Much Ado About Nothing: The Unsociable Comedy
Barbara Everett, Somerville College, Oxford
Social workers sometimes speak of people 'falling through the net'. That's what it can seem that Much Ado About Nothing has done, critically speaking. Audiences and readers rarely like it quite as much as the two comedies by Shakespeare which follow it, As You Like It and Twelfth Night: they feel that by comparison it lacks some sort of magic. Professional critics can take this vague disappointment much further, almost echoing the nineteenth-century charge that the heroine Beatrice is an 'odious woman'. In case it appears that we have changed all that, it may be worth mentioning that what is probably still the only full-length handbook on the play describes Beatrice (at least in her earlier unreformed phase) as 'self-centred', 'the embodiment of pride', a person who 'cannot love', 'a crippled personality, the very antithesis of the outgoing, self-giving character [Shakespeare] values most highly'. Nor is this study by J. R. Mulryne exceptional. A leading paperback edition cites it approvingly and itself describes both Benedick and Beatrice as 'posing', 'showing themselves off as a preparation for mating'; and it regrets that this pair of lovers fails to 'arouse in an audience the warmth of feeling' evoked by a Portia or a Rosalind. The writer of this Introduction, R. A. Foakes, can only conclude that 'The contrast between [Claudio and Hero] and Beatrice and Benedick was surely designed in part to expose the limitations of both couples.'
'This lookes not like a nuptiall', Benedick murmurs helpfully as the catastrophic Wedding Scene of Much Ado gets under way: and the reader of the play's criticism can often feel the same. Particularly given that we are considering a love-comedy by Shakespeare, the remarks I have quoted all seem to me to be startling judgements. For opinions to differ so much can provoke useful thought. Perhaps Shakespeare's mature comedies, once recommended literary fodder for school-children on the grounds of their charming pure-minded simplicity, are—whatever their other characteristics—not so simple after all. When Shakespeare first staged Much Ado, fairly certainly in 1598 or '99, he was coming to the end of a decade of extraordinary achievement and invention. The first Tragedies, the earlier Histories and Comedies lay behind him, The Merchant of Venice immediately preceded Much Ado, and Shakespeare had probably written most of both parts of Henry IV. The dramatist of The Merchant of Venice and Henry IV was in no way unsophisticated or unambitious. If he gave the three comedies we now choose to call 'mature' his most throwaway titles, they aren't throwaway plays. Possessed as they are of a profound sense and vitality which suggest the popular audience they were written for, their lightness nonetheless recalls that 'negligent grace' (sprezzatura) which the aristocratic culture of the Renaissance aspired to. The very unpretension of Much Ado About Nothing, its affectionate straightforward transparency have been invented to deal with human experience dense enough and real enough to produce notably different reactions from given human beings.
These comedies have become so familiar that it can be hard to think of them freshly. I want therefore to begin by approaching Much Ado from a slightly unexpected angle—because sometimes, when we are surprised, we see things more clearly. I'm going to start by thinking about one of the comedy's textual cruces, involving a few words spoken by Leonato in the first scene of Act 5. An interestingly shaped play, whose structural rhythm the dramatist was to use again in Othello (a fact which alone may say something about the work's seriousness), Much Ado has its main plot's climax, which turns out to be a pseudo- or anti-climax, in Act 4: in the big, bustling, peopled and very social Wedding Scene, which sees the gentle Hero, unjustly shamed by the machinations of the villains, publicly humiliated and jilted by her courtly fiancé Claudio—though the fidelity to her of her witty though here grieving cousin, Beatrice, brings to Beatrice's side her own lover, the humorous Benedick.
In marked contrast, Act 5 opens with a quiet scene between two suddenly aged men, Hero's father Leonato and his brother Antonio. Critics have often thought it the most feeling moment in a drama they otherwise find cool. Leonato rebuffs his brother's philosophical comfort; he will be stoical, Leonato says bitterly, only if so advised by one who has suffered precisely as, and as much as, himself:
If such a one will smile and stroke his beard …
Patch griefe with proverbs, make misfortune drunke
With candle-wasters: bring him yet to me,
And I of him will gather patience.
I have edited this, cutting out a line which both the early texts, the 1600 Quarto and the 1623 Folio, are agreed on, but which the great late-Victorian New Variorum edition fills two and a half of its large minutely printed pages of Notes discussing: and which all modern editors emend, in various slightly unconvincing ways. In the authentic texts, Leonato says that his despised comforter would be one to
stroke his beard,
And sorrow, wagge, crie hem, when he should
Patch griefe with proverbs
—and so on.
I want to talk for a few moments about what I think Leonato really said (which is not quite what modern editors make him say). It's necessary to add that, as the New Variorum records in its textual apparatus, fortunately or unfortunately an excellent American scholar named Grant White printed in his edition of 1854 the emendation I'm going to propose: but, since he dropped the emendation in his second edition, and didn't explain or gloss it in the first place, the field remains reasonably clear. He thought, and I too had thought independently, that Leonato describes his would-be comforter angrily as 'sorrow's wagge'—'And, sorrow's wagge, crie hem, when he should grone': a compositorial mistake very easy to account for; for, in the old Secretary hand which Shakespeare had learned to write in, the terminal letter 's' to a word was written as a kind of scrawled loop very like a topped comma. Let the comma lose its top because of a shortage of ink and the text reads just as in the Quarto and Folio.
It's an interesting fact that the editor of the New Variorum, the scholar Furness, urges us to find these early texts 'irredeemably corrupt'—not even to try, that is, to emend their version of the line. And he does so because the line shocks him as it stands. No editor, however authoritative (he says) 'can ever persuade me that Shakespeare put such words, at this passionate moment, into Leonato's mouth. There is a smack of comicality about "wag" which is ineffaceable.'
There is indeed. But perhaps Shakespeare put it there. The seriousness, even the genius of Much Ado may be to bring in precisely that 'smack of comicality' where we least expect it—just as its dramatist invents peculiarly English constables for his Sicilian play, to stumble fatheadedly into arresting the villains and bringing about the play's happy ending. A 'wag' is a word and a social phenomenon that is nearly obsolete now, though I can remember my own mother using it drily, with something of Furness's rebuke. A wag is or was a person who habitually, even desperately, tries to be funny. But in Shakespeare's time the word hadn't progressed to this degraded condition—it had not, so to speak, grown up: it remained the 'little tine boy' of Feste's song. For the most familiar colloquial usage of 'wag' in the poet's own day was in the tender phrase, 'Mother's wag'. The word denoted a mischievous small prankster, amusingly naughty as little boys often are. Only a few years before Much Ado, Greene in his Menaphon has, 'Mothers wagge, prettie boy'—and Falstaff calls Hal his 'sweet Wagge' in Part I of Henry IV.
Leonato says that the father who, having lost a child, could still find or accept words of comfort would be 'Sorrow's wagge': he means the man would be himself a child, immature. And the phrase has an element of oxymoron that defines his shock and outrage. Like Furness after him, this decently conventional, hierarchical, even conservative old man thinks that certain conjunctions of what they would have called the grave and the gay, of grief and humour, are 'irredeemably corrupt'.
Before we agree with them both, we ought perhaps to pause and ask whether Shakespeare has not shaped this encounter of the two old men so as to prevent us doing just that. The 'passionate moment' which the Victorian editor points to is surely something odder than passionate—and is odd in a way that is relevant. For (and this is my chief topic here) Much Ado About Nothing's real achievement may be to make us think very hard indeed about this quality of the 'passionate' in human beings.
In this scene, Leonato and Antonio wear something that is easy to call, at sight, the dignity of the bereaved; and they wear it consciously. But this is odd because, though Hero may be disgraced, she is certainly not dead. And both Leonato and Antonio know it. Moreover, we in the audience know that even Hero's disgrace is rapidly melting into air: for the grieving scene is linked to the Church Scene by, and is immediately preceded by, the comic bridge-scene in which the ludicrous constables—the more senior proclaiming, with something of Leonato's own self-important fury, that he 'hath had losses'—have apprehended the villains and are at this moment hotfoot bringing a full disclosure to Leonato.
Later in this Fifth Act, Don Pedro and Claudio will make solemn acknowledgement at the quasi-tomb of Hero. This action has its own meaning—the moment's music allows the gesture a dimension of the symbolic: the scene mutedly articulates some sadness which all grown-up 'understanders' of this highly civilised, social comedy know to be intrinsic to most passion seeking social embodiment. In the very preceding scene, 5.2, Benedick has lightly told Beatrice that she doesn't live in 'the time of good neighbours', if it ever existed; that 'if a man doe not erect in this age his owne tombe ere he dies, hee shall live no longer in monuments, then the Bels ring, & the Widdow weepes'—i.e., not long. But symbols are one thing, and facts another, even in our greatest poetic dramatist. Hero still isn't dead. And the fact that she isn't, and that we know that she isn't, and that her family, too, know that she isn't turns this grieving ceremony at the tomb into something like the masked dances which characterise this sophisticated comedy: an art, a game, a pretence—a deception exonerated by having been proposed in good faith and by a man, so to speak, of the cloth.
Much Ado's tomb-trickx may in short be considered as not unlike those bed-tricks in the two later, much darker comedies, Measure for Measure and All's Well That Ends Well. Greater, much more intense, these two plays tell us far more about Shakespeare's interest in the tragi-comic—though neither they, nor any other play written by him is truly identifiable with the genre as the Continental aristocracy of the period knew it. But Much Ado shares one striking characteristic with them. It has the tragi-comic concern with love in society, a society for which some version of the political, the power-issue, is serious: a world which defers to Courtship and to social hierarchy. From this point of view, the tomb-trick is like the bed-tricks in working as a special kind of 'good deceit' or virtuous untruth, a device of worldly accommodation in a light but moral art. The clever courtiers, with Don Pedro at their head, have descended on Leonato's provincial family, and have done these simpler if still socially aspiring people some harm. Now the tables are pleasingly turned, the foolers are fooled, and Leonato and Antonio regain something of their lost honour merely by the silent superiority of knowing what they know.
But if this is conceded, something else must follow. The tomb-trick is peculiarly like those forms of wise comfort (and the word comfort actually means 'self-strengthening') angrily rejected in the grieving scene by the passionate Leonato. The music of the tomb-scene, shortly after, though saying nothing true, can still both calm and resolve. It thus performs the act at first denied by Leonato in the scene I started from: it can, like the wag's wisdom, 'Charme ache with ayre, and agony with words'. While the old man scorns sorrow's wags, something wise in the play embraces them.
I have used the word 'embrace' here deliberately—and not only because it is a love-comedy we are concerned with. For Elizabethans, the chief image of Love itself was as a 'wag': as the Puck-like armed baby, Cupid—naughtily dangerous, even disturbing to the coolly rationalistic eye of the Renaissance, yet in these comedies also the medium of great good. Puck himself is, after all, in the service of Oberon the King. Yet Puck moves in the night, 'Following darkenesse like a dreame', and the wood where the lovers wander is a distressing and frightening place. These complexities make Shakespeare's Love, and love's Happiness, a pair of twins, springing from the circumstances of sorrow: sorrow's wags.
I am hoping to suggest that in this casual phrase, a local crux in the text of a light comedy, we have some suggestion of the kind of rich complexity, of fruitful half-paradox, which gives Much Ado the vitality and depth by which it now survives. The comedy's Italian director, Franco Zeffirelli, once referred to it as a 'very dull play'. And Much Ado is indeed simple if we compare it, for instance, to its predecessor The Merchant of Venice. But that play's fascinating intellectual battles, its energy of contrasts embodied in Portia and Shylock, the marketplace and Belmont, leave behind at the end a disquieting dissatisfaction, a sense of something unjust or unresolved. This is a subject I shall return to. For the moment I want only to suggest that Much Ado may have chosen to be a 'very dull play', to be simple to the eye.
But its simplicity is a solidity. Shakespeare uses the novelle sources from which he has taken his main plot to generate a special, almost novelistic sense of the real, of a world where people live together to a degree that is socially and psychologically convincing, and new in the poet's work. And this realistic, even novelistic comedy deepens itself by containing, indeed we may say, with Leonato in mind, by embracing contradictions everywhere beneath its smooth and civil surface. If there is, to Leonato's mind, a troubling indecorum, an unconventionality in the juxtapositions, momentarily glimpsed by him, of sorrow with joy and of play with love, then it has to be said that such vital oppositions pervade the play, and are its life. Let me touch on one famous passage. At one point Don Pedro finds himself proposing marriage to Beatrice. He does not love her, nor she him. He has been led into it by his belief in the kindness of his own impeccable manners: a self-defeating trap from which he is released by Beatrice, who of course has led him into it in the first place, with the neat licentious speed of some brilliant Court Fool. Panting slightly, the courtly Don Pedro tells Beatrice that she was 'born in a merry howre'. She wins again, both wittily and touchingly: 'No sure my Lord, my Mother cried, but then there was a starre daunst, and under that was I borne.' This nicely hints at some of the reasons why this (to my mind) superb heroine has been and can still be disliked by a whole host of male scholars, both past and present. She is Shakespeare's true heroine, woman as 'wag', the sharp and comical child of sorrow.
Beatrice does something far more waggish than merely walking along a razor's edge of good behaviour with a visiting grandee. Indecorum is embodied in the fact that she and her story, which a formal criticism calls 'the subplot', take over the play, edging aside the main-plot story of Claudio and Hero. It's well known that Charles I wrote against the title of his text of the play 'Benedik and Betrice', and the sympathy of most succeeding readers has agreed with him. But the high originality of this comic structure can leave editors behind. Much in accord with the New Penguin Introduction which I quoted earlier, the New Arden confronts as the chief critical problem the question, 'What can or should be done to balance the play?' and proposes as answer: 'Hero and Claudio can gain in prominence; Benedick and Beatrice can be less salient.' But perhaps the comedy has its own balance, which can only be impaired by these adjustments: and this balance has to do with the delicate poise of energies suggested by the phrase, 'sorrow's wag'. I have lingered over this conceit because of all it can suggest about the essential principles involved in a Shakespearean comedy: principles necessitating both light and dark, both seriousness and laughter.
It can be a struggle to explain why these romantic comedies carry the value that they do—why, seeming to be 'About Nothing' (as their ironic or nonchalant titles suggest) they nonetheless evoke from those who truly like them, words like 'true' or 'brilliant' or 'profound'. The 'Nothing' of the Much Ado title is now, of course, somewhat undercut by our understanding that Elizabethans could pronounce 'Nothing' as 'Noting'. The plot of the comedy certainly turns on what this pun implies: notetaking, spying, eavesdropping. No other play in Shakespeare introduces so much eavesdropping—each new turn of the action depends on it. The confusions of Don Pedro's wooing of Hero for his protégé Claudio, the machinations by which his bastard brother Don John deceives Claudio into believing Hero unchaste, the trick by which Beatrice and Benedick are persuaded that each loves the other, the discovery of the villains by the comic constables—all these are effected by the incessant system of eavesdropping. Yet underneath the noting there is nothing. The play's first act is filled by a flurry of redoubled misunderstanding which scholars often assume to be textual confusion or revision. This seems to me a mistake. The dramatist plainly wanted his comedy to be this way: he wanted the world he had invented to be swept through by these currents of pointless energetic bewilderment. Later, after all, he almost unwinds the villainy of the mainplot before our eyes, by having the pretend-Hero address her villainous lover as 'Claudio', a naming which would have left the heroine all but guiltless. Shakespeare's change of all his sources in this main plot is important here: what they presented as evidence, he converts to mere inference. An editor once complained that the omission of the 'Window Scene' does an injustice to Claudio. Perhaps; but it was meant to. And this stress in Shakespeare's play on the insecurities of mere social inference even touches the other lovers. In the last scene, the obdurately individual Beatrice and Benedick show signs of being as near as makes no matter to a readiness to back out of each other's arms: loving each other 'no more then reason', 'in friendly recompence', taking each other 'for pittie', yielding 'upon great perswasion'.
Much Ado About Nothing reminds us, both as title and play, that, though life is indeed serious, most human beings pass much of their time in little things, unseriousness; that the ordinary, social fabric of life can be very thin, made up of trivia, and we can often feel a kind of real nothingness underneath ('hee shall live no longer in monuments, then the Bels ring, & the Widdow weepes … an hower in clamour and a quarter in rhewme'). Benedick's light definition of human void is a striking one, peculiarly apt in the theatrical world which has produced it, where revels are always 'now … ended'. He evokes it in a context congenital to Shakespearean comedy, that of the presence or absence of real human feeling: love in a world which is defined as recognisably not 'the time of good neighbours', and in which the sound of the bells is short, of weeping even shorter.
Shakespeare's comedies are a 'Nothing' concerned with serious things: and these serious things are the principles of true human feeling, in a world in which a wise man knows that so much is nothing. To be at ease in such reflections demands at once ironic detachment and feeling participation. Consonantly, if we are trying to describe the power, the real survival-value of even the poet's earliest comedies, it has to do with his ability to bring laughter together with tenderness. We think of Launce and his dog in The Two Gentlemen of Verona; of the tough slapstick of The Taming of the Shrew, resolving into Katherine's sober devotion; or the weeping of the angrily jealous Adriana in the brilliant fast farce of The Comedy of Errors. The coolest and most intellectual of aristocratic revues, Love's Labour's Lost ends with a father dead and Berowne sent, in the name of love, to 'move wilde laughter in the throate of death'; and it includes the memory of a girl, Katherine's sister, who died of love: 'He made her melancholy, sad, and heavy, and so she died: had she beene Light like you, of such a merrie nimble stirring spirit, she might a bin a Grandam ere she died.' Titania, similarly, in A Midsummer Night's Dream, tells of her loyalty to the friend who died in childbirth, like so many Elizabethan women:
she being mortall, of that boy did die,
And for her sake I doe reare up her boy,
And for her sake I will not part with him.
I quoted Beatrice's 'No sure my Lord, my Mother cried.' Immediately after, with Beatrice sent out of the room, Leonato tells that, by Hero's report, Beatrice has 'often dreamt of unhappinesse, and wakt her selfe with laughing'. Something very similar might be said of Shakespeare's comedies in themselves: their character from the beginning has to do with finding a way of being 'sorrow's wag'. His art recognises the interdependence of the dark and the light in life, especially at those points of love and friendship where feeling is most acute, and often most complex. The mature comedies seek to perfect a style or condition in which happiness exists not just despite unhappiness but through it, because of it, yet charitably and sympathetically, like Patience smiling at grief. There must in the end be the co-existence, the smiling and the grief. In The Merchant of Venice, for all its brilliance, there is no final co-existence: something has been sacrificed to the desired achievement of extreme contrarieties, of the play of light and dark. As the sociable Bassanio has to use the lonely loving Antonio, so in the end the golden Portia must destroy the embittered, darkhoused Shylock, the greatest personage in the comedies.
It's in the art of co-existence that Much Ado's supremacy lies: this, the first of Shakespeare's mature comedies in which very different human beings believably live together. Its 'dullness' (to quote Zeffirelli) is only the prosaic quality of the novel as against the poem. Yet this temperate, equable and witty world Shakespeare has created has surprising resonances, depths and possibilities. If prose is the comedy's dominant medium, the work's very coherence and inventiveness is a poetic achievement of a high kind.
That creativity is first manifested by Shakespeare's making of 'Messina'. That the dramatist calls his play's setting Messina, and makes his elderly Leonato, father to Hero and uncle to Beatrice, Governor of it, does not have to be taken too seriously—seriously in the sense of literally. 'Messina' is any romantic place lived in by rich and relatively important people. But, off the literal level, 'Messina' has extraordinary self-consistency and convincingness. The fantasy-place also functions as the grounding of the real; and, immediately below the surface, things hold together. I will give one small example from the first lines of the play: it says something about the way the poet's imagination has worked on his fantasy-place, and may even give some hint as to why Shakespeare chose this Sicilian port as his locality. Much Ado begins with the descent of grand visitors, heralded by formal letter and Gentleman-Messenger, on the excited and grateful Leonato: the visitors being the well-born and triumphant young warriors, Don Pedro and friends. The stage 'Messina' is thus flooded by a desired and aspired-to standard of Court behaviour, one evidenced in the battle just won (the chief occupation of a Court culture was warfare); and also in the good manners everywhere, the formal wit, the letters, the vivid sense of worldly hierarchies.
But directly this Court standard is initiated, we feel its ambiguity. Don Pedro brings with him the brother he has just defeated, the villainous Don John. The opening words of the drama speak of the distinguished visitor by his Spanish title—he is 'Don Peter of Arragon'; and his brother Don John's title can hardly fail to remind an Elizabethan audience of that Don John of Austria who was similarly a Spaniard, a natural son of Philip II. Oddly enough, it was at the port of Messina that the fleets gathered before the great battle of Lepanto, where 'Don John of Austria' rode 'to the wars'. Catholic Spain was at Lepanto the defender of what Renaissance Christians held to be true civilisation against the barbarian hordes of the East. But she was also the lasting, unchanging threat to English supremacy at sea—and she represented a Church thought by many of Protestant Elizabeth's subjects to be wickedly authoritarian: a double face, as the play's courtliness will shift between light and dark.
For, though Leonato welcomes Don Pedro's visit as a high honour, Don Pedro brings with him the bastard brother, Don John, the at least nominal source of all the play's troubles, his dark, surly, lonely ill-nature an interesting shadow to Don Pedro's all-too-glittering sociality. And young Claudio, Don Pedro's friend, is as amiably disagreeable as he is conventional. It is entirely unsurprising that he should later indicate his interest in Hero by making certain that she is her father's heir; that his deception by the villains should be as rapid as his consequent repentance; and that the girl he readily accepts at Leonato's hand as second bride should be 'Another Hero'. In the triviality of their love is the necessary stability of their society.
The story of his two independent individualists, Beatrice and Benedick, Shakespeare seems to have invented for himself. But the main Hero-and-Claudio plot of his play he took from the great stock of international Renaissance romance. These facts are perhaps suggestive: they may tell us something about the kind of world Shakespeare saw himself creating in this comedy of 'Much Ado'. 'Messina' is a figure for the most courtly, most worldly aspirations of ordinary people. The society of 'Messina' is governed by decorum, convention and fashion. Its only alternative, bred within itself, is the hostile isolationist Don John, the lawless brother who has determined 'not to sing in my cage'. Everyone else does sing in the cage—the cage being Leonato's great house with its arbour-full of secrets for a garden, a world of spiky high-level chatter where formal compliments intertwine with informal insults. It's not surprising that the comic policemen get the impression that the villains are led by one Deformed, a man of some fashion. Even Shakespeare himself sings in his cage: amusedly inventing at one point the babble of Vogue magazine, telling us that Hero's wedding-dress will be worth ten of the Dutchesse of Millaine's 'cloth a gold and cuts, and lac'd with silver, set with pearles, downe sleeves, side sleeves, and skirts, round underborn with a blewish tinsel'.
'Messina' is tinsel itself, and yet very real. It can't be satirised or politicised out of existence, nor even assumed to be a mere preserve of the rich. The constables who enter the play in its third act to resolve the problems of their nominal superiors are just as much given to chat and argument as anyone else in Messina, and as interested too in social status. They are rustic, obdurately English instead of Sicilian, and often very funny ('We will rather sleepe than talke, wee know what belongs to a Watch'—'Nothing' operates here, too). 'Messina' represents a mundane if aspiring social reality which we recognise at sight: that social world which is, as Wordsworth remarked, the 'world/Of all of us', and in it, we 'find our happiness, or not at all'. When Benedick resolves to marry, he remarks briskly that 'the world must be peopled', and we all (of course) laugh. Yet he is serious too; and this is what Much Ado portrays in 'Messina'—the world of people that 'must be peopled'.
This wonderfully real and recognisable world Shakespeare brings alive in the very style and structure of his comedy. 'Messina' talks a fine and formal, conversational yet mannered prose, which in the genuinely intelligent becomes admirably flexible. Only those who are unusually deeply moved (Beatrice in love, Hero's family in and after the Church Scene) speak in verse, and that not often. The play is a very Elizabethan work, yet it sometimes sounds to the ear almost like Restoration Comedy, at moments even like Wilde. Its structure has the same tacit expressiveness. The action falls naturally into Messina's large crowded scenes of social encounter—the opening arrival of the soldiers, the evening dance in mask, the church wedding, the final celebration. It is because of these thronged and bustling scenes that the moment when Benedick and Beatrice speak their love to each other, left alone on the stage after the interrupted marriage, has such startling effect.
Despite the eventfulness of what we call the main plot, nothing really happens to the more social characters of the play, who are precisely defined as people to whom nothing can happen (hence, 'Another Hero'). Late in the play, after Hero has been cruelly rejected on her wedding-day and is believed to be dead by all but her family and friends, there is a decidedly subtle and embarrassing encounter between the young men, as Don Pedro and Claudio think to take up again their old verbal teasing of Benedick, and can't realise by how much he has now outgrown it. This unawareness is the continuity of the social, the process by which it survives: 'Messina' lives in a perpetual present, where salvation depends on the power to forget. It has all been, after all, 'Much Ado About Nothing'. And yet there is of course an exception to this. Beatrice and Benedick do change. And the index of this change, their falling in love, is the great subject of the comedy.
Beatrice and Benedick are most certainly inhabitants of Messina. Hero's cousin and Claudio's friend, they belong in their world, possessed by a social realism summed up in Beatrice's 'I can see a Church by daylight.' Moreover, there is a real sense in which we are glad to see the cousins and friends join hands again at the end of the play, with a sensible patient warmth foreshadowing that romantic yet worldly wisdom which keeps the families joined, if at some distance, at the end of Pride and Prejudice.
Yet Beatrice and Benedick do still change. Modern Shakespeareans who work assiduously to banish this change, to work the hero and heroine back into those borders of the action from which they come, seem to me to be in serious error, and to be breaking the back of a work of art. Much Ado's very originality of action and structure, that power of mind which animates Shakespeare's lightest comedies, here depends on the growing importance of two people who, though their intelligence gives them authority from the beginning, are socially on the margins of the action, subordinate in interest to the possibly younger Hero and Claudio. But, where the trick played on Claudio by Don John destroys his shallow love for Hero, Don Pedro's fooling only releases real depths of feeling in Beatrice and Benedick, the two unsociable individuals who think themselves determined to resist the enforcements of matrimony.
There has been in much recent criticism a comparable resistance to the originality of Much Ado itself, one evidenced by the repeated insistence that Beatrice and Benedick do not change and fall in love in the course of the play: they are (the argument goes) in love when it begins. Again, I have to say that I find this near-universal assumption entirely mistaken. Despite all the sophisticated techniques of the modern psychological novel, the analysis of actual human feeling often lags far behind Shakespeare still. Beatrice and Benedick begin their play attracted to each other, but not in love. Both are children of 'Messina'; both play its games; both belong to a social world for which such attraction is an ordinary datum of experience. 'Messina' assumes that men and women are always after each other and always betraying each other: 'Men were deceivers ever'; and Benedick joins in with Leonato's social by-play of distrusting his own child's legitimacy.
But both from the first see beyond, and through, the merely social, as Benedick really prefers 'my simple true judgement' to what he is 'professed' or supposed to think. This soldierly preference for sincerity suggests that he might similarly like to be truly in love with Beatrice. But he isn't. When he finally does fall, he is honest enough—in a fashion both comic and heroic—to tell her how 'strange' he finds it to feel so much. Earlier, though, what has angered Beatrice is this sense of a mere conditionality in Benedick, which might never have become fact. With an allusive dimension of past and future which distinguishes the two senior lovers from the rest of timeless Messina, Beatrice has two curious references to time past which have puzzled critics. She tells of the moment when Benedick 'challeng'd Cupid at the Flight', and was in turn challenged by Leonato's fool. This narrative anecdote works, I believe, as a conceit of analysis, a definition for a pre-psychological age: she is saying that Benedick may think his resistance to love so clever and aristocratic, but really it is just stupid. This is Beatrice the 'odious woman', descended from Katherine the Shrew; but Shakespeare has deepened the moment and justified the rudeness. With a touch of Lear's Fool in her, Beatrice is the true human heart, struggling against the mere manners of Messina.
And this becomes plainer in her Second-Act answer to Don Pedro, who tells her she has 'lost the heart of Signior Benedicke':
Indeed my Lord, hee lent it me a while, and I gave him use for it, a double heart for a single one, marry once before he wonne it of mee, with false dice, therefore your Grace may well say I have lost it.
This is less private history than a fine open act of analysis. Beatrice describes what the courtly Don Pedro, without knowing it, means by 'heart': a world of mere lending and borrowing, a scene of mere winning and losing. The dice are false. Charmingly, wittily and sometimes politely, Beatrice is looking for something else again. Her brisk, tough and cool character belongs—and this is Shakespeare's profound insight, in the most psychologically interesting romantic comedy he has yet written—to one of the most romantic and idealistic of human beings. But she isn't intending to discuss her heart in Messina, a world which is, in her own words, 'civill as an Orange, and something of a jealous complexion'.
With these views, Beatrice may well, as she knows herself, 'sit in a corner and cry, heigh ho for a husband'. And Benedick is as true an individual as herself. Despite the friendly effervescence of his successful social being, there is another Benedick who is most himself when he 'sits in a corner'. In a curious small scene (2.3) he complains of the change in Claudio: and his soliloquy is prefaced, in a way that editions don't explain, by his sending of his boy to fetch the book 'in my chamber window' for him to read 'in the orchard'. The vividness of this is on a par with the thorough realism elsewhere in Much Ado: and it throws up a sudden image of the solitude of the real Benedick, whom we see when no one else is there. The book in the hand is for Elizabethans a symbol of the solitary.
In short, here are two people who could easily have remained divided from each other, in a state of irritated or quietly melancholy resentment at themselves and at life. This Elizabethan comedy brings alive what we may think of as a datum of peculiarly modern experience, the randomness, the accidentality of existence: the fact that many things in the life of feeling remain 'a perpetual possibility / Only in a world of speculation'. Attraction starts up socially but there need be no happy endings; there is only 'Much Ado About Nothing', a waste of wishes and desires.
The two difficult lovers owe much to the courtiers for bringing them together, a debt which justifies the forgivingness of the last scene. Yet neither Beatrice nor Benedick is precisely dependent on the tricks of a trivial milieu for their feeling. Orthodox Elizabethans believed that God indeed made 'Much' out of 'Nothing', the Creation out of Void. The change of these two intelligent and principled lovers asks to be comparably explained. They come together over the quasi-dead body of Hero, at the end of the Church Scene. They are, that is to say, drawn together by their shared sympathy for the wronged girl. It is this tertium quid outside themselves that permits Benedick to say at last, 'I do love nothing in the world so well as you, is not that strange?' and Beatrice to answer, 'As strange as the thing I know not, it were as possible for me to say, I loved nothing so well as you.'
I am hoping to suggest that there is a paradox here not far from the oddity of 'sorrow's wag'. The moment is so romantic because not romantic—or not so in the Messina sense; it is the true romanticism of the real. Benedick is at heart a kind man, which to Elizabethans meant 'kinned', 'brotherly'. He is deeply grateful to Beatrice, and besides can't bear to watch her crying. All this, on top of her usual attraction for him. She responds in precisely the same way, not merely changing the subject when she says firmly: 'I am sorry for my cousin.' It's as if she were drawing up the rule-book for the rest of their lives. Both Beatrice and Benedick are individuals who have feared love because it means so much to them; when they do lose their heart, as here, it won't be a 'double' one, in the sense of dishonest. What brings them together at last is neither trick nor fluke, but the conjunction of shared principle—a principle which depends on their independence, even their loneliness as human beings. As a result, their professions of love are deep with risk and danger, which is why their bond is involved with a girl in some sense dead, and why Beatrice must ask Benedick to 'Kill Claudio'. He doesn't, and it's as well that he doesn't obey the whim of a wildly angry woman. But he's ready to. There is therefore a kind of death in their love, for both of them. 'Sitting in the the corner' is the posture of a prizefighter or duellist; when the two advance to the centre, someone may lose, and something must die. There is a delightful, comic, humorous charm and truth in the fact that, as soon as the trick is afoot and love declared, both start to feel terrible: Benedick gets toothache and Beatrice a fearful cold. Many critics assume a pretence on their part, but I think not.
When Shakespeare borrowed his immensely widely disseminated main-plot story from many sources, he did something strange to it. He used a legend that turned on strong evidence of infidelity, and he took the evidence away. There is no 'Window-Scene' in our comedy. The poet has thereby transformed a tale of jealousy into something much nearer to a definition of love, which asks the question: 'How in the world do we ever know?' The answer of Much Ado is: 'By whatever we take to be the dead body of Hero'—a character whose very name is suggestive. Leaving aside the Leander-loss, we may say that in Much Ado About Nothing one kind of hero and heroine is replaced by another. Comparably, one kind of social, winning-and-losing false-dicing love finds itself quietly upstaged by something quite different: a feeling intensely romantic, because involving real individuals, yet grounding itself on something as sober, or we could even say 'dull', as an extreme and responsible human kindness. And the true lovers are kind, to each other and others, because they are aware that life necessitates it even from the romantic. They are both, that is to say, sorrow's wags.
Beatrice and Benedick, 'sitting in the corner' of life, each resent marriage because they are helplessly individual beings. But their very independence and individuality, their corner-view, gives them what no one else in the comedy really has—truth of feeling. Their thinking and feeling for themselves has as its high-water-mark that famous moment, already quoted, at which Beatrice, always quick off the mark, thinks almost too much for herself. As she weeps angrily in the church after Hero's rejection, Benedick makes his vital move—he lets Don Pedro's party leave without him, and stays to comfort Beatrice, asking gently if he can help her. Yes, she says, he can; he can kill Claudio. The play is a comedy precisely because Benedick, always the sounder in sizing up the mark he is being asked to get off, doesn't have to kill Claudio; and we can hardly regret the fact that 'Messina' survives. Here is a co-existence we can like as well as finding likely. But we can't regret either the two individuals who are, as Benedick says, 'Too wise to wooe peaceablie'. The comedy needs their wisdom, just as it needs the constables' folly. Intensely romantic, therefore, as well as consistently funny, Much Ado is serious in its concerns while always wearing the air of being entertainingly 'About Nothing'.
Source: "Much Ado About Nothing: The Unsociable Comedy." in English Comedy, Michael Cordner, Peter Holland, John Kerrigan, eds., Cambridge University Press, 1994, pp. 68-84.