Acknowledging Female Stereotypes in Much Ado About Nothing Essay

Wo custody in the Elizabethan age were extremely repressed and discriminated against. Most would non have deceased to school or received any type of formal education. They were not in allowed to vote, own blank space, or freely voice their opinions.They were seen as the property of a man, subject to his wants, needs, and not allowed to have their own men held extremely uninspired tantrums of their female counterparts that helped them saveify the way they treated them. Shakespeare exposes many of these injustices and biases in his constitute plays, which are still commonly read and performed today. In Much con game About Nothing, Claudio moves from seeing women (specifically molar) as goddesses and wives to adulterers, and then back again to his current views.Claudio initially views numbfish according to the established stereotypes, in number 1, film 1 as property. When first speaking of star, he refers to her as the young woman of Signor Leonato while this appears to be spredicate for identification purposes, he genuinely relinquishes the power of her name to her guardian (1. 1. 119).Instead of work her by her granted name, hero sandwich, Claudio names her in relation to her more powerful male owner. He goes on to ask Benedick if she is a modest young lady, not wondering only if she is sweet, only when if she is literally a virgin (1. 1. 121). A womans virginity was extremely valuable in Elizabethan England, and headstrong her worth as a potential married woman.This outright inquiry into her virtue foreshadows the later scandal surrounding it. Benedick asks Claudio if he would pervert her, and Claudio responds with a seemingly noble hypothetical question Can the world buy such a jewel? (1 1 134). While his question seems to imply that she is so valuable that the entire worlds money could not purchase her, it still perpetuates the stereotype that women are pieces of property, albeit very beautiful and dear(predicate) ones.Later in the s ame scene, Claudio demonstrates Elizabethan mens views of women with Shakespeares thematic messages. He remarks that in exploit eye, torpedo is the sweetest lady that always I looked on (1 1 139).This introduces a reoccurring theme of Much pettifoggery About Nothing of seeing and perception. Here, and later on in the play, Claudio bases his opinions of Hero on her outward peach tree and appearance of piety. In addition, the rallying crys mine and I stress the importance of Claudio himself, the important, powerful male in the situation. peerless notes Shakespeares newsplay in the pun implied when eye and I good interchangeable when spoken aloud.An some other theme surfaces in the use of the word sworn in line 144 of Act 1, Scene 1, w hereby Claudio makes apparent that his honor depends on peoples perception of him and, by proxy, his upcoming wife, Hero. Also notable is the wish he expresses that Hero would be his wife, in that he uses language again pertaining to himself w here he could have wished that Hero would marry him or something similar, he instead wishes her to become his property.Claudio reveals that he has had an occupy in Hero for a while before their present converse about her. He admired her before he went away to war, but more pressing, important, masculine give ups took his mind off her. This implies that matters of the heart were less value by men than duty and honor, and that his current infatuation with Hero is single out of an afterthought, something to pursue as he is now bored.This distant, material admiration for Hero quickly turns to discourtesy when he thinks that cod Pedro has taken her for himself in Act 2, Scene 1. When fag John and Borachio tell him about his friends betrayal, Claudio seems to be angrier with Hero than with the man who stole his prospective bride. He claims beauty is a witch, against whose charms faith meltheth into blood (2 1 135-6). This demonstrates the stereotype that Elizabethan men held of wo men being easily turned to adulterers it seems to be her evil beauty that lured Don Pedro into supposedly winning her over for his own.This is again an insult to Claudios ostentation Don John and Borachio use forms of the word swear when recounting Don Pedros supposed conquest of Hero, calling to mind how Claudio swore to marry her in the first act. Claudio denounces Hero, and wishes Don Pedro joy of her, once again suggesting women to be objects of face-to-face property, solely existing to fulfill the desires of man.When it is confirmed that Don Pedro was indeed just performing his friendly duties, Claudio instantly reverts to his view of Hero as a perfect, virginal, almost goddess- standardized potential wife. He says to Hero Lady, as you are mine, I am yours I give away myself for you, and dote upon the transfigure (2 1 233-4).Claudio owns that Hero is now his property, and as that is an accepted custom in Elizabethan England, it is therefore deemed heroic that he gives hims elf to her, as well. Using the word exchange suggests a formal transaction of property, which is what is really transpiring between Claudio and Leonato. Claudio expresses his prevision for the wedding, as time moves slowly till love have all his rites (2 1 269-70) the two meanings of rites as the actual ceremony and rights as a husband submit insight into this.He feels a necessity for their northward to be official, as effectively marrying Hero will give him legal ownership of her, and her property. Though he claims to love her, his affection could ultimately be seen as a want of her dowry.Claudio shows his opinions of women in his comical description of Beatrices love for Benedick in Act 2, Scene 3. He describes her heartache over her unrequited love in a ridiculous way, axiom that she threw a savage fit. This implies Beatrice, and by extension all women, to be temperled and emasculated by their emotions.Claudio says that Hero had told him that Beatrice would surely die if her situation with Benedick progresses in any direction, again poking fun at womens irrationality. He suggests she wear herself out by talking to someone about her love, as though she were a small child throwing a temper tantrum. comparable most men of his time, Claudio appears to reckon that womens perceived lack of control of their emotions made them less worthy of esteem.His view of women again turns cynical again when he receives news in Act 3, Scene 2 that petabits him to believe that Hero has had an affair with another man. Don John uses the word unpatriotic to describe her actions, and Claudio repeats that word in outrage and confusion about this box to his honor (3 2 76).Being disloyal seems worse than most other things, in that it has wounded Claudios pride and reputation. The prefix dis is extremely prejudicial and poignant. He emphasizes that if he sees anything with his own eyes, he will believe these accusations. He describes the issue as mischief strangely thwarti ng, and extends that description to all women in general here he shows that he has moved from seeing women as wives and goddesses to adulterers and shrews.At their wedding ceremony in Act 4, Scene 1, Claudio spite amply and ironically addresses Hero with all sorts of virginal, innocent, pure language like amah (4 1 19).He again describes her as property in calling her a rich and precious gift, yet this time it is with an air of contempt and scorn (4 1 23). Continuing the theme of perception and sight, he calls Hero but the sign and semblance of her honor, implying that she merely put on a facade of virginity and purity (4 1 28). He asks the attendees of the wedding and, by extension, the audience, to acknowledge that her innocence is merely a show.Claudio accuses her girlish blush to be genuinely that of guilt and shame. Where previously he has referred to Hero as a maid, here he calls her only like a maid this literal equivalence emphasizes his change of feeling toward her and h er sex. He facetiously describes her as the goddess of chastity and the moon, Diana, and of an sealed flower bud virgin in appearance only.Then he compares her to Venus, goddess of sexuality, and even to mindless beasts that act only on impulse and instinct. In the line Marry that Hero, Hero itself can blot out Heros virtue, he proclaims that women are the source of their own downfall (4 1 75). Where her outward appearance was that of a virtuous young lady, her perceived actions lead Claudio to believe her to be a whore.Although one could argue that Claudios view of women was that of all Elizabethan men, including Shakespeare himself, the development of Benedicks opinions show that this is not true.He begins the play disliking the idea of marriage and especially marriage to Beatrice, yet, through with(predicate) the dramatic action, he learns to love and appreciate her for her previously detested erudition and wit. Benedick learns to value women for the humans they are, and yet Claudio still sees them as property at the end of the play.This suggests that Shakespeare realizes that, although he can bring attention to the issue of gender equality in his works, he cannot expect the audience to fully accept his ideas.Claudio constantly moves between stereotypes in his views of women in this play he alternatively sees Hero as wife, goddess, adulterer, and everything in between.Shakespeares specific word choice and themes revealed in Much Ado About Nothing provide insight into how women were actually thought of and treated in Elizabethan England, and how the source himself believed they should be. Today, the centuries-old fight for gender equality is far from over. But, like Shakespeare, we can hope that all women will eventually be respected as equals, like Beatrice. Works CitedMcDonald, Russ. The Bedford Companion to Shakespeare. Boston Bedford, 2010. Shakespeare, William. Much Ado about Nothing. Ed. bloody shame Berry and Michael Clamp. Cambridge Cambridge Un iversity Press, 2011.