Opposites Attract

Hero, Beatrice, Don Pedro, Don John, Claudio, and Benedick are just a few of the characters we are quickly introduced to in the first act of Much Ado About Nothing. William Shakespeare is not one to draw out an introduction or provide us with a much of back story for any of his characters. Instead, he quickly thrusts his audience right into the meat of a plot. Therefore, when reading Much Ado About Nothing, I realized right away that I would need to employ a method by which to keep track of the various new characters and their complicated relationships. In searching for a method, I came across a pattern, or perhaps a literary device, by which Shakespeare makes use of opposites, where one character, or pair of characters, is the antithesis of another, in order to emphasize each character’s attributes.

Take for example the glaring juxtaposing of the characters Beatrice, Benedick, Claudio, and Hero. Beatrice and Benedick, as many have stated, seem to hate each other but it is obvious that they are truly kindred spirits who take joy in teasing and tormenting each other whenever they meet. Claudio and Hero however, are the antithesis of them. Claudio and Hero have never met, and Claudio expresses his feelings about Hero before they have even uttered a word to each other. In the very first act, when Benedick and Beatrice are reunited, Benedick wonders “What, my dear Lady Disdain! / Are you yet living,” to which Beatrice responds, “Is it possible disdain should die while she hath / such meet food to feed it as Signor Benedick? /Courtesy itself must convert to disdain / if you come in her presence” (1.1.95-98). This hilarious exchange not only depicts how much Beatrice and Benedick enjoy teasing and tormenting each other but also that they are smart, quick-witted, and talkative. We can also infer that not only is this not their first meeting but that they have been closely acquainted for some time. Claudio on the other hand states that “In mine eye she is the sweetest lady that ever I looked on,” an excellent choice of words, considering Claudio and Hero have never spoken. Later when confusion has been quelled and Claudio is set to marry Hero, he states that “Silence is the perfectest herald of joy!” and Hero herself is completely speechless (1.1.146-7). They have never met before, but both Claudio and Hero are immediately drawn to each other, and when they are free to marry and when words of love should be overflowing, they are silent. The juxtaposition of Beatrice, Benedick, Claudio, and Hero amplifies the opposing characteristics of each relationship. At times Beatrice and Benedick seem like rambling, angry cynics, but would we feel this way if Claudio and Hero didn’t seem like innocent, obliging children, or vice versa?

Similarly, Don Pedro and Don John behave in ways that force the audience to view them as the antithesis of the other, further engorging Don Pedro’s positive qualities and Don John’s negative ones. From the time of his arrival, Don Pedro is depicted as the jovial apex of the current Messina hierarchy, while his brother Don John is known as the gloomy “ bastard” brother who only recently re-entered his brother’s good graces. Don Pedro, despite his high rank and influence, is extremely generous with his friends. When Claudio requests Don Pedro’s help in wooing Hero, Don Pedro responds by saying “My love is thine to teach. Teach it but how, / And thou shalt see how apt it is to learn / Any hard lesson that may do thee good” (1.1.229-31). He is known as “Prince,” yet he is quick to do whatever he can to help his friends, without the slightest consideration as to how it could help or hurt him. Don Pedro is the absolute antithesis of Don John. Don John specifically takes on tasks in order to bring about pain or heartbreak in another, even in situations where he has nothing significant to gain. When Borachio claims to have information about an intended marriage, Don John perks up his moody ears and asks, “Will it serve for any model to build mischief on?” (1.3.37). Don John’s first and foremost thoughts surround creating problems for other people, this is where he finds personal joy, while Don Pedro’s personal joy lies in selfless acts for others. Still, the question remains, would Don Pedro appear so saintly and virtuous if he was not placed next to the antithesis of himself, his brother? Would Don John be more humorous rather than villainous if not placed next to his pious brother?

This is just the start of the play, but you can’t help but wonder if these perceptions will persist. Will more opposing characters or relationships come up, or will they fade? Did Shakespeare knowingly create characters that possessed directly opposing traits as other characters? How will these opposing relationships play out in the rest of the play? Will it help or hurt these characters?