Shakespeare's 'Much AdoAbout Nothing' uses conventions of 'Noting' and develops character and plot. Comment on how important a Shakespearian theatre audience would find this aspect of the play.
Shakespeare's 'Much Ado About Nothing' uses conventions of 'Noting' and develops character and plot. Comment on how important a Shakespearian theatre audience would find this aspect of the play.
Noting, or observing, is central to many of the ideas in 'Much Ado About Nothing'. The word nothing was pronounced as noting in Elizabethan times, and it seems reasonable to presume that the pun was intended by Shakespeare to signal the importance of observation, spying and eavesdropping in the play. As a plot device, these occurrences strengthen the action and create humour and tension. The risks of noting incorrectly are portrayed and this naturally links plots together, along with a second major theme, illusion and reality. These two themes could often be described as the same, such as at the masked ball.
Plot development and comedy in 'Much Ado About Nothing' rely heavily on the use of noting. The play appears to have a simple plot; the romantic couple, Claudio and Hero, are denied marital joy by the evil Don John while the sub-plot, Beatrice's and Benedick's resisted but growing love, provides us with some humour until order and happiness are re-established in Messina. However, Shakespeare cleverly employs the many forms of noting (observation and misunderstanding) to move the dramatic action forward. The main plot and the sub-plots are tied together with this device. To emphasise the importance of noting, Shakespeare only allows the audience to view where Claudio and Don Pedro witness what they think is Hero's dishonesty through the Watch eavesdropping on Borachio recounting the event to Conrade. This eavesdropping reminds us of the orchard scenes where Beatrice and Benedick are tricked into loving each other. They both come closer to a position of self-knowledge and this enables the "merry war" of Beatrice and Benedick to move a step further to its conclusion.
The orchard scenes, along with the scenes involving The Watch, are a major source of humour in the play. Eavesdropping leads to Beatrice's and Benedick's most entertaining lines with Dogberry's continued misunderstandings and malapropisms that help soften the tone of the play as they follow the more sinister sections. The Watch's inability to reveal what they have correctly noted, however, also adds to the tension of the play. Hero's shame could have been avoided. Noting is one of the plays main obsessions, and making observation essential to the plot demonstrates and emphasises its importance.
Because noting/observing ...
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The orchard scenes, along with the scenes involving The Watch, are a major source of humour in the play. Eavesdropping leads to Beatrice's and Benedick's most entertaining lines with Dogberry's continued misunderstandings and malapropisms that help soften the tone of the play as they follow the more sinister sections. The Watch's inability to reveal what they have correctly noted, however, also adds to the tension of the play. Hero's shame could have been avoided. Noting is one of the plays main obsessions, and making observation essential to the plot demonstrates and emphasises its importance.
Because noting/observing has such importance in Messina (and, by implication, Elizabethan society. Noting can be seen in society, as courtly life was an important factor of society, and a dominant part of this way of life was the way they appeared to others.), manipulation and deception are used by the shady characters in the play to put into effect power and control. Don John is a stock Elizabethan villain whose intention is to harm all those involved in his downfall - especially Claudio. Twice he tries to convince Claudio that Hero favours another. These episodes both involve deception and slander and this wickedness distorts Claudio's perception of the events. Both times Claudio notes incorrectly and his willingness to believe falsehoods and point blame - first to beauty ("for beauty is a witch" Act 2. Scene1), then to Hero's base nature ("savage sensuality" Act 4. Scene 1.)- also point to self-deception about love, honour and women. Claudio's failure to distinguish appearance from reality is brought about by his romantic idealism. Hero becomes an illusion in which all womanly virtue and beauty are contained ("Can the world buy such a jewel" Act 1 Scene 1). He cannot note Hero's kindness, and later, he cannot note her innocence. His devotion to courtly ideals seems to be the real reason he can not distinguish appearance from reality and Don John's slander only reinforces his natural shortsightedness and mistrust. This inability to note things correctly due to deception helps demonstrate the gap between appearance and reality in Messina society.
The bias of perception creates problems in the patriarchal Messina society. Why are some of the characters in Messina perceptive and others not? It appears that Shakespeare is making an uncomplimentary observation of Elizabethan society. During the dramatic condemnation scene, only Friar Francis, Beatrice and Benedict correctly perceive Hero's innocence. Friar Francis states this clearly:
"...by noting of the lady.
I have marked
A thousand blushing apparitions
...trust not my age,
My reverence, calling nor divinity,
If this sweet lady lie not guiltless here,
Under some biting error"
Act 4 Scene 1
Leonato, however, can not recognize the innocence of his own daughter. He immediately sides with Claudio and Don Pedro and notes that they would not lie:
"Would the two princes lie, and Claudio lie,
Who loved her so, that speaking of her foulness,
Washed it with tears? Hence from her, let her die."
Act 4 Scene 1
Leonato's devotion to the male codes of honour and virtue cloud his perception. He, too, suffers from Claudio's distorted view of women. This illusion, the "Dian" goddess that Claudio refers to, seems to be drawn from male idealism because Leonato and Claudio feel it is their honour that Hero has violated. Don Pedro, Leonato and Claudio are so engrossed in the conventions and codes of patriarchal society that their ability to note correctly is impaired. They may be capable of self-perception, but they are bound by the rituals surrounding their roles (Hero demonstrates this problem - the wit and intelligence she displays in front of her own sex is hidden when men are around. Patriarchal society demands she play the role of silent goddess). Benedick turns his back on these codes when he challenges Claudio. He is able to perceive Hero's innocence and suspect Don Jon's involvement because he exists on the border of society. This can also be said for Beatrice (as she lives with her uncle and does not have Hero's parental pressure). They both avoid the courtly style and behaviour expected of Hero and Claudio and are able to think and act in a freer fashion. Friar Francis, being a member of the clergy, definitely stands outside of society, and the others to note correctly, The Watch, belong to a totally different class. It seems that Shakespeare is suggesting that only those that are not controlled by patriarchal rules and rituals are capable of an undistorted view of life. The incapability of the Messina upper classes to note correctly points to this understanding. The inability of the Messina upper classes to note correctly points to this understanding. The audience is also aware of class differences from their seating. Elizabethan theatre was determined by wealth and social status. Wealthier people could afford to sit in the galleries which were covered seats. Whereas the poorer members of the audience were left to stand in the area surrounding the stage, this part of the audience were often refered to as "groundlings".
The director of the play is able to alter scenery and layout of the play to expand on aspects of the play. In the Elizabethan era the stage was simply often a raised area with no or very little scenery. They used elaborate costumes instead to show the differences in characters and add to plot lines, such as in 'Much Ado About Nothing', they would have used intricate masks during the masked ball to help show the importance of the scene. However in more modern stage productions the directors use the scenery to add to the dramatic performances. In a 1982 production of 'Much Ado About Nothing' at the Royal Shakespeare Theatre the director used both scenery and costumes to add to the theme of noting.
"A box like structure made up of mirrored floor, Perspex screens and artificially imprinted trees" (Michael Billington, 1982)
By the director creating the scenery like this, the audience is able to see all the characters, especially in the scenes where noting is a major theme, such as the orchard scene. The dress of characters is also important to the staging of the play. The costumes help the audience to identify characters; it also helped to indicate differences in class. The emphasis of the costume helped to make disguise a common theme through many Elizabethan plays, as all the actors needed to do was undertake a costume change. This idea has been carried through from Elizabethan productions of 'Much Ado About Nothing' to more modern productions. For example in the same production of 1982, the director dresses Margaret and Hero in similar costumes, this was done as a device so that when Margaret impersonates Hero it is believable that mistaken characters should occur.
'Much Ado About Nothing' ends with order restored. The masks come off, perhaps to be replaced by the more subtle ones worn every day. It seems unlikely that Claudio's ability to note correctly will improve but, in Beatrice and Benedick, Shakespeare gives the audience encouragement that self-knowledge and reality will grow in Messina. The importance given to this couple's superior awareness clearly demonstrates that noting is central to this play. The plot relies on it for momentum and humour, and Shakespeare uses it to attack the illusions surrounding patriarchal society.
Nikki Feltham
