Monday, October 4, 2010

The male characters in Much Ado about Nothing absolutely enrage me. Reading act IV scene I was practically unbearable. It's bad enough that Claudio decides to humiliate Hero at the alter rather than call off the wedding, but his sickening speech beginning on line 28 is outrageously offensive. He lacks the nerve to address Hero directly, so instead he tells her father “There, Leonato, take her back again./ Give not this rotten orange to your friend./ She's but the sign and semblance of her honour” (29-31). I understand that he truly believes that Hero has “betrayed” him, but he never doubts for a moment that the affair could be a misunderstanding. Claudio, and most if not all of the male characters in this play, are ready and willing to expect the worst of women. When Claudio accuses Hero of adultery, asking or rather demanding her to answer him “What man was he talked with you yesternight/ Out at your window betwixt twelve and one?” (82-83) she honestly responds “I talked with no man at that hour, my lord” (85) and still no one believes her. Hero appears to have no history of deceitfulness and up until this point in the play all the characters seemed to agree that Hero is virtuous and modest in manner. What is even worse than Claudio refusing to believe Hero and his insistence on her having “impious purity” is Leonato, her own father, immediately assumes Claudio is right. He can not fathom that Claudio is wrong, saying “Would the two princes lie? And Claudio lie,/ Who loved her so that, speaking of her foulness,/ Washed it with tears? Hence from her, let her die” (151-153). What kind of Father says “let her die?” speaking about his own daughter? I understand that this play takes place in a time where women had much less rights, but did not a bond between a parent and their child exist? Leonato seemed to be a loving father in the acts prior. The only defense Hero receives from the opposite sex comes from the friar. He observes Hero to have “A thousand blushing apparitions/ To start into her face, a thousand innocent shames/ In angel whiteness beat away those blushes,/ And in her eye there hath appeared a fire/ To burn the errors that these princes hold/ Against her maiden truth” (158-163). He dares Leonato to “Call me a fool” and to “Trust not my reading nor my observations/ Which with experimental seal doth warrant/ The tenor of my book. Trust not my age,/ My reverence, calling, nor divinity” (163-167). Leonato refuses to believe the Friar and still insists his daughter has sinned. It is unbelievable that Leonato is so certain of his daughter's piety that he disagrees with the words of a priest. This was a very frustrating scene to read and I felt a lot of sympathy towards Hero.

2 comments:

Martha said...

Hi Carrie! I feel the same way about 4.1, in that it evokes a strong reaction from the reader in regards to the treatment of Hero. It's extremely frustrating to see Claudio pass such judgment on someone he barely knows and has never exchanged words with. The fact that he does not converse with Hero in the scene, but instead only speaks to Leonato, Don Pedro or the Friar, further emphasizes the lack of a real relationship between Hero and Claudio, and also comes off as Claudio not even having enough respect to speak directly to Hero. I also think the emotion evoked by 4.1 is the reason 4.2 returns to the comedy of Dogberry and Verges.

ladida said...

I despise Claudio. I honestly do not see the supposed love he has for Hero. First, he is overly concerned with her dowry. Second, he is unwilling to woo Hero directly (how do you have a romantic relationship with someone when you don't speak to them?) Third, he is willing to leave Messina the day before his wedding. Fourth, he degrades and humiliates her with a speech that I find much more offensive than Benedick's at 2.3.6-30. And lastly he has no problem marrying another woman (who conveniently also has no brother, according to the Norton note on pg 1464) even though he thinks he is the reason Hero is dead! Where in his actions does he ever exhibit feelings of love?
I was more able to understand Leonato's actions, reprehensible as they are. I related him to King Lear. In his speech at 4.1.19 he racks his brain to understand how someone he gave birth to could have shamed him so much. The relationship he has with Hero is one in which she represents him, so even the slightest taint of her reputation is a taint of his own: it signals something corrupt within himself, which is why he wants both Hero and himself to die. He, I think, suffers from the same mortification as his daughter. Because his relationship with Hero is so colored by his relationship with his own psyche, his overly reactionary response to the accusation is more acceptable than Claudio's, whose response is simply evidence of his lak of feeling towards Hero. I've never read Othello, so I'm interested to see how he'll react in the same situation; I also wonder if Benedick would react the same if someone accused Beatrice. (Although she would probably be able to defend herself.)