claudio' which he finally accepts. Thus, both pairs of lovers finally manage to overcome the crisis point and marry through a series conflicts and we can see that though the subplot of Beatrice and Benedick is given much more license to speak, it does not mean Shakespeare made their plot any more complicated than that of Claudio and Hero. Moreover, we can see how the relationship between the older lovers rely heavily on the younger, especially when it comes to the time of confession for Beatrice and Benedick, allowing them to mature and break from their conventions. The very fact the subplot moves along the main strand of Claudio and Hero is viable to dismiss its lack of value as 'artificial'. With Hero's slander, the audience are equally emotionally stimulated, even if the feelings lean towards empathy or pity rather delight (as it is for Beatrice and Benedick's banter).
Much Ado About Nothing is very much confined to conventionalities - and as a comedy, a happy ending was deemed necessary. However, the point which critics tend to condemn most centres around Claudio, whom unjustly slanders Hero 'shame[s]s her...where [he] should wed [her]' leading some to say that it was 'exuberance that border[ed] on sadism' 1.
What would seem 'artificial' and 'distasteful' to some would be the scene of repudiation, where Hero seems to accept Claudio, even for his selfish display to maintain his pride. From a modern feminist view, this would've been most damning, especially for female honour. However, Shakespeare having already set up the comedic atmosphere and brought about a verge of tragedy, needed to make sure that the finale would reflect that of Elizabethan world order, meaning that the miscreants were to be dealt with and all the misconceptions cleared.
There is much evidence to say that Claudio and Hero not only represent idealistic Elizabethan couple but also show the great faults within their characters which are repaired by the end of the play. Throughout, Claudio is 'Lord Lackbeard' and 'Count Comfit', the young soldier who has come back from war having accomplished 'the feats of a lion' in the 'figure of a lamb', the antithesis highlighting Claudio as having just begun his military career and perhaps lacks experience. This is again echoed when he seeks both Benedick and Don Pedro's approval to court Hero demonstrated in his enquiring Benedick to 'speak in sober judgement'. His insistence could suggest that Claudio observes his status very carefully.
Claudio is also seen to be quick to jump to conclusions and full of self doubt. Though he places great emphasis in asking for his superiors' opinions', he easily falls into Don John's trap within the blink of an eye and actually believes that someone as good natured as the Prince would in fact use the chance to woo Hero for himself. This gives light to his susceptibility to his emotions, probably traced to his insecurity of his own position. When Claudio believes that Don John is in fact courting Hero for himself, he is described as 'civil as an orange', the metaphor contrasting him as acidic and brightly coloured with emotion. In the incident, he had very smoothly and almost without qualms trusted Don John, the bastard brother over the Prince showing Claudio as a gullible, naïve and far too sensitive about issues with love. Thus, Claudio's hurtful outburst against Hero on wedding day that displays his unpleasant and cruel side to him is forgiven in the mourning ceremony because of the audience having already seen his shortcomings.
The mourning scene is highly important as it shows us the extent of Claudio's remorse - though the scene is short, the props used such as tapers, scrolls, tomb and mourning costumes add to the solemnity of the occasion. Moreover, poem is recited in a very paced verse reinforcing the rhyme or 'lies' and 'dies'. This repetition of the sounds intensifies the sombre feelings onto the audience and we can believe that Claudio is truly sincere to Hero. In other words 'the music, the ceremony, the mourning poem...are made to carry the weight of Claudio's grief' 2 Towards the end, Shakespeare gradually hints at a 'Good morrow['s]' better prospects for the cast, returning the play to a comedic genre. A sense of closure to the tragic scenes is lightened in the words 'gentle day', so the audience can look forward to the marriages and all deceptions in play to be revealed. It is possible that many would have doubted Claudio's feelings for Hero and be outraged at their reunion. However, the mourning ceremony makes the serious emotions more palpable so we can more readily suspend our disbelief. In addition, Shakespeare having already set up the Claudio and Hero as a couple and the atmosphere as comedy, it is felt early on that this would be the imminent result regardless of how it is attained.
Juxtaposed with the dynamics between Benedick and Beatrice, Claudio is often judged as being 'in love with [the image of] love' 3 which is the reason why his faith in Hero is so easily challenged, thus coming across as the young, inexperienced man filled with the need to protect his honour and overwhelming sense of self doubt. Using contrast, Shakespeare is able to show us the realism that Benedick and Beatrice represent against the conventionally dependent younger couples. After the act of denunciation, Benedick swears 'By this hand, I love thee' and Beatrice suggests is be used 'some other way than swearing by it'. This clearly demonstrates to the audience that 'mere words are useless' 4 - yet we remember where Claudio's formal speech was filled with fanciful language, describing Hero as a 'jewel' and swearing to 'give away myself for you'. This adds to the seeming superficiality of his words when contrasted with his later actions making this Claudio's ultimate downfall for his love for Hero, which may have provoked critics to say it was 'distasteful'.
1Bertrand Evans
2Alexander Legatt in Shakespeare's Comedy of Love, published 2005 by Routledge
3W.H. Auden in The Dyer's Hand, published 1963
4Donald A. Stauffer in 'Words and Actions' initially published 1949, cited from Casebook Series, Shakespeare: Much Ado About Nothing and As You Like It edited by John Russell Brown.