Benedick, too, alludes, to a far more complex relationship than one of dislike. Just as Beatrice remarks ‘I wonder than you will still be talking, Signior Benedick: nobody marks you’ (I; i; 83-84), and thus blatantly indicates that she does indeed mark him, Benedick cannot hide the fact that he has noticed her. As the party leaves Benedick and Claudio alone on stage, Claudio inquires if Benedick noted Hero. Benedick replies that no, he did not. Indeed, the only person he did note was Beatrice. One could be critical on such emphasis on the first scene of the play when there is much more meaning in further scenes. However, the introduction of these characters in such a manner, their continuous battle of wits, establishes a point of departure into something quite different.
Given the strength of the two characters, devilishly and clearly displayed through their use of language, and the obvious similarity in thought, Shakespeare has cleverly used the swapping of insults to underline an obvious, albeit profusely refuted, meeting of the minds. Both characters have very defined opinions on love and marriage. Both are ‘bachelors’ and, as Beatrice would hope to believe, are thus reserved a place in heaven with the other bachelors. (II;i; 32-36) This unusual, almost sacrilegious rejection of the convention of arranged marriages and the subservient role of women in society (by unashamedly and publicly rejecting her conventional role in society) is shared with Benedick. He, too, reiterates that he ‘loves no one’, thus publicly ’condemning’ himself as a bachelor – precisely as Beatrice has done.
In the creation of these two characters, Shakespeare appears to have made strong commentary on the abandonment of social convention. Here are two characters, strong minded, single and yet perfectly content to remain so. In fact, it would seem both regard marriage as an end to independence: Benedick as an end to the life of an irresponsible bachelor, as we can assume he played this role in a previous relationship with Beatrice, and Beatrice as an end to her condemnation of the role of women in society. (A perfect example would be the manner in which Hero is expected to accept the proposal of any man, be it the Prince or Claudio, upon her father’s orders.)
T first words of truth are spoken by Beatrice as she exclaims ‘Good lord, for Alliance. Thus goes everyone to the world but I, and I am sun-burnt. I may sit in a corner, and cry heigh-ho for a husband.’ (II;i;235-236) We know, as the audience, that this is a sentiment Beatrice is very familiar with. She does desire a husband, but it is clear to an audience that she does not seek the conventional husband either. If she did, she would have no qualms about an arranged marriage. She seems to be expressing the suppressed desires of love of most women in her society.
As the rest of the characters mislead Beatrice and Benedick into believing each is too afraid to admit their true love for each other, the audience realises just how fragile, or fickle, the two characters really are. Upon Benedick learning of Beatrice’s ‘apparent’ love for him, he quickly changes his mind about marriage and easily and immediately falls in love with the idea of Beatrice loving him, as does Beatrice. Benedick later attempts to profess his love for Beatrice through a poorly constructed sonnet. He thus becomes that which he swore he would never be, professing his love though archetypal forms of poetry and prose.
Act four, scene one is a fascinating revelation of their characters. Benedick, again falls into a clichéd role, by reverting to linguistic clichés to profess his love: ‘By my sword, Beatrice, thou lovest me’, ‘Come, bid me do any thing for thee.’ Beatrice, perhaps in innocence, perhaps in calm calculation, engages him literally, and asks that he kill Claudio for his disbelief in Hero’s innocence. Benedick, enamoured by the thought of her love for him, agrees, despite his loyalty to Claudio, his best friend. The possibility of love, and the strength of a woman such as Beatrice, is easily able to sway the seemingly stubborn Benedick far too easily.
By the end of the play, it is evident that it is not only what Beatrice and Benedick say, but more importantly the methods and styles they use to say what they say that creates such a fascinating comment on the interaction of men and women. Nothing is plainly stated between them and they use their wit, intelligence and preference to irony to create characters very unlike their true selves. Their words are calculated and accurate, sentences designed for each other’s purposes alone, and are used to hide their true feelings on love. It is clear they hold feelings for each other; their constant proclamation of dislike for each other is revealed at the end of the play as their defence mechanism against being hurt by those that could be close to them. It should be far more excusable for Benedick to act as such, in this patriarchal society, yet we can all revel in Beatrice’s endearing ability to be ‘one of the boys’ – her clever use of language allows her entrance into this world.
The plot of Beatrice and Benedick is so intrinsic to the struggle between men and women in the search of true love that it could just as easily be found in a new movie release next year. Each is afraid of love and commitment, albeit for slightly different reasons, which is clear due to the recurring theme of the different roles of men and women in society. Once Beatrice and Benedick realise someone exists to love them and for them to love, they are completely and immediately open to the idea of love. Theirs is a perfect match, emphasised by their verbal challenges and similar wit. Their ‘merry war’ is also a meeting of the minds, and the audience is certain of their happy, if volatile, future – ironically – because of this war of words.
Beatrice and Benedick serve to prove that love comes in all forms, and that it is not only what we say or how we say it, but what we say when no one is around to hear it, and what we only ever say silently to ourselves. I applaud them for their anxiety and fear of love, so uncommon in the work of Shakespeare, as they provide an antithesis to the love that characters – Claudio and Hero, for example – so often fall pray to and we are not sure always survive. Their strength in words masks a fear of trust in others, and thus their relationship together seems a certainty in their futures. Truth in language and love triumph through these complex characters, and remind us of our fragile humanity.
Bibliography:
Much Ado About Nothing William Shakespeare 1598, Published by Dover Thrift
Shakespeare’s Comedies: an Anthology of Modern Criticism Edited by Laurence
Lerner, 1967.
Comic Characters of Shakespeare John Palmer, 1946.
Much Ado About Nothing Sparknotes Justin Kestler, Miriam Jacobson, Susannah
Mandel, Paid for and downloaded February 2003.
