In contrast to her talkative cousin, Hero speaks only once in Act 1 – in the presence of Beatrice, her father and the messenger, “My cousin means Signor Benedick of Padua” she says, to explain Beatrice’s jibe. From the onset, Shakespeare uses language – what the characters say and how they say it – to define them.
In Act 2 Beatrice and Hero both agree that Don John is very melancholy. However, the language that they use is very different and, once more, reveals their character. Hero says, simply and respectfully, that Don John is “of a very melancholy disposition” whereas Beatrice says with her usual wit “How tartly that gentleman looks. I never can see him but I am heart-burned an hour after” – this example of a pun is typical of Beatrice’s wordplay.
Similarly, in comparing wooing, wedding and repenting to three types of dancing Beatrice describes them as a “Scotch jig, a measure, and a cinquepace.” This dance image is an inventive one and dance, music, and song are key themes in this play. Here Shakespeare is using an extended metaphor to portray Beatrice’s anti-matrimonial feelings. Of course, these feelings are not genuine. As we see throughout, disguise is one of the key themes in the play and Shakespeare makes it clear that Beatrice is disguising her true feelings, for she admits to Don Pedro that Benedick once “lent” her his heart “awhile” but “won” her heart “with false dice”. She and Benedick obviously have had a relationship in the past – one that they would both like to resume.
So far, Beatrice’s antagonism to marriage is comparable with Benedicks. Beatrice is teased that she won’t get a husband, Benedick that he will get a wife. Hero is the opposite and differs from both of them because she revels in the idea of marriage. By the end of Act 2, Hero is wooed and won for Claudio. Typically, Hero remains silent while the date of the wedding is arranged by her father and her husband-to-be.
However, in Act 3, in the absence of men, Shakespeare develops Hero’s character. She is decisive in Scene One and commanding, “Good Margaret, run thee to the parlour” she orders. We witness a development in Hero’s character; she is dominant and authoritative; she initiates and organises the plot to gull Beatrice, the second benevolent plot in the play. For the first time in the play, Shakespeare also provides Hero with a poetic image, “Forbid the sun to enter – like favourites, Made proud princes, that advance their pride.” and we see that Hero is clever enough to denigrate Beatrice, “Of the false sweet bait that we lay for it.” in order to make Beatrice believe that they do not know she’s listening, otherwise they would not discuss her faults.
Although Beatrice is intelligent, Shakespeare makes her gullible when she overhears Hero and Ursula discussing Benedick and Beatrice’s relationship. We see that Beatrice does have a softer side, “Benedick, love on; I will requite thee, Taming my wild heart to thy loving hand.” enhancing the romance in the play and signifying a transformation in Beatrice. Indeed by the end of Act 3 scene 1, Beatrice and Hero are showing certain similarities. They are now both in love and as we see in Act 3 Scene 4, Beatrice has become quieter and more serious.
During this scene, the morning of Hero’s wedding, Shakespeare reveals that Hero is having premonitions, more development of her character. “God give me joy to wear it for my heart is exceedingly heavy” she states. This is dramatic irony because she feels the wedding may go wrong but it is really a reminder to the audience of Claudio’s intentions to humiliate Hero in the next scene. The audience also find out that Beatrice is lovesick, Hero asks: “Do you speak in the sick tune?” Beatrice is subdued and Margaret also fills in the comic space and provides the wit by making jokes at Beatrice’s expense. “God send everyone their heart’s desire!” she says, implying she knows what Beatrice’s heart desires. Margaret makes obscure references to Beatrice’s new mood, saying she should take some “Carduus Benedictus” for her illness.
Act 4 Scene 1 is very important structurally because there is a significant change in mood, from comedy to potential tragedy, as Don John’s malevolent plan to ruin the wedding works. Shakespeare takes the opportunity to make major changes in the characters. We witness Hero’s honour being destroyed; Claudio calls her ‘a rotten orange’ (meaning that she looks fine from the outside but inside she is corrupt), an ‘approved wanton’ and talks of her ‘pure impiety and impious purity’. Shakespeare presents her as an innocent victim; this is a different Hero from what we have seen previously (although the accusations are not true). “O God defend me! How am I beset! What kind of catechizing call you this?” she pleads; previously, while in the company of men, Hero has said very little; here she has the difficult task of trying to protest her innocence, “I talked with no man at that hour my lord.” she states, to no avail. Her physical reaction to this kind of pressure again reflects the woman’s role in a patriarchal society; she “blushes” and “swoons” as Claudio brings her maid-like qualities into question.
This is one of Hero’s most challenging moments and at the end of this scene, the play seems set to end in tragedy. In this scene, everything is serious, in stark contrast to the previous one when Shakespeare created a comical atmosphere. Then the Friar’s benevolent plot is revealed as he tells Hero “Come lady, die to live; this wedding-day” a paradox is apt from a friar. This, along with the fact that Borachio is already under arrest, gives the audience hope for the future; Hero’s innocence will be proven and there will be a happy ending as there should be.
Also in this scene, Beatrice declares her love for Benedick; “I love you with so much of my heart that none is left to protest.” she states. This again presents the audience with her softer side. Her defence of Hero “O on my soul my cousin is belied!” shows her loyalty and concern, “Why how now cousin, wherefore sink you down?” These are all examples in this scene of how Shakespeare is presenting another, gentler side to Beatrice. Then, because she is angry with Claudio, she asks Benedick to, ‘Kill Claudio’ being brutally direct and to the point. Shakespeare is presenting her as a woman seeking vengeance and therefore her language and behaviour are very different from earlier Acts. This also shows that Beatrice truly believes Hero is innocent and that she’s very passionate about her beliefs. Beatrice’s cries out:
“O God that I were a man! I would eat his heart in the market-place”
This scene portrays Beatrice as being a very dominant and strong woman. However, she is still a woman and cannot challenge Claudio herself.
Up to this point of the play, Shakespeare has developed contrasts between Hero and Beatrice in the way that their relationship with men is presented, particularly the men that they love. Hero and Claudio are the sweet innocent “young lovers.” Their marriage is arranged by the Prince and Leonato and Claudio is given Hero. Conversely, Beatrice and Benedick are comedy-makers and Beatrice is not ruled by her father as Hero clearly is. It does take Don Pedro’s benevolent plot to bring Benedick and Beatrice together, however. A modern audience would prefer Beatrice to Hero as she is her own self and admirable. The relationships also differ because Benedick and Beatrice’s relationship slowly grew whereas Claudio and Hero’s relationship was love at first sight. Perhaps it was a little hasty as we see in Act 4 how their love turns sour.
In Act 5 Hero’s innocence is proven and her honour is restored when Borachio confesses his guilt to Don Pedro “your brother incensed me to slander the Lady Hero” making her an innocent victim once again. Don Pedro and Claudio now know that they have slandered Hero and Shakespeare skilfully employs metaphors to convey the extent of their feelings; for example Don Pedro says “Runs not this speech like iron through your blood” and Claudio says “I have drunk poison whiles he uttered it.”
Leonato’s plan for Claudio to “marry(ing) his niece” is the last benevolent plot in the play. Hero and Claudio are reconciled, as she says, “One Hero died defiled, but I do live” her reputation is restored; she can live again, she is a maid and she marries Claudio. On the other hand, Beatrice and Benedick argue until the very end; at last, Benedick finds a way to silence her (he kisses her) “Peace, I will stop your mouth” and they are finally married. We assume a happy future for these two. The play is a comedy, thus a happy ending is required.
By definition, Shakespearian comedies have lovers that are united – Beatrice and Benedick, Hero and Claudio; friends that are reconciled – Benedick and Claudio; good triumphs over evil – Don John’s malevolent plots fail. Often, as it does at the very end of this play when Benedick announces, “Let’s have a dance”, music and dance occur, symbolising harmony restored.
In conclusion, Benedick sums up himself, the other characters, and everything else in the play when he declares, “for man is a giddy thing, and this is my conclusion.” and Hero and Beatrice could certainly testify to this. At the end of the play both woman are reunited with their lovers. This is the happy outcome. We also discover that it really is “Much Ado About Nothing”; characters are easily fooled by disguise, deceit, and deception, being very gullible and falling prey to misinterpretation when eavesdropping. This is another link with the title of the play, which may mean making a great deal out of something that isn’t really true (characters being tricked by disguise, deceptions) or in Shakespeare’s time the words “nothing” or “noting” (meant observing) were pronounced in a very similar way. So, the title also means making a fuss about what you have seen or think you have seen (misinterpretation, eavesdropping).
Beatrice and Hero are closely linked to both interpretations of the title and are both wonderful and intriguing characters. They develop in interesting ways and they represent two extremely different views of society and what it was like to be a woman in those patriarchal times.
