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Q: Consider the differences and similarities between the characters of Beatrice
and Hero in Shakespeare’s Much Ado About Nothing.
In Shakespeare’s comedy, “Much Ado About Nothing,” the characters of
Beatrice and Hero are cousins and close friends but, characteristically, they are almost
complete opposites. Their status in Leonato’s household reflects this division and,
perhaps to some extent, explains it also; as Leonato’s only child and therefore his heir,
Hero’s personality may be a reflection of this position of responsibility while
Beatrice, as a dependant on Leonato’s fortune, owns less of an obligation to
convention. Beatrice’s position seems to give her a greater freedom, while
traditionally it may have created a more subdued personality, afraid of displeasing her
provider and losing his grace. It would also seem probable that Leonato would be
eager to see Beatrice married, thereby passing the financial burden and responsibility
of his charge onto another man, but there is no pressure from Leonato for Beatrice to
marry; he smiles benignly on her and Benedick’s “merry war” (1.1.45-6), and
Beatrice’s attitude towards love: “You will never run mad, niece.” (1.1.68) For her
own part, Beatrice has no reserve in allaying her uncle’s teasing suggestions that she
should find a husband: “No, uncle, I’ll none.”(2.1.45-6) In terms of their status, both
women are unique for their time; Beatrice as an independent dependent and Hero as a
woman of rank and property. Hero’s standing, in particular, is very important in
relation to the plot; Hero’s marriage has serious connotations for Leonato and his
estate, which is perhaps part of the reason why the accusations discrediting her honour
are taken so seriously. Hero’s disgrace would make it impossible for her to marry
well, if at all, as dishonoured women were often disowned by their families and
shunned by high class society; Leonato’s age makes it seem unlikely that he would
remarry and beget another heir, so his line would end with him. It seems unlikely that
had Beatrice been so accused, the repercussions would have been so extreme; her
status gives her some independence because any minor digressions on her part have
lesser consequences.
The character of Beatrice defies the conventions of Shakespeare’s age
regarding the desired behaviour of women who wished to live in respected society.
Beatrice is intelligent, witty, sarcastic and independent, qualities considered
dangerous by the Elizabethan male. Beatrice’s intelligence is an attribute that may be
valued by a husband, who desires a good conversationalist, but they also desire
modesty in a woman and Beatrice is not modest; instead she flaunts her wit and
challenges men with her pride:
“I would rather hear my dog bark at a crow than a man swear he loves me.”
Act 1, Scene 1, lines 97-8
[Leonato:] “…she mocks all her wooers out of suit”
Act 2, Scene 1, line 264
In contrast, the behaviour of Hero is very proper; Claudio says of her: “Is she not a
modest young lady?” (1.1.121) Ross Stuart describes Hero as:
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“a conventional, romantic heroine, exemplary in her patience and
forgiveness.”
From “York Notes Advanced,” page 61
Our perception of Hero is based mainly on what the other characters say about
her, rather than her own utterances. An actress playing Hero has the challenge of
expressing her emotions with very little dialogue to work with, and Hero is essential
to the plot; although Beatrice has more to say than Hero and is involved in most of the
scenes, but she is not a catalyst for action in the same way. This could be indicative of
Beatrice’s humbler status; her position and influence are too lowly to inspire plots to
discredit her.
Both Beatrice and Hero are beautiful women; the evidence for this is provided
by Benedick’s descriptions in the first scene and, despite the animosity between them,
he obviously favours Beatrice:
“her cousin [Beatrice]…….exceeds her [Hero] as much in beauty as the first
of May doth the last of December.”
Act 1, Scene 1, lines 141-2
His description of Hero is slightly less gracious:
“…were she other than she is, she were unhandsome.”
Act 1, Scene 1, lines 128-9
Hero is objectified by the male characters: [Claudio:] “Can the world buy such a
jewel?” (1.1.134), this implies that he regards Hero as a beautiful object; something to
sit and be admired but without any actual purpose. When Claudio asks Benedick for
his opinion of Hero, he lists her physical attributes: “too low,” “too brown,” “too
little,” (1.1.126-7) but fails to mention anything about her intellect, her interests or her
personality. Hero’s inheritance makes her incredibly desirable to potential suitors as
the law of the time stated that, upon her marriage, a woman’s property becomes that
of her husband. Hero is highly influenced by her father, which could explain why she
expresses herself so little; Leonato has the final decision in all important matters. In
the first scene of the second act, he mentions potential marriage proposals:
“Daughter, remember what I told you: if the prince do solicit you in that kind,
you know your answer.”
Act 2, Scene 1, lines 48-9
Hero only becomes more assertive when her engagement to Claudio is official,
expressing her happiness freely; this may be because she feels it is now safe to do so
as she has her father’s approval. In this characteristic, she and Beatrice are complete
opposites; Hero acts to please others while Beatrice acts to the order of her own
conscience and encourages her cousin to do the same:
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“…it is my cousin’s duty to make curtsy, and say, father, as it please you: but
yet for all that, cousin, let him be a handsome fellow, or else make another
curtsy, and say, father, as it please me.”
Act 2, Scene 1, lines 39-41
Beatrice and Hero also differ on another aspect central to the play: their
attitude to men, however not predictable. It is true that Beatrice is stridently opposed
to marriage and Hero longs to be Claudio’s wife, but Beatrice’s language seems to
hint at a past relationship and a knowledge of men, while Hero is completely innocent
and naïve. When Beatrice argues with Benedick she angrily states: “I know you of
old” (1.1.107) and, in the first scene of the second act, she says to Don Pedro about
Benedick:
“…marry once before he won it [her heart] of me with false dice”
Act 2, Scene 1, lines 212-3
This implies that she loved Benedick once but he betrayed her. Also, in another of
Beatrice’s bantering speeches, she jokes about going to Heaven and living with the
bachelors “as merry as the day is long.” Hero’s “innocence” in terms of her physical
virginity is in no doubt, despite the princes’ accusations; of men she is adamant that “I
know none.” (4.1.170) Her naivety is apparent in the ease in which she forgives
Claudio, who was so quick to judge her guilty, and in her confusion when he accuses
her, how she tries to excuse his behaviour:
“Is my lord well, that he doth speak so wide?”
Act 4, Scene 1, line 56
Though very different characters, Beatrice and Hero are close to each other;
their differences are complementary rather than conflicting. Beatrice’s devotion to her
cousin is apparent when she charges Benedick to challenge Claudio in the fourth act
in order to avenge Hero’s honour. Hero repays her by forcing her to admit to
Benedick that she loves him and accept his proposal. When Hero is cruelly humiliated
at her own wedding, even her father sides with Claudio and Don Pedro; it is Beatrice
who defends her: “Oh on my soul my cousin is belied.” (4.1.139) An explanation for
their close relationship could be that in such a male dominated society where men
have the power and support each other, women need to protect themselves by sticking
together.
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Bibliography:
Shakespeare, William
-
Much Ado About Nothing
Cambridge University Press, 1988
Stuart, Ross
-
York Notes Advanced: Much Ado About
Nothing – William Shakespeare
York Press, 1997
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