The use
of language in any Shakespearean drama is a fascinating aspect to study. In the comedy, Much Ado About Nothing, Shakespeare has filled the culminating acts
with impassioned speech and interesting language patterns and structures. Particularly strong is Shakespeare’s repetition
of particular words in act four, which is filled with high emotions and
action. The act contains the climactic
scene in which Claudio questions Hero’s chastity and worthiness. Being pure was an important topic in
Elizabethan England and something Shakespeare writes about with passionate
language, reflecting the seriousness of the topic. Leonato, as Hero’s father, would have shared
a significant amount of scorn and shame because his daughter was accused of being
unchaste. His speech is what I am most
interested in during this portion of the text.
After a
verbally accosted and morally accused Hero falls, Leonato wishes her to “not
live… do not ope thine eyes,” because of shame (4.1.122). Enraged, he speaks with fierce words that
culminate in the understanding that he would be better off if Hero were never born. The pain he experiences at these claims made
against his daughter makes him state that he desires the disgrace to be foreign
and something he could cast off on someone else. He is tortured that he now has dishonor to
bear: “But mine, and mine I loved, and mine I praised,/ And mine that I was
proud on, mine so much/ That I myself was to myself not mine,/ Valuing of her”
(4.1.135-8). Shakespeare uses the word “mine”
six times in three lines. This often
spoken word is significant on many levels and is not to be ignored. When one says “my” or “mine” it signifies
ownership, or that something is in close relation to the speaker. With “mine,” Leonato emphasizes his
relationship with, or even ownership over, Hero. As seen often in Shakespeare’s plays, like A Midsummer Night’s Dream with Egeus and
Hermia, the father must be respected by the daughter and viewed as highly as a
sort of creator and king. As his “subject,”
Leonato understands how poorly Hero’s impurity will reflect on him. He does not wish to be associated with her,
let alone call her “mine.” “Mine” may
even represent the sorrow at what he has undergone. As the events become reality to Leonato, he
feels the need to repeat the word, almost as a way to convince himself they are
occurring. Leonato evens states after
Claudio’s accusation has been made “Are these things spoken, or do I but dream?”
(4.1.64). Repeating a word not only lends rhythm and a unique sound when
spoken, but it may show Leonato wrestling with what has been presented to him.
After
listening to the Friar’s claim that he believes Hero innocent, Leonato gives an
impassioned speech revealing his anger and might. If Hero is guilty, he will kill or “tear her”
and if the men are lying he will fight them (4.1.190). Leonato goes on to reveal his state and
condition with: “Time hath not yet so dried this blood of mine,/ Nor age so eat
up my invention,/ Nor fortune made such havoc of my means,/ Nor my bad life
reft me so much of friends…”(4.1.192-5).
Here, Shakespeare repeats the word “nor” three times in three
lines. The repetition signals to the
reader that Leonato is severely angered and ready to fight. He has not succumbed to age, financial
troubles, lack of friends, or even time itself.
He has everything on his side to defeat those that have put him and his daughter
in this circumstance. Most performers
reciting these lines would place weight on the word “nor” because it emphasizes
that Leonato is not weak. The sound of
words repeated can draw the audience further in by hypnotic resonance. Interestingly,
Shakespeare places the word “mine” in line 192, which harks back to the
previous emotional language earlier in the scene. Leonato attempts to feel in control of an extreme
situation. Shakespeare makes his
character go through his resources verbally to announce to the audience how prepared
his character is, and how he is taking control.
This speech could be considered Leonato’s battle cry of act four. Shakespeare’s utilization of repetition makes
for great drama and provides the audience with audible cues of the tension Leonato
feels at the devaluing of his Hero.
