Acknowledging Female Stereotypes in Much Ado About Nothing Essay Example for Free

Ack instantlyledging Female Stereotypes in very much bicker just about Nothing EssayWomen in the Elizabethan age were extremely repressed and discriminated against. Most would not have gone to school or received any type of formal education. They were not all(prenominal)owed to vote, bear property, 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 ingest men held extremely stereotypical views of their female counterparts that helped them justify the way they treated them. Shakespe be exposes many of these injustices and biases in his point in time quickens, which are still commonly read and performed today. In Much confidence trick About Nothing, Claudio moves from seeing women (specifically title-holder) as goddesses and wives to adulterers, and then back again to his original views.Claudio initially views supporter according to the established stereotypes, in mask 1, Scene 1 as prope rty. When first speaking of Hero, he refers to her as the daughter of Signor Leonato part this appears to be simply for identification purposes, he real(a)ly relinquishes the power of her name to her guardian (1. 1. 119).Instead of commerce her by her given name, Hero, 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, just if she is literally a virgin (1. 1. 121). A womans virginity was extremely valuable in Elizabethan England, and deter exploitd her worth as a potential wife.This outright inquiry into her purity foreshadows the later scandal surrounding it. Benedick asks Claudio if he would buy her, and Claudio responds with a seemingly noble hypothetical question Can the world buy much(prenominal) 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 wom en are pieces of property, albeit very beautiful and expensive ones.Later in the same scene, Claudio demonstrates Elizabethan mens views of women through Shakespeares thematic messages. He remarks that in mine eye, Hero is the sweetest lady that ever I looked on (1 1 139).This introduces a reoccurring field of Much Ado About Nothing of seeing and learning. Here, and later on in the play, Claudio bases his opinions of Hero on her outward hit and sort of piety. In addition, the words mine and I stress the importance of Claudio himself, the important, powerful male in the situation. 1 notes Shakespeares wordplay in the pun implied when eye and I sound interchangeable when spoken aloud.An other(a) theme surfaces in the use of the word sworn in line 144 of Act 1, Scene 1, w here(predicate)by Claudio makes apparent(a) that his honor depends on peoples perception of him and, by proxy, his future wife, Hero. Also notable is the hope he expresses that Hero would be his wife, in that he uses language again pertaining to himself where he could have wished that Hero would tie him or something similar, he instead wishes her to become his property.Claudio reveals that he has had an interest in Hero for a speckle before their present conversation about her. He admired her before he went away to war, but more pressing, important, masculine issues took his mind off her. This implies that matters of the heart were less valued by men than responsibility and honor, and that his current infatuation with Hero is sort of an afterthought, something to pursue as he is now bored.This distant, material esteem for Hero quickly turns to contempt when he thinks that assume Pedro has taken her for himself in Act 2, Scene 1. When Don 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 t he stereotype that Elizabethan men held of women being easily off-key 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 superbia Don John and Borachio use forms of the word swear when recounting Don Pedros supposed conquest of Hero, career 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 personal property, solely existing to fulfill the desires of man.When it is confirmed that Don Pedro was indeed just performing his friendly duties, Claudio without delay reverts to his view of Hero as a perfect, virginal, al some goddess- similar potential wife. He says to Hero Lady, as you are mine, I am yours I give away myself for you, and dote upon the exchange (2 1 233-4).Claudio acknowledges that Hero is now his property, and as that is an accepted custom in Elizabethan England, it is therefore deemed heroic that he gives himself to her, as well. victimisation the word exchange suggests a formal transaction of property, which is what is really transpiring between Claudio and Leonato. Claudio expresses his anticipation 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 service and rights as a husband provide insight into this.He feels a necessity for their marriage ceremony to be official, as legally marrying Hero go forth 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 rendering of Beatrices love for Benedick in Act 2, Scene 3. He describes her grief over her unrequited love in a ridiculous way, saying that she threw a savage fit. This implies Beatrice, and by extension all women, to be controlled and weakened 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. Like most men of his time, Claudio appears to believe 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 leads him to believe that Hero has had an affair with another man. Don John uses the word disloyal to describe her actions, and Claudio repeats that word in spoil and confusion about this blow 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 negative and poignant. He emphasizes that if he sees anything with his own eyes, he will believe these accusations. He describes the i ssue as mischief strangely thwarting, 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 spitefully and ironically addresses Hero with all sorts of virginal, innocent, pure language like maid (4 1 19).He again describes her as property in calling her a voluminous 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 frontal 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 young blush to be truly 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 comparison emphasizes his change of feeling toward her and her sex. He facetiously describes her as the goddess of chastity and the moon, Diana, and of an unopened flower bud virgin in appearance only. thusly he compares her to Venus, goddess of sexuality, and even to mindless beasts that act only on impulse and instinct. In the line link 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 the dramatic action, he learns to love and appreciate her for her previously detested intelligence and wit. Benedick learns to value women for the hu mans 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 author 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. Mary Berry and Michael Clamp. Cambridg e Cambridge University Press, 2011.