Claudio describes Hero as a “rich and precious gift” (Line 26) hence enhancing this idea that Hero is an object, not a human with emotions, which seems to simply be forgotten. Leonato gives her away “As freely…as God did give her me” (Line 24). This seems to be the trend with those in position of power, or those who are secure enough in the financial sense, to afford to have princes stay with them, and to hold masked balls. It could be that Shakespeare is trying to make some sort of comment about them, that they have nothing to do in life other than play with love and exchange siblings in marriage for greater social status and wealth.
Love is definitely a game for Don Pedro and Don John, and they are on opposite sides of the playing field, though this fact is unknown to Don Pedro until he learns the truth of Hero’s dilemma. The aim of this ‘game’ was to woo Hero for Claudio, which was done in due course. Don John’s objective was to ruin the game, which he sets in motion by mentioning in passing to Claudio that Don Pedro woos Hero for himself. Claudio, in his disbelief falls out of love with her as quickly as he fell in.
“Don John: Are you not Signor Benedick?
Claudio: You know me well; I am he
Don John: Signor, you are very near my brother in his love. He is enamoured on Hero; I pray you dissuade him from her; she is no equal for his ` birth. You may do the part on an honest man in it.
Claudio: How you know he loves her?
Don John: I heard him swear his affection.
Borachio: So I did too, and he swore he would marry her tonight.”
(II.i.143-150)
This is quickly rectified when Don Pedro tells Claudio that he has wooed Hero and gives her to Claudio. Upon finding that this was not true, Claudio is overjoyed, and even plans to wed the next day. Again, this idea that it is possible to simply give women away for marriage as if they are objects makes an appearance. The proposed marriage is stayed a week, and Don John, as the ‘sneaky’ character in the play, is bound to continue his plot of causing as much unrest as possible, and as Francis Bacon stated “…bastards are envious”, and it appears to me, as it would the audience, that Don John harbours resent towards his brother and his companion.
Don Pedro clearly views himself as the God of love, and compares himself to Cupid, challenging him and he even goes as far as to say that he will “undertake one of Hercules’ labours”, and this act of self-deification is one of the reasons why Don Pedro can be viewed as slightly immature, and reinforces the idea that his opinion on love is that it is nothing serious, and can be thrown around the place without it having any significant meaning.
Don John however is not the only trickster in the play. In fact, it seems that almost every character is involved in some trickery of some sort, be it with good or bad intentions. Don John throws comments into the melee that is the wedding scene, making worse what is already such a damning scene. His plot to cause as much grief and misery as possible seems to be well in effect, as no one seems to be concerned with finding out the truth, but more with their own personal pride and honour. There is reason for this however and it seems to be the case that Don John is causing problems because he believes that he should be his brother’s right hand man, and not Claudio. Claudio, perhaps because he is “a young Florentine” (I.i.10), in particular is very quick to believe all he hears, and feels so hurt at the news of Hero’s infidelity, that he thinks the best way to denounce her is on her wedding day, made even worse by the fact that Hero’s dress is of considerable cost, the rough cost being “worth ten on’t” (III.iv.21), the item in question being the Duchess of Milan’s dress. He feels that he had been emasculated, that he had in his mind’s eye, a picture of this beautiful maiden, comparable to the Hero from Marlowe’s Hero and Leander (1953), “Hero the fair”(IV.i.101) in that she is meek, mild and pure, but by seeing who he thinks is Hero converse with another man, he shatters that image, and that feels that she must be punished for causing so deep a hurt in his pride. He has after all “[done] in the figure on a lamb the feats of a lion.” (I.i.14-15). It does seem understandable that he would be enraged, but he is young and fickle, and instead of looking for the truth, he instantly jumps to the conclusion that what he has seen is correct. It does now seem that the bond between Don Pedro and Claudio is made stronger by this, as Don Pedro says that he will aid in the denunciation of Hero, as he was the one who wooed her for Claudio.
Don Pedro is more than keen to try and play the game of love between Beatrice and Benedick. This is a ruse that comes into greater effect later in the play, but the fact that there is trickery, amongst the closest of friends, soldiers and war heroes, shows that no one seems to be immune to the effects. This ties into the scene in question, as it shows that it is possible for anyone to be affected by love, be it in good or bad ways. As becomes clear, Beatrice and Benedick to fall victim to this ploy, just as Don John snared Claudio, Don Pedro and Hero. This link between the scenes shows how Shakespeare brings everything together all at one point, before agendas start to diverge again. It does seem that Shakespeare is making some sort of political statement, as mentioned before, that the wealthy and well off have nothing to do other than play games with love, perhaps one of the most powerful human emotions. Claudio makes an interesting comparison to Diana and her orb, which is also hypocritical. He says that Hero “seem[ed] to [him] as Dian in her orb,” being that she appears chaste and pure, but that she is inconstant, and changing. Claudio in himself changes more than any other character, from falling in love at first sight, to taking in at first sight what appears to be Hero with another man. This ironic construction shows that however Claudio tries to engage in any activity, he either cannot hold true to his word, or Shakespeare uses this comparison elsewhere, in Romeo and Juliet (1597) in fact, where Romeo swears his love on the Moon. Juliet replies with:
“O swear not by the moon, the inconstant moon,
That monthly changes in her circled orb,
Lest thy love prove likewise variable” (II.i.152-4)
It is interesting to see how the moon seems to hold no real value, because of its inconsistency, and Claudio sees Hero in the same light.
In conclusion, careful construction of each scene evokes reactions from the audience. It seems to me, that one would feel deeply for Hero, as she has been denounced, in public and it is made all the worse that, not only is she dressed in more expensive clothes than the Duchess of Milan, the entire event happens on the day of her wedding, in front of the entire household on Leonato. I think that this action of Claudio’s is unjustified and because of is immaturity, he does not seek to find the truth, and because of this, Don John’s machiavellian plan goes as predicted, and ‘Hero is undone’, ‘The Prince is misused’, ‘Claudio is vexed’ and Leonato does seek to kill himself under the shame that has been brought upon him. This egotistical and patriarchal display evidently the true feelings of Leonato, and this in itself is ironic, as his true emotions some to light only when lies and slander are introduced into what would usually be a perfectly happy household with no malcontent or deceit. In fact, it is not until Don Pedro and his Bastard brother arrive that the house undergoes a significant change in its emotional and physical makeup.
