Aside from this the characters within the play are subject to hierarchy, with the men residing at the top of an unspoken hierarchy triangle. But again, the fact that it is a domestic environment, and that love is a key theme makes this system subject to both negotiation and change. The want for love between men and women represents this because love is seen to be an equal relationship between a man and a woman. This is therefore why a hierarchical society in this play is not necessary so, because love is a mutual thing and therefore not hierarchical. The play does not suggest that the binding contract of a man and woman is similar to that of a man and servant (which would indicate hierarchy) but that of compromise and equality which is evident in both the marriages and relationships of Beatrice and Benedick and Hero and Claudio.
Another aspect that might suggest a Patriarchy is the military connection. The play begins with the menfolk entering, having been away at war. This may be a suggestion that men, having the physical power to fight and triumph means that they are in control in the society of the domestic household. However, any action of war or fighting, although discussed, is not present in the light of the play. Men are not judged on their fighting ability and neither are the audience’ opinions on characters moulded by their physical ability. This is a vital device that Shakespeare uses to separate the society within the household from that of the outside world. The device is that the male characters are not seen on the basis of what they have done outside the household, on the battlefield or anywhere else but just as how they present themselves within the consistent environment. This allows women an automatic advantage because they too are seen as they present themselves within the same environment as men.
Critics may question that in 'Much Ado About Nothing', the lack of evident women’s independence may still suggest the aforementioned ‘patriarchal place’. Again however, equally there is evidence to challenge this. A major considered-patriarch in the form of Don Pedro speaks in favour of a woman with a good mind, represented as Beatrice. It is important to the argument that he likes what she says and not necessarily that the fact that she says it. That Don Pedro, a valued opinion within the play favours a woman who knows her own mind and also appreciates what they say somewhat strengthens the argument.
On the other hand, Hero’s ‘passive silence’ suggests another aspect to the role of women, aside from the feisty Beatrice. But it is debatable whether Hero’s silence is out of passivity or an enforced silence. She has been dismissed by many critics as ‘passive’ and even at times ‘in-credible’ but it is perhaps more appropriate to regard her as distanced from the well spoken Beatrice due to her modesty, youthful innocence, and romantic picture frame in which she is set. Even modern readers should be able to understand and sympathise with her character as younger and shyer than Beatrice, maybe even overshadowed by her cousin. She may in fact therefore, represent a different kind of character to that of Beatrice but this does not necessarily mean that she is not of her own mind. When Don Pedro asks Hero about the accusations against her and no answer is received, it could be perceived as an example of Hero’s passiveness but given closer regard she is in fact interrupted and there is no evidence to speak of to say that given the chance she wouldn’t have said exactly what she wanted. And again in defence of Hero, she reacts against Claudio’s appalling allegations with a mature attitude of restraint that sympathetic modern audiences should construe as such. And the fact that the society within the play allows both the spirited Beatrice to react in a way that suits her whether or not in parallel with the acceptable conduct outside the setting, and indeed Hero to react in her own way, perhaps more in congruence with acceptable Elizabethan behaviour, is significant also. Therefore it becomes less of a question that Beatrice is breaking the mould and Hero is submitting to the enforced behavioural code and more of a case of actual independence and freedom of women to be allowed to conduct themselves how they wish. Consequently, it can be said that within 'Much Ado About Nothing', women are not restrained in their behaviour but are instead granted the utmost freedom and independence to govern themselves as they see fit and that this is done in light of the outside society rules, should impress a modern audience who may take for granted a now liberated female world.
Leonato:
By my troth niece, thou wilt never got thee a husband if thou be so shrewd of the tongue
Antonio:
In faith, she’s too curst
It is these lines which are referred to in the title and echo the reality of the world outside of the play, the truth of which does nothing for the argument that free speech for women is a positive thing. Henry Smith, in a Preparative to Marriage, 1591 backs up this reality but saying that the cautious Elizabethan man looking for ‘a fayre woman to his wyfe’ would choose a girl ‘not full of tongue, and of much babbling....’ Hence, although it is entertaining and useful of Shakespeare to present us with a woman such as Beatrice, he equally presents in the form of Leonato and Antonio, the sceptical contemporary critic who know that it is not necessary a good point. This may add to the seemed maturity of Hero, accepting Claudio as a wise marital choice and not jeopardising it, nor refusing him upon her second wedding out of any form of principle. To a modern audience this sense of ‘settlement’ may lead to negative reports about Hero’s passivity but in reality it appears that it is she who is the sensible one and Beatrice who makes life difficult for herself by being so shrewd. Immense relief at the revelation of Beatrice and Benedick’s mutual love and henceforth their marriage should therefore be felt. It has meant that Beatrice, a likeable character does not end up penniless and alone as the reality of her character in Elizabethan Times may have done. Shakespeare is aware of this and subtly indicates this as a warning to women of his audience that although Beatrice finds love and a good man, many others following her influence may not. The character of Beatrice although altered due to scenario and setting is repeated in many of shakespeare’s plays, enforcing the view that she is device to represent his views. Aspects of Beatrice’s character are found in women such as Portia (Merchant of Venice), Rosalind (As You Like It), Isabella (Measure for Measure), Coutness Olivia (Twelth Night) as well as the previously mentioned Katherina in Taming of the Shrew.
Although 'Much Ado About Nothing' is set within a Patriarchal Society, it seems apparent that the trends do not continue through to the intimate domestic environment where the play is more centrally set. The indications of this are the freedom of expression for women, however that is, and the taking at face value of all of the characters for their personalities within the play only. For many modern readers, the level of satisfaction at the end of the play can be seen as debatable, for the strong feminist symbol Beatrice has been seen to submit to a man despite her previous principled opinions and Hero has once again been seen to be passive and weak enough to once more readmit Claudio to her affections. But I think that the result of the play is satisfying. Despite Beatrice’s ‘flaws’ of sharpness and fierce attitude, she fell in love with a man who loves her and accepts her ways, her ‘submission’ may therefore be more aptly conceived as luck and happiness to come within an understanding and intelligently balanced relationship. Hero has also appropriately taught Claudio a lesson on trust and loyalty but has maturely forgiven him and her ‘submission’ is also one into a happy marriage, now blessed with the gift of trust owing to their experience. She has also taught Claudio to appreciate her, having momentarily lost her and mutual appreciation is valuable present in both relationships. The important fact that 'Much Ado About Nothing' portrays is the difference between people, how they react and also present themselves and the happy ending is the understanding and acceptance of this and if each women’s ‘curse’ be such then despite the cliché they may all live happily ever after.
