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    Much Ado About Nothing
    Much Ado About Nothing
    Much Ado About Nothing
    Ebook203 pages2 hours

    Much Ado About Nothing

    By William Shakespeare, Tiffany Stern and John Gilbert

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    Comedy and tragedy intertwine when two very different couples fall in and out of love in Shakespeare's Much Ado About Nothing.

    Part of the Macmillan Collector’s Library; a series of stunning, clothbound, pocket sized classics with gold foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition features illustrations by renowned artist Sir John Gilbert and an introduction from Professor Tiffany Stern.

    Whilst Beatrice and Benedick both despise love, exchanging insults and mockery rather than vows, for Hero and Claudio it is love at first sight. But as their marriage preparations begin, so too do Don John’s dirty tricks. Can his scheming get in the way of true love? And can an elaborate plan to bring fiery Beatrice and cynical Benedick closer together really come off? In Much Ado About Nothing, one of Shakespeare’s most popular plays, nothing is quite what it seems.

    LanguageEnglish
    PublisherPan Macmillan
    Release dateJun 13, 2019
    ISBN9781529008692
    Author

    William Shakespeare

    William Shakespeare is the world's greatest ever playwright. Born in 1564, he split his time between Stratford-upon-Avon and London, where he worked as a playwright, poet and actor. In 1582 he married Anne Hathaway. Shakespeare died in 1616 at the age of fifty-two, leaving three children—Susanna, Hamnet and Judith. The rest is silence.

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      Book preview

      Much Ado About Nothing - William Shakespeare

      Also by William Shakespeare

      from Macmillan Collector’s Library

      A MIDSUMMER NIGHT’S DREAM

      HAMLET

      JULIUS CAESAR

      KING HENRY V

      KING LEAR

      KING RICHARD III

      MACBETH

      OTHELLO

      ROMEO AND JULIET

      THE MERCHANT OF VENICE

      THE TAMING OF THE SHREW

      THE TEMPEST

      TWELFTH NIGHT

      THE SONNETS

      Contents

      INTRODUCTION

      MUCH ADO ABOUT NOTHING

      GLOSSARY

      Introduction

      TIFFANY STERN

      New readers are advised that this introduction makes details of the plot explicit.

      From its title onwards, Much Ado about Nothing is rich with puns and double-speak. In Shakespeare’s time, ‘nothing’ meant, as it does now, ‘no single thing’, so the play on one level claims to be totally trivial. But ‘nothing’ was also a euphemism for women’s genitals, because, in the language of the time, men had a ‘thing’ and women had ‘no thing’: the play is also about women and, by extension, sex. And, because ‘nothing’ and ‘noting’ were pronounced the same way, the play likewise concerns people who spend all their time taking careful note of things, either through observation or writing. Finally, as Much Ado was first staged in a round playhouse – a playhouse with the shape of a zero, or ‘nothing’ – so, says the title, the play is about theatricality itself.

      Like its punning title, Much Ado constantly explores the tension between what words say and what they mean. Most of the hilarious wit-battle between Beatrice and Benedick, depends on the way they flip one another’s terminology around. For instance, Benedick asks Beatrice to ‘stay . . . till then’, and Beatrice, deliberately reinterpreting ‘then’ from a moment in time to the moment of utterance, responds ‘ Then is spoken; fare you well’. Other characters use language that is so elevated that it obscures meaning. When the pompous Messenger relates how Claudio’s uncle had a ‘joy [that] could not show itself . . . without a badge of bitterness’, Leonato has to ask for clarification: ‘Did he break out into tears?’ Even the dialogue of the comic watchmen revolves around the tension between language and meaning: in the hope of sounding sophisticated, they repeatedly pick words that sound right but are actually wrong – as when Dogberry claims to have ‘comprehended two auspicious persons’, when he means that he has apprehended two suspicious persons. The audience are shown throughout this unusually prose-filled play how language can obscure truth. Hence the many meanings in the play’s apparently simple title.

      This introduction will focus on the four aspects of the play encoded within the title’s single word ‘nothing’– the trivial, the sexual, the observational and the theatrical. Starting with the word’s first, and most obvious, meaning, ‘not a single thing’, is the play really a pointless fuss with nothing at its core?

      The question can only be answered by determining what the play is about. The story it tells is of two couples: Claudio and Hero, whose love goes sour because of a misunderstanding; and Benedick and Beatrice, whose love is created because of a misunderstanding. As this brief and reductive summary makes clear, the play is structured around opposites: two opposing couples, but also conventional versus unconventional, understanding versus misunderstanding, plain-speaking versus wit and, of course, men versus women. Within this comic binary structure, however, many of the play’s specific topics – resentment, accusation, jealousy, hatred – are the stuff of tragedy. This is not surprising: Shakespeare wrote Much Ado in 1598, when he was also writing Julius Caesar (1599) and planning Hamlet (1600) – plays that deal, in tragic fashion, with similar topics. These themes aren’t particularly suggestive of ‘nothing’, of course, but in ironically claiming that the play is inconsequential, Shakespeare forces us to be actively and interpretatively engaged in what the play means from title onwards.

      A different sense of ‘nothing’ is manifested by the play’s exploration of what it is to be a woman: a possessor of ‘nothing’ for a sexual organ. Of the women in the play, one, Hero, is gentle, modest, quiet and so resolved to let her father determine her marital choices that she is equally ready to marry Don Pedro (the Prince) or Claudio. The other, Beatrice, is feisty, merry, loud and so resolved not to let others determine her choices that she speaks out against marriage altogether; even when she consents to take a husband, she inveighs against the constraints of her sex, exclaiming, ‘O, that I were a man’. In both characters, Shakespeare addresses the hopeless position of being a woman in a society that offered few options other than marriage: either being submissive or being outspoken is problematic.

      The play focuses particularly on the misogynistic assumptions that men make about women. Most of the men in Much Ado are so sure that all women are fickle that they live in constant fear of ‘horns’, which, from the Medieval period onwards, symbolized a cuckolded man (perhaps originally because of the mating habits of deer). Benedick says that if he ever marries, his friends can pluck the horns off a bull ‘and set them in my forehead’, and later, when he falls in love and tries to write a poem, the only rhyme he can come up with for ‘scorn’ is ‘horn’. At the end of the play, he advises Don Pedro to get a wife because, ambiguously, ‘there is no staff more reverend than one tipped with horn’, meaning that marriage is a support and/or that it leads to cuckoldry. Claudio’s horn obsession, meanwhile, is why he is ready to believe that Hero has been unfaithful to him. In some ways, the play in its entirety can be seen as similarly misogynistic. Don John’s malignancy is ultimately traced to the fact that he was born out of wedlock – he is ‘John the Bastard’ – a state that, at the time, was blamed on the mother. What is particularly ironic, then, is that the play’s song ‘Sigh no more’ explains that men are ‘constant never’ but tells women to accept the fact: being a ‘deceiver’ is simply part of a man’s character. There is, then, one rule for men and another for women.

      The third sense of ‘nothing’ – ‘noting’ – is highlighted throughout this drama of perception and misperception. ‘Note’ can mean ‘pay attention to’; the play has characters who are constantly noting or deeply observing one another even if they claim not to be:

      This kind of observational noting regularly goes wrong in the drama, as characters constantly misunderstand what they see: Don John, Claudio and Benedick note a person they think is Hero having a loving encounter with Borachio – the play’s potential tragedy stems from this; later Claudio notes the veiled woman he is to marry, thinking she is Antonio’s niece – the play’s actual resolution stems from this. Indeed, the play’s central love story depends on a combination of noting and duping: Benedick believes himself to be secretly noting his friends’ conversation about him – and, when they reveal that Beatrice loves him, decides to love her back; Beatrice hears her friends declare that Benedick loves her, and likewise decides to love him. Thus ‘noting’ questions the audience’s understanding of seeing and believing, appearance and reality, and what the truth really is; it also asks us to note carefully what is really happening in the play.

      A further meaning of ‘note’ is ‘to write’, and the storyline also revolves around written papers. It opens on a note, a letter that Leonato has just received telling him who is coming to stay; and ends on notes, the revelation of the secret sonnet of love written by Benedick to Beatrice, and the secret letter of love written by Beatrice to Benedick. During the play, the written records made at Dogberry’s request reveal Don John’s guilt; and the epitaph Claudio hangs on Hero’s tomb shows his acceptance of Hero’s innocence and his own guilt. Throughout the play, then, the written word – the recorded note – is trustworthy in a way that the spoken one is not, asking us to consider in which form of ‘noting’ truth should be sought.

      Finally, there is the staging sense of ‘nothing’. A much-used Shakespearean conceit was that the round outdoor theatres for which he wrote his plays were zeros and actors were numbers (in Henry V, Shakespeare calls his theatre a ‘wooden O’ and the actors ‘ciphers to this great accompt’ – they put numbers in front of the zero, turning nothing into a huge number). ‘Nothing’, jokily, signifies Shakespeare’s round playhouses.

      Much Ado was, it seems, written for the new round theatre that Shakespeare’s company had just acquired, the Globe (1599–1642). The picture on the flag of the Globe, raised when performances were about to begin, was of Hercules carrying the world on his shoulders, and Much Ado is filled with references to the Roman god. So when Benedick says Beatrice would have made Hercules turn a spit; or when Don Pedro says he’d happily undertake one of Hercules’ labours; or when Beatrice inveighs against men who think they are ‘valiant as Hercules’; or when Borachio speaks disparagingly of ‘shaven Hercules in the smirched worm-eaten tapestry’, it seems that the Globe flag is being metatheatrically addressed. As miniature versions of the flag were also hung as banners on the trumpets blown around London to advertise the day’s play, Much Ado’s Hercules references remind audiences that they are watching a staged fiction, uniting them in the shared joke, whilst also advertising and promoting the theatre in which the fiction is being performed.

      Another example of the theatre being used metatheatrically in Much Ado is in references to the roof that extended over half of the stage to protect the actors’ clothes from the weather. It is indicated when Borachio asks Conrad to ‘stand . . . close . . . under this pent-house, for it drizzles rain’. But, as that roof was known as ‘the heavens’ – its underside was decorated with stars, sun and the signs of the zodiac – it is also literally gestured to by Beatrice when she relates how the devil will say to her, ‘Get you to heaven, Beatrice’. Again, the theatre is calling attention to its own structure in a way that protects us from believing too deeply the story staged there, but that also draws parallels with our own real lives under our actual heaven.

      In other ways, too, Shakespeare exploits specific aspects of performance and staging in this tale. Actors of the time did not receive a full copy of the play for their scripts, but their speeches only, in a text known as a ‘part’ (as it was only part of, not all of, the play) or a ‘roll’ (as it was received as a rolled document). Each speech was preceded by a ‘cue’ of the last one to three words

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