Much Ado About Nothing: Context (Edexcel GCSE English Literature)
Revision Note
Much Ado About Nothing historical context
Shakespeare plays dating from before April 1603 are considered Elizabethan as they were written and performed at the time Elizabeth I was on the English throne. Much Ado About Nothing was written around 1598 and is therefore an Elizabethan play.
Queen Elizabeth’s court was the centre of English imperial political manoeuvring, diplomatic negotiations and the pursuit of alliances to maintain or expand power:
Within the court, alliances would be forged, not only through formal treaties but also through personal connections and patronage
The Renaissance, a cultural movement that began in Italy in the 14th century, had spread to England by the late 16th century:
It was characterised by a revival of classical learning and humanistic ideals
This cultural exchange and rediscovery of ancient texts influenced literature, art and philosophy
The storyline of Hero and Claudio likely came directly from a story by Italian poet Ludovico Ariosto
How this links to the play Much Ado About Nothing | |
Courtly politics | The play’s themes of deception and manipulation reflect the strategies used in courtly politics, where appearances and perceptions were used to achieve political goals. |
Individualism | Influenced by Renaissance humanism, which celebrated the potential and dignity of the individual, the play also demonstrates the importance of individual character and autonomy. Beatrice and Benedick, through their wit and refusal to adhere strictly to societal expectations of courtship and marriage, epitomise the spirit of individualism and intellectual freedom. They are depicted as independent thinkers who prioritise personal integrity over conformity. |
Much Ado About Nothing social context
Gender roles
The stereotype of Elizabethan women as chaste, modest, subservient and wholly dependent on men, whether a father or a husband, is taken mainly from how women were portrayed in literature:
Shakespeare, like other playwrights, borrowed plots from classic literature
This is not how most people lived their lives, but there were great differences between men’s and women’s roles in Elizabethan England:
These differences were mostly rooted in schooling
Boys were able to attend grammar school from the ages of six or seven, whereas girls were mainly home-schooled (except for the poor, who would receive no formal education)
The lack of formal education for women led to a disparity between what men and women were thought to be capable of
Women were allowed to own property, but the law dictated that ownership of any property transferred to a woman’s husband upon marriage
How this links to the play Much Ado About Nothing | |
Portrayal of women | The story of Beatrice and Benedick was original and popular in Shakespeare’s time. Beatrice challenges everyday sexism by turning men’s insults back on them, particularly Benedick’s, showcasing her assertiveness and humour. Her outspoken nature contrasts with the idealised femininity of Hero, and Leonato’s comment about her outspokenness hindering her marriage prospects demonstrates her unconventional character in Elizabethan England. |
Gender inequality | Beatrice highlights gender disparities when she cries “O God, that I were a man!” She expresses a desire to possess the qualities that men are celebrated for, such as the ability to seek personal revenge like challenging Claudio, yet as a woman, she must rely on Benedick to act on her behalf. |
Female solidarity | The theme of female solidarity is shown as Beatrice defends Hero’s innocence to Leonato, but their pleas are dismissed because of their gender. |
Male sexism | The play also explores male friendship and bonding through banter, which cements friendships and excludes women, often using sexual innuendo. Here humour acts as both a weapon and a shield, as sexist jokes demean women while also revealing men’s insecurities and fear of emotional vulnerability. |
Honour and virtue
In Elizabethan times, it was important for a woman to maintain her virginity until she was engaged:
Any rumours that a woman was not a virgin would not only harm the woman’s reputation, but also that of her father and future husband
Although women were expected to remain virgins until marriage, it was generally thought acceptable if an engaged couple had sex between the agreement to marry and the actual wedding ceremony:
The same expectations of virginity were not in place for men
It was a father’s duty to protect his daughter’s chastity at all costs:
If a daughter engaged in any form of sexual activity before marriage, this would dishonour her father and her family
This explains Leonato’s extreme reaction at the altar when Claudio refuses Hero
In addition, a wife’s faithfulness was a reflection of her husband’s status and ability to control her
A cuckold is a man depicted with animal horns as a shameful sign that their wives had been unfaithful:
Cuckolds became a running joke in Elizabethan plays
After marriage, any expression of female sexuality or feminine desire was considered to be deeply disturbing:
Many people thought that women could not control their lustful urges, so it was quite common for men to have fears over their wives’ fidelity and the prospect of being “cuckolded”
How this links to the play Much Ado About Nothing | |
Female chastity | Concerns about Hero’s fidelity and virginity before marriage is a key plot point in the play. The shaming of Hero is an example of male hypocrisy, as it was seen as acceptable for men, but not women, to engage in promiscuous behaviour. |
Infidelity | The character of Don John is also a symbol of infidelity. As he is Don Pedro’s illegitimate brother, he is proof that some women do have sexual relations with men who are not their husbands. His existence confirms the worst fears of characters like Claudio and Leonato. The social anxiety around his illegitimate birth automatically makes him the “villain”. In Elizabethan society, the fact that he is illegitimate makes him “evil”. |
Discord and harmony
Discord is evident in the play, as Shakespeare combines humour with more serious themes such as honour, shame and social conventions
It is ultimately a comedy that ends with multiple marriages and no deaths:
The play shares some plot elements with tragedies such as Romeo and Juliet
The word “nothing” in Shakespeare’s time had contradictory meanings:
It could mean the absence of anything, but it was also pronounced as “noting”, meaning observing or taking note
Messina is a large port city on the Italian island of Sicily:
It could be a place of play and restoration, yet the society was strictly bound by custom and convention
Before the formation of a professional police force, each area of a city was policed by ordinary citizens:
They were called the “watch” and arrested wrongdoers
They were often mocked in Shakespeare’s day for their sense of self-importance and pompousness
How this links to the play Much Ado About Nothing | |
Restoration of harmony | Claudio’s public shaming of Hero at their wedding combines themes of honour and social conventions and leads to Hero’s temporary disgrace. After the truth is revealed and Don John’s plot is exposed, the subsequent reconciliation through Hero’s forgiveness restores harmony. |
The “merry war” | Throughout much of the play, Beatrice and Benedick engage in a “merry war”, though their eventual confession of love brings further harmony. |
Restoration or order | The play also ends with a dance, like several other Shakespearean comedies, which signals harmony and restored order. |
Much Ado About Nothing literary context
Much Ado About Nothing is known as a Shakespearean comedy. Knowing this — and that an audience would also have certain expectations when watching a comedy — can help to elevate your analysis of Shakespeare’s choices as a playwright.
The structure of a comedy
Many of Shakespeare’s comedies follow the same five-part structure:
Part | Definition | In Much Ado About Nothing |
1: Exposition | The introduction to the play for the audience, and an introduction to the themes and atmosphere | In Much Ado About Nothing, the setting of Messina is introduced, as well as all of the major characters. The “merry war” of wits is revealed early on between Benedick and Beatrice. Furthermore, purity and naivety in love as represented by Claudio and Hero, and a hint of menace with the introduction of Don John in the soldiers’ party, introduce the other major themes of the play |
2: Rising action | When complications in the main plot are exposed and an inevitable chain of events starts | In Much Ado About Nothing, schemes, misunderstandings and eavesdropping begin, with Don Pedro wooing Hero on Claudio’s behalf, the trick to fool Benedick and Beatrice into falling in love with each other, and Don John’s plans to ruin Claudio’s happiness |
3: Climax | The point in the play where the tension and excitement reach the highest level | Here, the climax of the play is the wedding that wasn’t, with Claudio publicly rejecting Hero at the altar for her alleged infidelity |
4. Falling action | The events that occur immediately after the climax has taken place and the action shifts towards resolution, instead of escalation | Friar Francis comes up with the plan to pretend that Hero died of humiliation to enable time for her name to be cleared, and the watchmen overhear Borachio confessing to his part in the deception, leading to his arrest and the eventual revelation of Hero’s innocence by Dogberry |
5. Denouement | Normality and the natural order is restored | With Hero’s innocence established, but Claudio still thinking her dead, he is lured back to the altar to wed Leonato’s supposed niece. However, Hero reveals herself to be the bride and they are married. In addition, Benedick and Beatrice admit their love for each other, and the play ends with dancing |
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