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... h about the wounded Hero. The characterization of Hero and Beatrice is only one example of the classical trend in the play. The imagery in Much Ado About Nothing is rife with classical references. As mentioned earlier, Shakespeare allots many classical images to the development of the relationship between Beatrice and Benedick.
Beatrice appears often with bird imagery. Another interesting concept introduced by Shakespeare is the association of Benedick with bulls and Beatrice with cows. When Don Pedro and Claudio discuss marriage with a reluctant Benedick they refer to the matrimonial state as a burden like that borne by a yoked bull. Benedick replies disgustedly: The savage bull may; but if ever the sensible Benedick bear it, pluck off the bull's horns and set them in my forehead, and let me be vilely painted, and in such great letters as they write, "Here is good horse to hire, " let them signify under my sign, "Here you may see Benedick the married man. 14 Similarly, the following exchange by Lenato and Beatrice illustrates a similar trend in Shakespeare's depiction of Beatrice: Lenato: By my troth, niece, thou wilt never get thee a husband, if thou be so shrewd of thy tongue.
Antonio: In faith, she's too course. Beatrice: Too course is more than course. I shall lessen God's sending that way; for it is said, "God sends a course cow short horns, " but to a cow too course he sends none. 15 These two images are specifically tailored metaphors for marriage. As Benedick is male, he is associated with the masculine cow.
The hornless bull is in fact a cow -- an obvious association made by Shakespeare's audience. The classical reference is found when considering the history of the people of ancient Greece: The sophistication of Minoan art and architecture implies much about the civilization, but more particularly the painting and the artifacts reflect a highly developed sense of religion, for example, the importance of the bull in ritual. 16 In the Bronze Age the classical movement was at its zenith; the ritual of the bull was inextricably tied to the rites of marriage. By comparing Beatrice and Benedick to these creatures, the author has once more successfully accented his point with the authority of classical imagery. The speeches of Much Ado About Nothing abound with mention of the mythology of the ancient world. Benedick believes that no one is as tortured at the hands of love as he.
He states: ... Leander the good swimmer, Troilus the first employer of panders, and a whole book ful of these quondam carpet mongers, whose names yet run smoothly in the even road of a blank verse, why, they were never so truly turned over and over as my poor self in love. 17 Shakespeare's use of "quondam" illustrates that he has deliberately created a classical allusion through imagery. Don Pedro announces the coming of dawn with: Good morrow, masters. Put your torches out.
The wolves have prayed; and look, the gentle day, Before the wheels of Phoebus, round about Dapples the drowsy east with spots of gray. 18 Don Pedro uses the image of Phoebus Apollo, god of the sun, bringing day by riding his chariot across the sky as a metaphor for the rising sun. Claudio pleads: "And Hymen now with luckier issue speed 's/Than this for whom we rendered up this woe. " At the tomb of Hero he appeals to the classical god of marriage. The hymen has come to mean the thin membrane of virginity. This speech shows clearly the carefully-crafted irony of Hero's downfall.
It is the god Hymen who would marry her, yet it is the hymen which kept her from Claudio. These are only a few of the many examples of classical imagery which grace the pages of this play. The colourful images wrought by Shakespeare in Much Ado About Nothing are further enhanced by certain words, and therefore images, which appear frequently. The names "Cupid" and "Hercules" are employed from the beginning of the work to its conclusion. Cupid is found no fewer than ten times in the play. It is this which hints at the idea of forced love so vital to the Beatrice and Benedick plot.
Hero tells Margaret: My talk to thee must be how Benedick Is sick in love with Beatrice. Of this matter Is little Cupid's crafty arrow made, That only wounds by hearsay. 19 Love also comes to Benedick because of Cupid's attentions. Don Pedro says: "He hath twice or thrice cut Cupid's bowstring, and the little hangman dare not shoot at him. " 20 It is obvious from the wedding of the two at the conclusion of the play that the efforts of both the other characters and Cupid are worthwhile. Cupid figures in classical mythology as a lesser god of the Roman tradition who works with Eros, or love. The significant usage of "Cupid" relays the idea that the love between Beatrice and Benedick must be forced.
The figure of Hercules also appears often in Much Ado About Nothing. Like "Cupid, " his the name more than the image which contributes to the play. Hercules was the legendary Greek strong man who was forced to perform great labours in atonement for the murder of his family. 21 It is the image of Hercules' brute strength which has survived. Shakespeare uses his audience's knowledge of this to further the belief that the love of Beatrice and Benedick must be coerced. The notion of wit is also predominant in this work by William Shakespeare. There is no tie to the classical period here, but this frequency of word deserves mention.
Both Beatrice and Benedick are renowned for their "wit. " This is described as an "unexpected combination or contrasting of ideas or expressions. " 22 The two characters are constantly embroiled in verbal sparring -- wit is the weapon of choice for both of them. Shakespeare uses this word to prove that: "Like Restoration lovers, Benedick and Beatrice use wit to distance emotions which they recognize as potentially dangerous. " 23 Combined with the use of "Cupid" and "Hercules, " these three frequently used words accentuate what the audience has already learned: Beatrice and Benedick need to be pushed in order to admit their love. Combined with the imagery and classical allusions found throughout, Shakespeare presents a potent piece. Much Ado About Nothing is structured methodically, allowing each scene to off-set what has transpired in the previous one. Shakespeare begins by introducing each character in Act I, scene i.
However, the personality traits and circumstances specific to each are revealed gradually -- this permits more anticipation on the part of the audience. The Beatrice and Benedick plot which consumes the play enters in the first scene but is not resolved until the final sequence. The other characters further it: first in Act II, scene iii by orchestrating Benedick's overhearing of Don Pedro and Claudio discussing Beatrice's love for Benedick and then again in Act III, scene i when Beatrice is shocked to hear a similar revelation by Hero and Margaret. The entire play is constructed in such a fashion, yielding a more insightful understanding of this Shakespearean work. The text of Much Ado About Nothing offers many clues to the appropriate staging. The classical images which abound suggest that the piece should be staged in a natural setting.
As Shakespeare does not bind the location to any buildings (with the exception of Hero's tomb which is never described) an outdoors set would be ideal. It would further the classical allusions and allow for much freedom in presentation. The wedding of all the lovers at the conclusion would be enhanced if performed in the embrace of nature, as would the masque in Act II, scene i. The very return to the classical era by Shakespeare in all aspects of Much Ado About Nothing is a staging direction: return to the tranquility of the pastoral world. In Much Ado About Nothing William Shakespeare weaves a brilliant story through classical allusion. This return to the mythologies and conventions of the ancient people of Greece and Rome heightens the effect of the play on the audience.
The references gift the reader with deeper emotion; the tragedy of Hero's plight is embellished by the allusion to the tragic love story of Hero and Leander. The description of the love which Beatrice and Benedick at first embrace begrudgingly is strengthened through the use of classical images such as Cupid. Every thread of Much Ado About Nothing -- from the characterization to the staging -- is woven to secure the influence of the classical period in the fabric that is this great Shakespearean play. 1. Lenardon, Robert J.
and Mark P. O. Morford eds. Classical Mythology. 5 th ed. White Plains: Longman Publishers, 1995.
page 569. 2. Buchholz, Ted ed. et. al. A Glossary of Literary Terms. 6 th ed. Fort Worth: Harcourt Brace College Publishers, 1993.
pages 54 - 55. 3. Muir, Kenneth ed. Shakespeare: The Comedies. New Jersey: Prentice-Hall Inc. , 1965. 4. Shakespeare, William. Much Ado About Nothing.
The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston: Houghton, 1974. Act II, scene i, lines 16 - 17. 5.
Ibid, Act I, scene i, lines 29 - 30. 6. Ibid, Act I, scene i, lines 41 - 42. 7. Ibid, Act I, scene i, lines 128 - 135. 8. Lenardon, Robert J.
and Mark P. O. Morford eds. Classical Mythology. 5 th ed.
White Plains: Longman Publishers, 1995. page 114. 9. Shakespeare, William. Much Ado About Nothing.
The Riverside Shakespeare. Ed. G. Blakemore Evans.
Boston: Houghton, 1974. Act II, scene i, lines 244 - 245. 10. Macpherson, Jay. Four Ages of Man. Toronto: Gage Publishing Limited, 1962. pages 105 - 109. 11.
Shakespeare, William. Much Ado About Nothing. The Riverside Shakespeare. Ed. G. Blakemore Evans.
Boston: Houghton, 1974. page 327. 12. Lenardon, Robert J. and Mark P. O. Morford eds.
Classical Mythology. 5 th ed. White Plains: Longman Publishers, 1995. page 508. 13. Shakespeare, William.
Much Ado About Nothing. The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston: Houghton, 1974.
Act IV, scene i, lines 56 - 60. 14. Ibid, Act I, scene i, lines 251 - 256. 15. Ibid, Act II, scene i, lines 16 - 22. 16. Lenardon, Robert J. and Mark P. O.
Morford eds. Classical Mythology. 5 th ed. White Plains: Longman Publishers, 1995. page 20. 17.
Shakespeare, William. Much Ado About Nothing. The Riverside Shakespeare. Ed. G.
Blakemore Evans. Boston: Houghton, 1974. Act V, scene ii, lines 30 - 35. 18. Ibid, Act V, scene iii, lines 24 - 27. 19. Ibid, Act III, scene i, lines 21 - 23. 20.
Ibid, Act III, scene ii, lines 9 - 11. 21. Macpherson, Jay. Four Ages of Man. Toronto: Gage Publishing Limited, 1962. pages 59 - 67. 22.
Allen, R. E. ed. The Pocket Oxford Dictionary. 7 th ed. Oxford: Clarendon Press, 1984.
page 867. 23. Shakespeare, William. Much Ado About Nothing. The Riverside Shakespeare. Ed. G.
Blakemore Evans. Boston: Houghton, 1974. page 329.
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Research essay sample on Classical Imagery In Shakespeare Much Ado About Nothing
