Themes, Motifs and Symbols in Much Ado About Nothing

Themes

Much Ado About Nothing explores themes of deception, love, honour and gender roles.

Deception

The title ‘Much Ado About Nothing’ reveals the deceptive nature of the plot. It suggests that a lot of fuss is made over “nothing” – or “noting”, a pun that means eavesdropping.

Deception has a destructive impact on many of the characters in the play. The most striking example is when Don John deceives Claudio into doubting his relationship with Hero. This occurs first at the masked ball when he makes Claudio think that Don Pedro is wooing Hero for himself. Claudio, quite gullible, quickly falls for this deception, believing he has been betrayed by his friend Don Pedro instead of suspecting the treacherous Don John.

Even after the truth is revealed and Don Pedro announces the wedding, Claudio fails to learn his lesson about whom to trust. Don John seizes this character flaw and deceives him again, telling Claudio and Don Pedro that Hero has been “disloyal.”

Before even seeing the fabricated evidence of Hero’s infidelity, Claudio begins planning his revenge, vowing to “shame her” at the wedding if his suspicions are confirmed. This deception leads to Hero being disgraced and thought to have died from the humiliation. Thankfully, Don John’s plot is eventually exposed by chance. Perhaps undeservingly, given his misplaced trust, Claudio marries Hero once the truth is uncovered.

A more benign (good-hearted) form of deception is central leads to Benedick and Beatrice’s relationship. Don Pedro leads a plan to bring them together, declaring:

“Cupid is no longer an archer; his
glory shall be ours, for we are the only love gods.”

• Cupid is the god of love, who would shoot arrows at people to make them fall in love.

Don Pedro’s plan manipulates Benedick and Beatrice into loving each other. Firstly, Benedick overhears his friends discussing Beatrice’s supposed love for him. Then, Beatrice’s friends similarly trick her into believing Benedick loves her. This well-intentioned deception proves to be successful, leading to their eventual mutual affection.

Love and Courtship

Love and courtship are central themes portrayed through the relationships of Beatrice and Benedick, and Claudio and Hero.

Beatrice and Benedick’s relationship develops gradually over time. Benedick says to Beatrice:

“Thou and I are too wise to woo peaceably.”

He suggests that their love and courtship would never be straightforward. Both of them mock love and the institution of marriage, declaring that they will never marry. Without intervention, they would likely be too proud to open themselves up to the vulnerability of admitting their feelings. Only their friends recognise the suitability of marriage for each of them.

Hero expresses a desire to “help my cousin to a good husband,” while Don Pedro observes that Benedick “is not the unhopefullest husband that I know.” Only upon believing that the other harbours feelings for them do Beatrice and Benedick admit their own affections.

In contrast, Claudio and Hero’s relationship is sudden and impulsive. Claudio immediately falls in love with Hero, calling her “the sweetest lady that ever I looked on,” before even talking to her. Benedick mocks him for this, but Claudio cannot be swayed in his determination to be married to her.

However, this impulsiveness also causes Claudio to fall quickly out of love when he believes Hero has been unfaithful. He critically calls her a “rotten orange,” reflecting his changed feelings upon thinking that he has seen who she is on the inside. Once Don John’s deception is uncovered, Claudio quickly returns to his affectionate stance, saying:

“Sweet Hero, now thy image doth appear
In the rare semblance that I loved it first.”

This flip-flopping highlights the rapidity with which Claudio’s feelings for Hero fluctuate. The audience may question the depth of their relationship, contrasting it with the more gradually developed understanding and respect found in Beatrice and Benedick’s relationship.

Honour

The play explores society’s expectations and values placed on honour. It focuses on women’s chastity and reputation in the patriarchal society of Messina.

When Hero is shamed at the wedding for her supposed infidelity, she faints, overwhelmed by the dishonour. This scene reflects the significant impact that dishonour could have on a woman in that society. Such is the disgrace that even her father, Leonato, says, “Death is the fairest cover for her shame.”

Claudio’s quick condemnation of Hero stems from his desire to maintain his honour. Don John manipulates Claudio, saying:

“If you love her then, tomorrow wed her. But it would better fit your honour to change your mind.”

He is using the importance of honour to override Claudio’s feelings of affection or trust for Hero. This leads Claudio to believe that the only way to reclaim his honour is to publicly disgrace Hero.

Gender Roles

The play portrays the traditional gender roles of the Elizabethan era, where women were expected to be obedient and men to be brave and dominant. When speaking of Hero, the men comment:

“Can the world buy such a jewel?”

Claudio

“Yea, and a case to put it into”

Benedick

Claudio’s comment, referring to Hero as a “jewel” and Benedick referring to her as “it,” objectifies her, reducing Hero to a valuable possession rather than a person.

However, Beatrice’s character challenges these stereotypes. She is assertive, independent and vocal about her lack of desire to marry, which was unconventional for women at the time. She declares:

“I had rather hear my dog bark at a crow than a man swear he loves me.”

Ultimately, although Beatrice marries Benedick, her character throughout the play challenges traditional gender roles, even as she takes on the role of a wife. This demonstrates how, in Elizabethan society, even strong, independent women like Beatrice often conformed to societal expectations in the end.

Symbols and Motifs

Eavesdropping

Benedick and Beatrice overhear their friends talking about their love for each other. Beatrice wonders in disbelief:

“What fire is in mine ears? Can this be true?”

Both are tricked into confessing their true feelings.

Claudio and Don Pedro eavesdrop on a staged conversation about Hero’s infidelity. These instances highlight how easily perceptions can be manipulated through misinformation.

Masks

Masks symbolise disguise and deception. Don Pedro pretends to be Claudio to woo Hero at the masked ball. This arguably starts the relationship between Claudio and Hero at a point of deception, leading to some of the mistrust that follows.

Characters also wear metaphorical masks to hide their true feelings or intentions. Beatrice and Benedick do this with their love, hiding behind masks of disdain for marriage and each other. Don John masks his evil intentions, presenting a facade of concern for Claudio’s honour.

Noting

The word “nothing” in Shakespearean times was pronounced as “noting,” making the title of the play a clever pun. For example:

“Or if thou wilt hold longer argument,
Do it in notes.”

Don Pedro

“Note this before my notes,
There’s not a note of mine worth the noting.”

Balthasar

“Why these are very crotchets that he speaks,
Note, notes, forsooth, and nothing.”

Don Pedro

Characters frequently eavesdrop on each other’s private conversations, reflecting the theme of ‘noting.’

Also, the word ‘nothing’ had a double entendre, being a euphemism for female genitalia. This adds another layer of meaning to the play’s title.