Historical and Cultural Context in Much Ado About Nothing

Much Ado About Nothing was written in 1598-1599, during the reign of Queen Elizabeth I (from 1558 to 1603). It is set in Messina, Italy, in the 16th century.

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The Elizabethan standards for romantic relationships and marriage shape the characters’ actions and decisions. The play also reflects the views at the time on honour and shame.

Gender Roles in Elizabethan England

England at the time was very much a patriarchy, meaning that men were given more power and status than women. Men could be educated at school (as William Shakespeare was, attending a local grammar school). They would then be given opportunities to have higher-paid and more respectable jobs than women.

In contrast, because women were considered inferior, they were trained from a young age to be homemakers. They were deemed the ‘weaker sex’, and it was believed that they could not be as successful in skilled professions as men – even though a highly respected queen, Elizabeth I, was on the throne.

A woman’s best hope of a stable future was to marry well. However, once married, a woman would have to give up her wealth and possessions to her husband. Most wives were treated as possessions by their husbands and were expected to be wholly obedient and subservient.

To maintain their respectability, women were expected to keep their chastity (virginity) before marriage. Women who had sex outside of marriage were often ostracised from their families and society due to the associated shame. Elizabethan England was very Christian in outlook, and sex outside of marriage was seen as a sin.

Courtship and Marriage in Elizabethan Times

Marriage customs in Shakespeare’s time varied depending on social class. Among the less wealthy, couples often courted each other before deciding to marry. It’s important to note, however, that engaging in sexual relations outside of marriage was still widely regarded as shameful. In contrast, marriages within wealthy families were frequently arranged by the bride and groom’s fathers. These arrangements were strategic, and typically motivated by political, social and financial reasons. They served to consolidate power and wealth.

Claudio and Hero’s relationship in Much Ado About Nothing reflects these traditional expectations for young adults in affluent families. Claudio is drawn to marry Hero, influenced not only by her beauty and virtue but also by her dowry (the wealth she would bring to their marriage). His interest in her financial status is subtly indicated when he praises her beauty, asking, “Can the world buy such a jewel?”

Their relationship, largely shaped by societal norms, highlights the period’s emphasis on marriage as a transactional and strategic arrangement rather than a union based on true love. This is evident in the role of Hero’s father, Leonato, who is actively involved in the marriage discussions.

Upon hearing about Don Pedro’s intention to propose on Claudio’s behalf, Leonato says that he will “prepare [Hero] for an answer” to the proposal. This implies that Leonato views marriage more as a familial or social agreement, where Hero’s personal feelings or choices are secondary to the benefits of the match.

Honour and Shame

Honour played a significant role in social interactions during the Elizabethan era. For men, honour was associated with bravery, while for women, it was about chastity. Honour was highly respected and defined one’s reputation.

This is evident in Hero’s public shaming by Claudio:

“There, Leonato, take her back again. Give not this rotten orange to your friend. She’s but the sign and semblance of her honour. Behold how like a maid she blushes here!”

Claudio’s accusation implies that Hero, being seen as unchaste (by losing her virginity), has lost her honour. As a result, he returns her to Leonato as if she is a faulty possession. A woman’s disgrace would also mean the whole family loses their honour, contributing to Leonato’s devastation, as he knows his reputation will be permanently stained by the scandal.

The importance of male honour is seen in Claudio’s furious reaction to Hero’s supposed infidelity. In this era, being a cuckold (a man whose wife has been unfaithful) would disgrace the husband as well as his wife, seen as a sign of the husband’s weakness in controlling his wife.

Male honour is further highlighted when Benedick challenges his friend Claudio to a duel for wrongly accusing Hero:

“You are a villain. I jest not. I will make it good how you dare, with what you dare, and when you dare. Do me right, or I will protest your cowardice”

In the Elizabethan era, a man’s honour was at stake if he was challenged to a duel and declined to fight. Therefore, Claudio, who values honour highly, must accept the duel. Fortunately, the matter is resolved before the duel takes place.

In this scene, Benedick protects his honour by standing up for what he believes is right.

Children Born Out of Wedlock

In the Elizabethan era, if a child was born out of wedlock (their parents were not married), they were considered illegitimate. Wealthy men often had mistresses outside of their marriage, leading to the birth of illegitimate children. In contrast, married women were not afforded the same leniency and faced disgrace if they engaged in sexual relations with a man other than their husband.

Illegitimate children were often denied the titles and inheritance typically granted to legitimate children. They were frequently described by the insulting term “bastard,” a label many characters use for Don John throughout Much Ado About Nothing. Many people at the time believed that children born out of wedlock were more predisposed to evil actions. Sir John Fortescue, an influential legal scholar in the 16th century, once wrote:

“If a bastard be good, that commeth to him by chance… but if hee bee evill, that commethe to hym by nature.”

Therefore, for an Elizabethan audience, Don John’s malicious behaviour would be seen as a result of his illegitimate birth.