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Alice Ford 000470-035

1

Alice Ford

000470-035

Extended Essay: English A1

The role deception plays in revealing the

nature of love in Shakespeare’s play

“Much Ado about Nothing”.

International School of Milan

May 2009

Word Count: 3991


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ABSTRACT

This essay focuses on two of the key themes in Shakespeare’s play, “Much Ado about

Nothing”; both deception and love are vital within the text, as the latter is often

influenced by the former. Thus, this essay examines the role played by deception in

developing and exposing the theme of love, which characterises this play as a tragic-

comedy.

Various forms of love, evident throughout Shakespeare’s “Much Ado about Nothing”,

will be looked at - romantic love, brotherly love and the love between a father and

daughter - and the influence deception has within these relationships will be explored.

Each of these types of love is used to support the premise that the characters’ love is

untrue and that it falters as a consequence of deception. The sisterly love between

Hero and Beatrice, cousins who have been brought up as siblings, is investigated, and

shown to demonstrate true, unfailing love, which remains unaffected by the deceptive

acts of the play.

Through examining the impact of deception in each of these cases, conclusions are

drawn suggesting that Shakespeare presents the nature of love as fickle and this is

exacerbated by the trickery present in the text. This is seen through alterations within

the relationships observed and is made obvious by actions and attitudes of many

characters. The one exception to this premise is the love between Hero and Beatrice,

which remains strong and true throughout all the difficulty that deception brings,

showing their love alone to be consistent and unwavering.


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TABLE OF CONTENTS:

Introduction

Main Body Page 4

Conclusion Page 18

Bibliography Page 20


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The role deception plays in revealing the nature of love in Shakespeare’s play, “Much

Ado about Nothing”.

“Much Ado about Nothing”, a Shakespeare play of the XVI century, revolves around

several key themes, which form the basis of the events onstage. Intricately linked, the

two themes of love and deception can be seen merely by examining the significance

of the title. Literally, the title can be understood to imply that the action revolves

around nothing; however, another interpretation shows that using Elizabethan

pronunciation, “nothing” was pronounced “noting”, punning on the idea of

observations and consequent interpretations. The concept of false appearances, which

much of the work’s deception plays upon, emerges as even the play’s title has many

facets. Another reading of Shakespeare’s ambiguous title uses an alternative meaning

to the word “nothing”. Roger Sales’ critical study of the text suggests “[…] nothing,

or “no thing” carried […] references to female genitalia”1 From this, commotion over

love is affirmed, with the title suggesting the importance of romantic and sexual

relationships with women. Characteristic disguise, deceived lovers and trickery all

lead to crisis points in the play and it is these concurrent, symbiotic themes of

deception and love that will be explored, alongside the intriguing nature of love that is

revealed.

The primary method through which Shakespeare exploits the key theme of deception

is the use of his villain, Don John, who puts into action deceptive events creating

chaos, revealing not only the nature of others’ love, but also of his own. The play

1 Sales, Roger. Shakespeare – Much Ado about Nothing (Penguin Critical Studies). United Kingdom: Penguin, 1989 Page 23


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begins with a recent reconciliation between Don John and his brother, Don Pedro the

Prince. Ironically, this understanding earns the villain respect:

“LEONATO [to Don John]: Being reconciled to your brother, I owe you all

duty.”2

It soon becomes clear that the newfound love and integrity in Don John is merely a

façade; the audience understand this while Shakespeare’s characters on stage remain

unaware, continuing to be deceived. The impact and effect of Don John’s character on

the play is huge as many of the revelations and discoveries arise due to his mischief

and meddling. This use of dramatic irony develops the tragic-comedy nature of the

play. In Don John’s rapport with his brother, false love can be observed. While

Shakespeare creates a seemingly loving bond between the two siblings, this in itself is

a deception; one that is only revealed through further trickery and malevolence on

Shakespeare’s villain’s behalf. Upon learning of Don John’s attempts to ruin the love

between Claudio and Hero, Don Pedro is clearly upset; commenting to Claudio, “runs

not this speech like iron through your blood?”3 This simile demonstrates the shock

and despondency that the revelation brings. Don John plays a crucial part in events

that ensue, causing issues within many relationships and causing the comic nature of

the play to be masked, at times, by that of tragedy.

An important role of deception throughout “Much Ado about Nothing” is to reveal the

inconsistent temperament of romantic love, which, in itself, plays a huge role in

Shakespeare’s play, furthering the tragic-comedy nature of the text. A clear example

of this can be found in Claudio and Hero’s love for one another and how it varies as

2 Shakespeare, William. Much Ado about Nothing. United Kingdom: Oxford University Press, 2004 Act I Scene I Lines 140-41 3 Ibid. V.I.237-8


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deceptive acts are undertaken. Upon his arrival at Leonato’s house, Claudio

immediately falls in love with Leonato’s daughter, Hero, who he claims to be; “the

sweetest lady that ever [he] looked on.”4 The significance of Shakespeare’s choice of

words ‘looked on’ is evident: Claudio has fallen for a woman about whom he knows

little and this demonstrates the importance of appearances - a vital theme during the

play. A plan is formed whereby Don Pedro will woo Hero, talk to her father and make

her Claudio’s. This first plot of deception in the play is well humoured and is formed

with no malicious intents. The effect of Don Pedro’s victory in obtaining Hero for

Claudio is that the audience observe a positive effect of a seemingly harmless

deception; in terms of love, the plan succeeded in creating the romantic relationship

desired. Significantly, Shakespeare has these characters fall in love at this point in the

play during the masked ball in Act 2 Scene 1. In this way, the Prince, pretending to be

Claudio, deceives the other characters, being unrecognisable behind his mask,

establishing the motif of disguise, which furthers the key theme of appearance versus

reality.

Claudio and Hero’s relationship acts as a foil to that of Beatrice and Benedick’s,

paralleling their troubles along the path to love, emphasising the apparently easy and

truly romantic love, which Hero and Claudio share. It is questionable however, as to

the extent to which the results are all positive. When introduced to her future husband

and informed of the planned marriage, Shakespeare’s conventional, submissive

character, Hero, says nothing and has to be prompted before doing anything:

4 Ibid. I.I.171-2


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“BEATRICE: Speak cousin, or if you cannot, stop his mouth with a kiss, and

let not him speak neither.”5

This lack of speech from Hero continues throughout the text, raising unanswered

questions concerning her happiness. Thus, while light-hearted deception appears to

have brought together a perfect couple, uncertainties about this relationship can be

observed.

Deception is fundamental in the relationship between Claudio and Hero. Their love,

which began under false pretences, continues to be subject to various deceptive acts.

It is put to the test in Act 3 Scene 2 when Don John deceives his brother and Claudio

into believing that Hero is unfaithful the day before their wedding.

“DON JOHN: […] the lady is disloyal.

CLAUDIO: Who, Hero?

DON JOHN: Even she – Leonato’s Hero, your Hero, every man’s Hero”6

The connotation of Shakespeare’s choice of words is such that Don John is implying

that Hero does not only belong to Claudio but to any man, having been unchaste and

unfaithful to her promised husband. Based on this, the word of a ‘former’, known

villain, Claudio cruelly renounces Hero in Act 4 Scene 1 in front of the congregation,

to the confusion and shock of the bride and her family. This incorporates the idea

introduced by the title of the fuss over sexual relationships throughout the play.

CLAUDIO: There, Leonato, take her back again.

Give not this rotten orange to your friend!”7

5 Ibid. II.I.288-9 6 Ibid. III.II.90-3 7 Ibid. IV.I.30-1


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Shakespeare uses this effective metaphor; comparing Hero to a rotten orange shows

Claudio’s perception of the girl he had previously declared undying love for. The

image of an orange, seemingly beautiful and ripe on the outside, yet internally

corrupted – ‘rotten’ – reiterates the theme of appearances and reality, which extends

over the entire work. With Claudio’s reaction upon learning of Hero’s unfaithfulness,

believing it makes her worthless, Don John’s trickery has proven that love may seem

true but is not necessarily so. It is clear that Claudio wants a model wife who adheres

to sixteenth century ideals, contrasting the parallel love plot in which Benedick is

looking for an intellectual equal and places less importance in society’s views. This is

a turning point in the play and in Hero and Claudio’s relationship as, once again, the

line between tragedy and comedy thins, and modern audiences are given an

understanding of female stereotypes in the Elizabethan era. The contrast between

Claudio’s earlier feelings and those after Don John’s interference clearly demonstrates

how superficially Claudio’s love was; the villain’s deception has revealed an

unexpected twist in this relationship.

Shakespeare develops the web of deception involving the Friar to help reconcile those

who previously claimed to be so in love. The Friar doubts the allegations held against

Hero’s name and sees innocence in her face where Claudio only saw fault. Claudio

believes that “her blush is guiltiness, not modesty”8 whereas the Friar says:

“FRIAR: By noting of the lady, I have mark’d

[…] in her eye there hath appear’d a fire

To burn the errors that these princes hold

8 Ibid. I.V.41


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Against her maiden truth.”9

Shakespeare’s diction indicates Hero’s reaction as the Friar contrasts the “fire” – often

associated with wrong or evil – with her “maiden truth” which is a pure, more

innocent concept. These different views of Hero’s appearance continue to portray the

notion that appearances can be deceptive and can have ruinous consequences. The

Friar proposes a plan of further deception to punish Claudio and Don Pedro for

denouncing the innocent maid. The plot intends to show to the men that “what we

have we prize not to the worth”10 and make them regret their harsh actions. Perhaps

the most important thing seen through this is that all men, even clergy, can be

deceptive and are willing to be so. Claudio left Hero for dead and she remains so to

him in order to inspire his repentance. Unsurprisingly, when Claudio learns of Hero’s

unfortunate death, and her innocence, his love for her returns.

“CLAUDIO: Sweet Hero, now thy image doth appear

In the rare semblance that I loved it first.”11

With Claudio’s quick alteration from denouncing Hero to loving her once more come

many questions about the nature of his love. Deception shows the flaw and fault in

what had seemed a perfect relationship and Claudio’s inconsistency is a key moment

for the development of their love. In this case, deception has clearly demonstrated

how fickle and how easily swayed love can be; at this point heightening the tragic

element of this play, which outweighs the comedy, swiftly shifting the atmosphere.

The inconsistent nature of love is not only limited to romantic bonds but, as “Much

Ado about Nothing” demonstrates, can also be extended to apply to family

9 Ibid. I.V.156-163 10 Ibid. IV.I.217 11 Ibid. V.I.244-5


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relationships especially when deception plays a role in attempting to destroy love.

Despite appearing to be a trusting, loving father, Leonato is coerced into viewing his

daughter in a different light as a result of Don John’s ploy. The readiness with which

Leonato’s opinion changes to believing his daughter dishonourable indicates that even

a father’s love can be meddled with and shown to be wavering. Although Hero, a

gentlewoman, follows expectations of women of the time, Leonato is driven to

disown her - Hero’s supposed act being a social scandal of the time - and wish death

upon her, no longer seeming to love his daughter, due to interference and deception:

“LEONATO: Death is the fairest cover for her shame

That may be wish’d for.”12

Leonato’s following comment clearly demonstrates his judgment of his daughter

when he compares her fall to disgrace thus:

“LEONATO: […] O she is fallen

Into a pit of ink, that the wide sea

Hath drops too few to wash her clean again […]”13

The enjambment Shakespeare uses in these lines gives a clear sense of Leonato’s

despair and depth of emotion. The strength of the image displayed through

Shakespeare’s choice of metaphorical description shows the extent to which honour is

of vital importance, especially family honour, and that actions such as those Hero is

accused of, can never be forgotten or forgiven. As Clamp suggests in his guide to the

play, 14 deception, misconception and disgust for Hero deepens as Leonato trusts her

accusers over his daughter as they are men of honour. This shows the audience the

12 Ibid. IV.I.114-5 13 Ibid. IV.I.138-40 14 Clamp, Mike. Shakespeare – Much Ado about Nothing (Cambridge Student Guide). United Kingdom: Cambridge University Press, 2007 Page 71


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trust, which was placed in men over women at the time, even over one’s own family.

Although the Friar suggests the probability of Hero’s innocence, it is not until Act 5

that Leonato realises his mistakes and yields his accusations and turning his blame to

those who wrongly accused her; Claudio and Don Pedro.

“LEONATO: My soul doth tell me Hero is belied,

And that shall Claudio know; so shall the prince,

And all of them that thus dishonour her.”15

The manner in which Shakespeare shows Leonato’s attitude towards his only

daughter to be changeable highlights the theme of honour, which prevails as a

sentiment of the times throughout the play. Even though Don John’s malevolence was

not directed towards Leonato, it has affected his love and Shakespeare continues to

show how love of various kinds can be said to be fickle.

The intricate role that deception has in Shakespeare’s play continues as the lack of

consistency even within friendships is revealed through trickery. While love for a

friend or comrade is not the same as romantic love or the love one might have for a

family member, Shakespeare, nonetheless displays that even friendship can be of a

tempestuous nature. Despite Don Pedro being of a superior status to Claudio, they

have an informal relationship - seen in the Prince’s offer to woo Hero for Claudio,

also demonstrating the initial trust that was present in their camaraderie.

“DON PEDRO: Thou wilt be like a lover presently, […]

I will break with her, and her father,

And thou shalt have her.”16

15 Shakespeare, Op. Cit. V.I.42-4 16 Ibid. I.I.280-284


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Not only does Don Pedro’s offer to deceptively win over Hero’s heart show the

strength of the men’s friendship, but also Shakespeare’s choice of language in this

passage; using the intimate pronoun ‘thou’ as opposed to ‘you’. Once again, it is

Shakespeare’s villain who demonstrates the insecurity of love – comradely love in

this instance. Don John, with mock concern for his brother’s honour, ironically asks

Claudio to persuade Don Pedro away from Hero who is “no equal for his birth”17. As

this takes place during the masked ball of Act 2 Scene 1, Shakespeare employs the use

of dramatic irony as the men are all masked, continuing his use of masks and disguise

as a motif of the play. Don John, knowing Claudio to be so, addresses him as

Benedick and Claudio replies in that name, furthering the ever-constant theme of

deception. The audience recognises each man to be fooling the other, making Don

John’s malevolent trick seem even more underhand and adding to the audience’s

mixture of enjoyment and pain for the events unfolding onstage. This scene extends a

principle theme of the play, that of perception – can one be truly sure of the truth in

what is seen? Claudio’s reaction to the plot is one of resignation and jealousy:

“CLAUDIO: Friendship is constant in all other things,

Save in the office of love […]

Farewell, therefore Hero”18

It is clear that Claudio gives no second thought to the truth behind what he is told,

ironically believing the one character of the play that should be trusted least. This

exchange demonstrates how successful malice and trickery can be; confronting even

what appears to a strong relationship.

17 Ibid. II.I.153 18 Ibid. II.I.163-70


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Claudio’s state of mind is described by the observant Beatrice as being “civil as an

orange.”19 This metaphor plays on Shakespeare’s choice of words with a pun with

‘civil’ and ‘Seville’ leading to the idea of bitterness and the colour of Seville oranges;

yellow – that of jealousy. The intelligence Beatrice shows in her observations of

Claudio reveal that his true feelings were clear and he could not fool anyone about

how he truly felt. The simplicity with which Claudio rejects his friend, doubting his

friendship so easily shows how fickle and mistrusting love can be. In this instance,

however, Claudio, and Don Pedro are put to rights quickly, with Claudio gaining the

love of Hero as promised and the men’s friendship being restored.

Deception forms the very basis of Beatrice and Benedick’s relationship, which is one

of the most complex of the play, going from disputing and jibing at one another to

love and willingness to do anything for the other. Shakespeare’s use of parallelism

between the two pairs of lovers; Beatrice and Benedick, Hero and Claudio, has the

effect of showing to the audience two very different romantic tales, while

demonstrating that both have their flaws and inconsistencies. The first impression that

is given about how Beatrice and Benedick feel about each other can be seen in some

of their first words exchanged:

“BEATRICE: Scratching could not make it worse an ‘twere a such a face as

yours were.

BENEDICK: Well, you are a rare parrot-teacher.

BEATRICE: A bird of my tongue is better than a beast of yours.20

19 Ibid. II.I.272 20 Ibid. I.I.124-27


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Shakespeare’s characters respond swiftly to each other as each picks up on what the

other has previously said, using and twisting the words for their own advantage. This

‘merry war’21, as Leonato terms it in the opening scene, gives rise to the opinion that

they are not friends at all, initially deceiving the audience into thinking the opposite

and making the thought of them falling in love unbelievable. Beatrice makes her

views of Benedick evident when answering ‘no’ to the messengers comment; “I see,

lady, the gentleman is not in your good books.”22 The fickle nature of their love (for,

although they bicker at first their relationship turns to romance as the play develops)

can be seen through hints at events that have happened before the opening of the play:

“BEATRICE: Indeed, my lord, he lent it me a while and I gave him use for it

[…] he won it of me with false dice. Therefore, your grace may

well say I have lost it.”23

Here Beatrice alludes to a previous relationship with Benedick, which did not work

out, demonstrating from the start the altering nature of their love for each other.

Benedick outwardly gives the false impression of having no interest in women, being

convinced he will “live a bachelor”24 and do so contentedly. This is, however, an

illusion, revealed to the audience when Benedick questions whether Claudio wants an

answer based on what he truly thinks or what he claims to think:

“BENEDICK: Do you question me […] for my simple true judgement, or

would you have me speak after my custom, as being a

professed tyrant to their sex?”25

21 Ibid. I.I.54 22 Ibid. I.I.69 23 Ibid. II.I.258-61 24 Ibid. I.I.224 25 Ibid. I.I.151-4


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Deception plays an important role in the relationship between Beatrice and Benedick

from before “Much Ado about Nothing” opens, as it seems that they have deceived

themselves into believing that they hate each other.

The importance of deception increases as their friends interfere and attempt to make

them love each other. As Don Pedro’s plan to “bring Signor Benedick and the lady

Beatrice into a mountain of affection th’one with th’other”26 unravels, Benedick’s

feelings for Beatrice change. This scene (Act 2 Scene 3) is well-written with effective

language used by Shakespeare as the characters’ method of deception. An example of

this can be seen in Claudio’s comment: “He [Benedick] would make but a sport of it

and torment the poor lady [Beatrice] worse.”27 This observation ensures that Benedick

will do anything but ‘torment the poor lady’. The misleading, overheard conversation

ends, leaving a surprised Benedick whose feelings for Beatrice have dramatically

changed by merely hearing that Beatrice loves him.

“BENEDICK: This can be no trick. […] Love me? Why, it must be

requited.”28

As a result of Don Pedro’s deceptive plot, Benedick begins fooling himself into

seeing signs of love in Beatrice when she means nothing of the sort, adding to the

comedy of the play by the use of dramatic irony.

“BEATRICE: Against my will I am sent to bid you come in to dinner.

BENEDICK: Fair Beatrice, I thank you for your pains.

[…] [Exit Beatrice]

BENEDICK: Ha! ‘Against my will I am sent to bid you come in to dinner.’

26 Ibid. II.I.337-9 27 Ibid. II.III.2153-4 28 Ibid. II.III.210-4


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There’s a double meaning in that. […] If I do not love her I am

a Jew.”29

The misconceived idea that Beatrice’s words are full of double meaning results from

the deceptive trick played by Benedick’s friends, and has the effect of encouraging

Benedick’s love for the woman he previously appeared to hate profoundly, clearly

illustrating how erratic this love is.

Beatrice, an outspoken woman who contrasts her more conventional cousin, Hero,

ostensibly displays obvious dislike towards Benedick from the start. Subject also to

good-willed trickery through Don Pedro’s plan, Hero and Ursula let Beatrice overhear

their conversation convincing the latter that Benedick is in love with her. Once again,

the choice of words is very important, playing on the importance of honour and

reputation at the time, catching Beatrice in their plan and inspiring love within her:

“HERO: [Benedick] is the only man of Italy […]

[…] he hath an excellent good name.”30

The scene ends with a rhyming couplet31 giving finality to the plan as it succeeds and

introducing the use of verse, used also in the following lines as the audience observe

Beatrice’s reaction. Beatrice confirms her commitment to Benedick in an abbreviated

sonnet; a style of language Shakespeare often reserved for more serious or dramatic

scenes. This alteration is humorous for the audience as they observe the previously

obstinate Beatrice unconsciously reform into a romantic. To emphasise the extent of

Beatrice’s new-found love Shakespeare repeats the use of the intimate ‘thee/thou’:

29 Ibid. II.III.236-8, 246-52 30 Ibid. III.I.92, 98 31 Ibid. HERO: [Aside] If it proves so, then loving goes by haps. Some Cupid kills with arrows, some with traps. (III.I.105-6)


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“BEATRICE: And, Benedick, love on. I will requite thee,

Taming my wild heart to thy loving hand.”32

An inconstant and fickle side of love is clearly displayed between these two

intellectually matched, antagonistic characters, who go from arguing to love based

merely on conversations overheard. It could be argued that such love could not be

true; loving each other without exchanging a kind word between themselves first and

yet, at the end of Act 4 Scene 1 when they declare their love for each other they

appear truly in love. This declaration could even be considered more genuine as it

occurs while the two characters are alone; neither needing to keep up appearances in

front of their friends.

“BENEDICK: I do love nothing in the world so well as you.”33

Beatrice also confesses the transformation of her hatred to love with: “I love you with

so much of my heart that there is none left to protest.”34 Their love clearly shows how

feelings and affection can be swayed and easily manipulated through deception.

The revelation of Beatrice and Benedick’s love leads to a darker section of the play as

love continues to be illustrated as capricious. Benedick agrees to forsake his friend for

the woman he had previously appeared to hate profoundly as Beatrice claims that

Claudio has wronged Hero in his accusations. The effect of two different plots of

deception can be observed, as both Don John’s and the matchmakers’ actions

accumulate in the forsaking of friendship by Benedick. As Benedick challenges

Claudio it is clear that the friendship has disappeared; things become dangerously

32 Ibid. III.I.111-2 33 Ibid. IV.I.265 34 Ibid. IV.I.284-5


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tense as Claudio threatens to calve his former friend’s ‘calf’s head’ and ‘capon’.

Shakespeare’s imagery of notoriously stupid animals shows the changed perception of

the ex-comrades. The taunting continues in the closing scene of the play with

Claudio’s taunts of cuckoldry and Benedick’s change of ideas on marriage. However

much intended as a joke, Benedick does not take it as one, replying swiftly.35 The

rhyming couplets used by Shakespeare sharpen the response adding to its hostility.

Although, at the end of the play, the two men put aside their differences, their

friendship has been severely tested and has shown that love, even that which has been

strengthened by war experiences, is inconsistent.

Acts of deception are carried out numerous times by many of the characters

throughout “Much Ado about Nothing”, which subsequently lead to the

demonstration of the fickleness of love. However, despite all the instances where this

is proven, two characters’ love remains true and consistent; Hero’s and Beatrice’s.

Raised as sisters, these two characters juxtapose each other with their contrasting

personalities and opinions, yet, regardless of their differences, their relationship

illustrates a nature of love disparate to the others throughout the play. None of the

adversaries that they face destroys their love; Beatrice never once doubts her cousin’s

chastity and honesty even when everyone else doubts her, Hero shows willingness to

help her cousin in any way, for example aiding Beatrice in her path of love:

“HERO: I will do any modest office […] to help my cousin to a good

husband.”36

35 Ibid. “BENEDICK: Bull Jove, sir, had an amiable low, And some such strange bull leapt at your father’s cow And got a calf in that same noble feat Much like to you, for you have just his bleat.” (V.IV.48-51) 36 Ibid. II.I.346-7


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This sisterly relationship alone demonstrates qualities of unfailing, dependable love.

The extent to which their love is true is actually emphasised by the deceptions

throughout the text, which strengthen the love Beatrice and Hero share. Thus,

throughout the play, deception has clearly revealed the fickle nature of diverse kinds

of love; the contrary is evident in one instance alone.


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BIBLIOGRAPHY:

• Clamp, Mike. Shakespeare - Much Ado about Nothing (Cambridge Student

Guide). United Kingdom: Cambridge University Press, 2007

• Sales, Roger. Shakespeare - Much Ado about Nothing (Penguin Critical

Studies). United Kingdom: Penguin, 1989

• Shakespeare, William. Much Ado about Nothing. United Kingdom: Oxford

University Press, 2004

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