13 LK Ebi
Philipp Jung, Anna Schneider, Miriam Schulz
Much Ado About Nothing
Act 5
Scene 1
(1) Analysis of Leonato’s and Antonio’s dialogue - Antonio’s advice and
Leonato’s reaction
Leonato still grieves about the apparent faithlessness of his daughter. As his brother
Antonio enters the scene he receives the advice to stop worrying about the happening.
To continue to do so would only lead to a senseless suicide of his. (ll. 1-3)
Leonato’s answer (ll. 3-32):
 No one’s sufferance and sorrow can be compared to his
 Advices are given by people that are not directly involved in the situation and
thus do not feel the pain, which would certainly influence every man’s
perspective
 This is why he doesn’t want his brother to give him advice
After alluding to Leonato’s behavior as being childish, he tells him not to put the
harm only on himself, but as well at those offending him. Leonato accepts this and
decides to tell everyone who dishonored Hero that his daughter was belied (ll. 4244).
(2) Characterization of Leonato
Judging Leonato from the two given excerpts, the wedding (Act 4, Scene 1) and the
speech (Act 5, Scene 1), he can be characterized as very emotional and highly critical
of women and of himself. The situation seems to be more than he can cope with.
At first (directly after the accusation of Hero):
 Rather trusts the authorities (Act 4, Scene 1, p. 70 : Don Pedro, Claudio)
instead of his own daughter
 Looks for faults of his own (Act 4, Scene 1, p. 69-70)
After Hero’s statement:
 He is torn between the two statements and in a rage
Speech:
 Desperate, but finally believes in the innocence of his daughter (Act 5, Scene
1, p. 82, ll. 42)
(3) What do you think of Claudio’ s and Pedro’ s reaction when they first hear that
Hero is dead?
Both Don Pedro and Claudio do not seem very affected by the supposed death of
Hero. Leonato accuses Claudio to have executed villainy at his daughter. But Claudio
just wonders and orders Leonato to go away. Don Pedro supports Claudio. At the end
of the conversation he tells Leonato that he feels sorry for his daughter, who
nevertheless died due to her own guiltiness.
13 LK Ebi
Philipp Jung, Anna Schneider, Miriam Schulz
(4) Comparison of Claudio’ s behavior in this scene to the quotation that
describes him as a war hero, “ doing in the figure of a lamb the feats of a lion”
Comparing the description of Claudio as a war hero doing in the figure of a lamb the
feats of a lion to Act 5, great differences can be detected.
In the last scene of ‘much ado about nothing’ Claudio meets Leonato who wants to
fight him for accusing Hero of faithfulness. But instead of accepting he sends him
away. (Act 5, Scene 1, ll. 77)
The second incident that has to be mentioned in the context shows a conflict between
Claudio and Benedick. Benedick, just as Leonato did, wants to fight him, but Claudio
refuses again. (Act 5, Scene 1, ll. 141: ’God bless me from a challenge’)
Evaluating these two scenes it shows quite plainly that describing Claudio as an
anxious boy who tries to flee from confrontations is more fitting than to call him a
war hero.
Scene 2
(1) Considering the flirt between Margaret and Benedick as well as Beatrice and
Benedick, what’s the main difference?
Benedick acknowledges the wit of both women, Beatrice’s and Margeth’s.
Nevertheless there is a main difference in the dialogues. Benedick sees Beatrice as an
equal in society. In contrast to that Margaret just plays a minor role in his eyes due to
her lower status. This becomes obvious first when he alludes to her job as servant she
cannot overcome ( Act 5, Scene 2, ll. 8-9). The second sign is the denial of giving the
sword (symbolizing a means of attack) to her. Apparently he is prejudiced against the
different classes in society and does not want to change these due to the satisfaction of
his own situation.
(2) Changes in Beatrice’ s and Benedick’ s way of speaking to each other after
having admitted their feelings for one another
After admitting their love the way Beatrice and Benedick talk to each other changes
tremendously.
Before:
Attacked each other with insulting rhetoric (puns etc.) in almost every conversation
Now:
Try to accept their feelings by using a lovely kind of wooing.
 ‘…too wise to woo peaceably’  continue with an argumentative pattern of
leading their conversation
(3) What does Benedick mean by saying “ Thou and I are too wise to woo
peaceably”?
Benedick recognizes that a lovely way of talking to Beatrice doesn’t offer as much
fun and challenge as an argumentative one does. So he tells her: ‘Thou and I are too
13 LK Ebi
Philipp Jung, Anna Schneider, Miriam Schulz
wise to woo peaceably.’ From then on they change the pattern of their conversation
into an argumentative discussion; both of them appreciate it this change.
Scene 3
(1) Symbolism and function of darkness and lightness
- Claudio and Don Pedro leave Hero’s tomb in order to get prepared for Claudio’s
wedding which displays an event that brings all of them “back to life” and a step
further towards happiness and self-fulfilment;
- Claudio’s surprise at the wedding is all the more when he finds out that it is Hero
herself who he marries in the end, therefore his grief for Hero’s seeming death is very
important as just thereby, the overall happiness can occur in the end; otherwise, the
happiness would not have been as huge as it is in this case
 thus, the final overall happiness is emphasized
- the “lightness” signifies that the play finally reveals to be a comedy. Eventually, all
tragic elements are overcome.
- the scene is representative of the quick change in events as far as conflicts
(“darkness”) and solutions (“lightness”) are concerned
(2) Credibility of the lines “Now unto thy bones good night, Yearly will I do
this rite”
I do not think it is very credible that the Lord speaks these words because it is Claudio
who has been in a very close relationship to Hero and who now deeply regrets the
mistakes he has done.
It is nobody else than he himself who carries the fault for Hero’s death, therefore it is
very incredible that someone else pronounces those words – nobody of the attendees
was as privately linked to Hero as Claudio was.
Scene 4
(1) Why do Claudio and Hero act the way they do?
- Claudio is prepared to do everything Leonato demands him to do because he admits
having sinned against Hero; now, he has promised to marry Antonio’s “daughter”
who is, according to Leonato, the family’s only heir, and Claudio does not even care
who she is or what she looks like; he can be described as a “puppet” following the
demands and opinions of others rather than his own thoughts
- Hero has recovered her prestige (“One Hero dies defil’d, but I do live/And surely as
I live, I am a maid” Scene 4, lines 63-4) and has forgiven Claudio; she portrays a very
romantic female character who trusts in her feelings
(2) Why doesn’t Beatrice say anything after Benedick has “stopped her
mouth”?
-As the two of them are finally united, Beatrice is now “stopped” by Benedick in
challenging him by her usual unladylike behaviour.
13 LK Ebi
Philipp Jung, Anna Schneider, Miriam Schulz
She does no longer need to behave like this as it previously demonstrated an act of
denying her love, but is now no longer necessary.
- The play abruptly comes to an end being a comedy therefore her character loses its
importance and “fades away”.
Review Questions
(1) Comparison of masking in acts 2 and 5
Act II, Scene 1: The masked ball
Examples
of masking
-
Act V, Scene 4: The wedding
Don Pedro wooing Hero in
- Hero is masked and
Claudio’s name
appears as Antonio’s
- Antonio is recognised and
niece. She unveils in front
teased by Ursula
of Claudio
- Beatrice teases Benedick
- Beatrice respectively
anonymously
enters anonymously but
- Don John tricks Claudio
takes off her mask when
into thinking (temporarily)
Benedick calls for her
that Don Pedro is wooing
for himself and thus
betraying Claudio
Function
- A means generally used
- A means used
of masking
malevolently to tease or to
benevolently to eventually
manipulate, both in order to
create happiness when the
generate unhappiness. Only
masks come off at last 
in the case of Don Pedro
prelude to the joy of
wooing Hero does masking
marriage
serve a beneficial purpose,
- The negatively charged
but the nature of this
term of “deception” gains
deception is rendered
a more positive
dubious by Don John’s
connotation when
stratagem
masking is employed in
- Engenders confusion 
order to enlighten
increases the level of
Claudio, who thought his
complexity within the play
misfortune sealed
 leads to sadness and frustration
 leads to joy and reconciliation
Conclusion In both scenes, masks are used to dissimulate the identity of the
disguised in order to serve his aims, which in II, 1 are of an overall vile
nature, whereas in V, 4, they only deceive to relieve.
Contrary to II, 1, where the steadily increasing presence of masks
enhances confusion and complexity, masking as used in V, 4 serves the
final aim of uncovering and reconciling, which happens through the
symbolic act of taking off the masks. This logically concludes the play
as it signifies the denouement of intrigues and deceptions on whose
existence the entire plot is based.
13 LK Ebi
Philipp Jung, Anna Schneider, Miriam Schulz
2) Which things had to happen in order to ensure the happy ending of the
play?
In order to assess the necessary conditions for the happy ending of Much Ado About
Nothing, one may distinguish between the two major plotlines: on the one hand, that
which leads to the marriage of Claudio and Hero, and on the other that leading to
Benedick and Beatrice’s union. The relationships between the lovers are influenced
by a series of constructive and destructive stratagems, of which the former favour a
happy ending while the latter constantly endanger it.
Claudio & Hero
Claudio and Hero’s love and their concluded marriage are twice put at great risk
through the attempts of Don John to create general mischief, especially concerning
Claudio whom he envies, and Don Pedro, who defeated him. His first stratagem, to
make Claudio believe that Don Pedro woos Hero for himself and thus betrays
Claudio, is soon resolved. In need of a plan B, he draws up a stratagem on a larger
scale: by making Hero seem unfaithful, he hopes to “misuse the prince, to vex
Claudio, to undo Hero and kill Leonato” (II, 2, 25-26). This second destructive
stratagem being more successful, it requires a series of counter-actions to take place
in order to induce nonetheless the happy ending of the play. Friar Francis’
constructive stratagem to “change slander to remorse” (IV, 1, 210) by making Hero
feign death, along with Borachio’s confession, raises deep regret in Claudio and
predisposes him to take Hero back later on; the confession furthermore denounces
Don John’s conspiracy, while at the same time re-establishing Hero’s honour and
virtue. In addition, Beatrice and Benedick are respectively persuaded of Claudio’s
innocence in unjustly accusing Hero of unfaithfulness, preventing a duel between
Benedick and Claudio. While the marriage can now proceed and the good be merry,
Don John’s arrest assures the villain will not go unpunished.
Beatrice & Benedick
Don Pedro, who assumes a Cupid-like role as a couple-maker and tries to maintain
and restore peace throughout the play, devises a witty stratagem to make Beatrice and
Benedick fall in love with each other by convincing at first Benedick that Beatrice is
in love with him and then equally tricking Beatrice into believing Benedick loves her.
Yet, the combined efforts of Don Pedro, and Hero, Claudio and Leonato, whom he
also engages in this benign undertaking, though successful in making them fall in
love, almost fails when it comes to concluding their marriage. Unable to declare the
feelings they have for each other, the happy ending of this plot would not have been
possible without another interference, which this time sees Claudio and Hero produce
love poems written by each as “proof” for their mutual affection. It is only then, when
the evidence is undeniable, that they deign to consent to marriage.
3) How Beatrice and Benedick finally end up together – the final dialogue
Although it is more than certain by the time of their final dialogue that they are in
love one with the other, Beatrice and Benedick refuse to admit so. This is due to their
incapability to abandon their “merry war” of wit (I, 1), which used to characterize
13 LK Ebi
Philipp Jung, Anna Schneider, Miriam Schulz
their relations and whose rules forbid the confession of personal weakness. Affection
for the other being the ultimate weakness per se resulting in defeat and most
embarrassing exposure, none can suffer to admit love before the other does for fear of
rejection. Without the intervention of Claudio and Hero furnishing firm proof of their
mutual affection through the palpable evidence contained in love poems both
Benedick and Beatrice have written to the other in secret, their wedding most
probably would have never taken place, as their personal pride would have never
allowed for either of them to take the first step. It is curious that not only the
beginning of their love needed external fostering, but that its very conclusion
depended on it, since Beatrice and Benedick themselves are unable to refrain from the
deeply rooted patterns empoisoning their relationship even when their personal
happiness is at stake. Their lies finally denounced and their true love known, they are
still unable to consent wholeheartedly, but declare to accept only out of pity a
marriage that they both desire.