salonjardin.info Forum: The role of deception in Beatrice & Benedick's relations (1/1)
In this Shakespearean comedy ‘Much Ado about Nothing’ two similarly obstinate characters of Beatrice and Benedick are presented between the rather normal relationship of characters Hero and Claudio. Much Ado About Nothing Essay: Beatrice, Benedick, and Love. Beatrice, Benedick. Beatrice is Benedick's equal, matching his wordplay in the opening scenes with Evidence, Analysis (Act 1 Scene 1), The sarcasm implied by this nickname and the question that Benedick offers both show how their relationship is based on. There is a backstory to Beatrice and Benedick's relationship, a suggestion that they have known each other for a long time, and that they were.
Following the Feminine in Shakespeare's Plays. And so we come to Much Ado About Nothing. They have been fighting nearby not quite clear for whom—but Italy was full of mercenary armies, and skirmishes between city-states were common. There is much rejoicing, especially among the young women, because it means there will be a lot of men in the town.
Leonato, the governor of Messina, invites the officers to stay with him. Claudio is likewise interested. With Claudio and Hero, Shakespeare gives us a portrait of a well-arranged courtship and betrothal of two young people.
They are attracted to each other. In the meantime, Shakespeare is drawing another picture of an attraction between two lovers. They are older; they have been around the block a few times. In any case, the first exchange between Beatrice and Benedick, witty though it is, allows the audience to know how powerful is the attraction between them, and leaves each lightly wounded.
The play follows the progression of our two more conventional lovers, the negotiations between the parties, and the preparations for the masked ball. At this ball, through the good services of Don Pedro, the young couple are betrothed with a little hiccup here and there ; Beatrice and Benedick manage to dance with each other, masked, and in this disguise she tells him what an idiot Benedick is and how no one respects him.
The play begins to darken and lighten. On the light side, the men persuade Benedick that Beatrice is in love with him, and to save her life, he decides to open his heart and allow himself to love her. So he arranges for Claudio to watch in the orchard two people making love on the balcony. Shakespeare liked repeating his plots in different ways—though the repetitions may have had more to do with the fixed nature of the playhouse and what was possible to enact. His wounded pride and cuckolded spirit lead him to plan a public and irretrievable condemnation of Hero.
Benedick does not go with them—which is unusual, because one of his fellow officers has been humiliated, and the honorable action would be to join him. Leonato, for his part, believes the officers, and not his daughter. He wants her dead. Moreover, a very notable amount of text — namely everything Beatrice says in the first scene of act 1 — is dedicated to Benedick.
The fact that Benedick has not even entered the stage yet, but has already been talked about very extensively by Beatrice clearly shows that she is interested in him and that her witty behaviour is mostly a means to hide this interest from everyone else and even from herself.
Benedick, as well, is shown to be interested in Beatrice when he talks to Claudio about Hero in the first act: In mine eyes, she is the sweetest lady that ever I looked on. I can see yet without spectacles, and I see no such matter. I, i, As these parts of the first scene of act 1 clearly exhibit, there is a mutual interest between Beatrice and Benedick — well hidden underneath their shields of wit.
Furthermore, when Beatrice and Benedick meet in person for the first time, they immediately start a battle of wit I, ii, This should, so I would argue, not be seen as a form of aversion between the two, but much rather as an act emphasising their similarities. Most obviously, this dialogue emphasises the witty characteristic of both Beatrice and Benedick. In the dialogue between the two, this is made clear: But it is certain I am loved of all ladies, only you excepted; and I would I could find in my heart that I had not a hard heart, for truly I love none.
A dear happiness to women — they would else have been troubled with a pernicious suitor. I thank God and my cold blood, I am of your humour for that: I had rather hear my dog bark at a crow, than a man swear he loves me.
Explore the relationships between Beatrice and Benedick in Much Ado About Nothing
This opposition is reinforced soon after in the play, when Benedick speaks to Claudio after the latter has told him about his plans to marry Hero: In faith, hath not the world one man but he will wear his cap with suspicion? Shall I never see a bachelor of threescore again? An thou wilt needs thrust thy neck into a yoke, wear the print of it and sigh away Sundays. I, ii, Here, clearly, Benedick exhibits his detestation of the conventional Elizabethan marriage.
For him, being married is synonymous with being a cuckolded husband, since in his opinion all women are cheaters. He substantiates this even further when he tells Don Pedro and Claudio: That a woman conceived me, I thank her; that she brought me up, I likewise give her most humble thanks; but that I will have a recheat winded in my forehead, or hang my bugle in an invisible baldrick, all women shall pardon me.
Because I will not do them the wrong to mistrust any, I will do myself the right to trust none. And the fine is — for the which I may go the finer — I will live a bachelor. Beatrice as well exhibits herself as a misogamist and disdainful woman in her dialogue with Leonato: Well, niece, I hope to see you one day fitted with a husband. Not till God make men of some other metal than earth.
Would it not grieve a woman to be over- mastered with a piece of valiant dust? To make an account of her life to a clod of wayward marl? II, i, Here, it can be clearly seen that Beatrice as well as Benedick do not only direct their wits at each other but at the conventional image of marriage and love of their times.
Thus, another similarity between the two characters has been established in the play. By positioning themselves as critics of the traditional way of living and loving, they also implicitly mark themselves as wanting real love — if any at all.
Hence, within the first two acts, a mutual interest between Beatrice and Benedick, as well as an equal witty characteristic and a shared hidden wish for true love as opposed to conventional love have been established in the play, preparing them for their fate of falling in true love with each other later in the story.
Whereas Hero and Claudio are torn apart when they are misled, Beatrice and Benedick are drawn together through the tricks played by their friends. Knowing both good and bad, love leads to trust. Infatuation, as Scheff states, is thus much more vulnerable to outside influences than love In the case of Hero and Claudio, it is obvious that since there has not been any direct communication between the two in the whole play, their relationship does not rely on knowledge of the other but on mere liking of the outer appearances and on an idealisation of the beloved.
Thus, through little influence from their environment, these two infatuated characters are easily torn apart. In contrast, Beatrice and Benedick are brought together by the plot hatched by their friends and family.
This, in my opinion, is due to the fact that in their relationship it is not the affection for each other that is vulnerable to outside influences but their bad wits.
Wittiness … can have positive meaning as well as negative. If, on the one hand, it can be used as a tool of practical reason in the service of emotional repression, distrust, and pride, it can also express a light-hearted playfulness, a love of life, that undermines the vices of proud reason and brings man into communion with his fellows.
When the couple is tricked, their friends strongly emphasise their bad wits, most of all their pride, in order to make them love the other. This can be seen very well when Benedick eavesdrops on his friends Don Pedro and Claudio talking about the invented fact that Beatrice told them she was in love with Benedick.
It were good that Benedick knew of it by some other, if she will not discover it. He would make but a sport of it and torment the poor lady worse. An he should, it were an alms to hang him. And she is exceeding wise. In everything but in loving Benedick. II, iii, Here, the friends clearly want Benedick to realise how proud he is and how his bad wit makes him look in the eyes of others. Why, it must be requited.
I hear how I am censured: They say too that she will rather die than give any sign of affection. I did never think to marry. I must not seem proud; happy are they that hear their detractions and can put them to mending. O god of love! I know he [Benedick] doth deserve as much as may be yielded to a man. Disdain and Scorn ride sparkling in her eyes, misprising what they look on, and her wit values itself so highly that to her all matter else seems weak.
Benedick And Beatrice: The Mature, Romantic Relationship Overlooked By Shakespeare Fans | HuffPost
She cannot love, nor take no shape nor project of affection, she is so self-endeared. Sure, I think so. What fire is in mine ears? Can this be true?
Stand I condemned for pride and scorn so much? Contempt, farewell; and maiden pride, adieu; No glory lives behind the back of such. And Benedick, love on, I will requite thee, Taming my wild heart to thy loving hand.