Subject: Seminar: Shakespeare

Teacher:

Research paper on:

Differences and Similarities in Shakespeare’s

Much Ado about Nothing and A Midsummer
Night’s Dream

Student: Adrián Susino

Consudec
Although William Shakespeare’s education cannot be proved, there are certain
assumptions that he could have attended Grammar schools and it is known that Kings’
New School in Stratford-upon-Avon, where he was born, was considered to have great
excellence. These kinds of schools focused on Latin grammar and literature. It is
believed that his professional life was spent in London and then he retired and returned
to his hometown with a better economic position. Not only was he considered a poet but
also an actor and a playwright. In 1593 he started publishing his first works and it was
in this decade that several comedies, among other genres, were written. One of his
comedies, Much Ado about Nothing, was first printed in 1600 and in 1623, known as the
first folio, this play was printed again. As regards its setting, it takes place in Messina,
the third largest city on the island of Sicily, Italy. Another play which is intended to be
analysed is A Midsummer Night’s Dream. This work is said to have written between
1594 and 1596. It seems to contain some mythological elements and this fact is
connected with the setting since it takes place in Athens, Greece, a country where the
matter of mythology has played a significant role, culturally speaking. Two main
themes will be discussed in this essay, which happen to be love and humour and some
minor themes connected with them. The aim of this research paper is to identify
similarities and differences between the plays to be explored, mainly how Shakespeare
deals with the major topics in each play.

Much Ado about Nothing and A Midsummer Night’s Dream seem to contain similarities
from the point of view of the techniques used in some comedies, which appear to be the
matter of confusion, generating humour in both plays. There might be some minor
themes related to humour. Among them, entertainment plays an important role in Much
Ado about Nothing given that the relevance the characters give it by celebrating every
glad moment they have. As regards A Midsummer Night’s Dream this theme might play
the same role since a stage play is shown at the end of the story, whose performers
generate laughter. The matter of love is found in these two comedies leading us to other
minor topics such as courtly love, linked to it, marriage and the question of honour,
which tends to affect the female figure only since chastity played a vital and essential
part in Elizabethan times. Joined to that topic, deception seems to be present.

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Although the two plays share some themes, there are differences in the way
Shakespeare presents the themes and how characters’ different personalities are shown
in the comedies and the vision they have towards love. Regarding symbolic elements,
death can be found more explicitly in Much Ado about Nothing and again, the female
role is involved in it, which paradoxically brings a solution to one of the main
characters, Hero. Whereas in A Midsummer Night’s Dream the matter of death may
become part of reality given that Hermia, one of the main characters, is at risk of being
sentenced to death penalty because of not obeying her father. This element in a certain
way might be a consequence of love due to the fact that in Much Ado Hero chooses to
pretend to have passed away since Claudio has humilliated her and in A Midsummer
Night’s Dream Hermia is at risk of death penalty if she disobeys her father and does not
marry the man he desires.

Error and misinformation seem to be vital and effective to cause humour in a play and
Much Ado shows a variety of these aspects. The question of making up stories in order
to plot against or for somebody is present in Much Ado. A plot can have a good or an
evil cause. For instance, the Prince, Claudio and Leonato have a conversation and make
up a story so that Benedick overhears it, with the objective of making Benedick believe
that Beatrice is in love with him.

PRINCE: - Come hither, Leonato. What was it you told me of today, that your niece
Beatrice was in love with Signior Benedick?
CLAUDIO: - O, ay (Aside to Prince). Stalk on, stalk on; the fowl sits.- I did never think
that lady would have loved any man.
LEONATO: - No, nor I neither, but most wonderful that she should so dote on Signior
Benedick whom she hath in all outward behaviours seemed ever to abhor.
BENEDICK: - (Aside) Is’t possible? Sits the wind in that corner?
(2. 3. 83 – 91)

The same occurs with Beatrice, who appears to overhear a talk between Hero and
Ursula. In these lines how the plot is made is shown:

HERO: - Now Ursula, when Beatrice doth come,

As we do trace this alley up and down,
Our talk must only be of Benedick
When I do name him, let it be thy part
To praise him more than ever man did merit.

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 My talk to thee must be how Benedick
Is sick in love with Beatrice. Of this matter
Is little Cupid’s crafty arrow made,
That only wounds by hearsay. Now begin,
For look where Beatrice like a lapwing runs
Close by the ground, to hear our conference.
(3.1. 15 – 25)

It can be observed that these examples succeed in causing humour. In contrast, the
moment Don John, Don Pedro’s illegitimate brother, plans a plot against Count Claudio,
who experiences love at first sight when he sees Hero, causes conflict and chaos in the
story rather than humour. A difference can be observed in these characters, Don Pedro
and his illegitimate brother, John, who - like the biblical character Cain – appears to be
invaded by hatred towards his brother, and his only objective is to do harm to anyone.

Another aspect of confusion might be the matter of mistaken identity, which is an

important tool used by Shakespeare. In Much Ado about Nothing, at the masked ball
Beatrice and Benedick have a conversation but as they are disguised and their faces are
covered by their masks Beatrice seems not to realize that who is disguised is Benedick.
What causes humour is the content of her speech towards him given that she attacks
him, verbally speaking:

BEATRICE Nor will you not tell me who you are?

BENEDICK Not now
BEATRICE That I was disdainful, and that I had my good wit out of The Hundred
Merry Tales! Well, this was Signior Benedick that said so.
BENEDICK What’s he?
BEATRICE I am sure you know him well enough.
BENEDICK Not I, believe me.
BEATRICE Did he ever make you laugh?
BENEDICK I pray you, what is he?
BEATRICE Why, he is the Prince’s jester, a very dull fool; only his gift is in devising
impossible slanders.
(2.1. 110 -122)
Taking this kind of conversation into account, there might be other situations in the
play, in which this kind of misinformation or sometimes overhearing a conversation
functions well from the humoristic point of view. In A Midsummer Night’s Dream the

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question of confusion is present in another way, mistaken identity appears to cause
confusion due to the fact that Puck, Oberon’s servant, makes the mistake of pouring the
magic flower’s juice over the wrong Athenian. In these lines the technique of mistaken
identity is clearly shown:

PUCK:- Through the forest have I gone,

But Athenian found I none,
On whose eyes I might approve
This flower's force in stirring love.
Night and silence! Who is here?
Weeds of Athens he doth wear:
This is he, my master said,
Despised the Athenian maid;
And here the maiden, sleeping sound,
On the dank and dirty ground.
Pretty soul! she durst not lie
Near this lack-love, this kill-courtesy.
Churl, upon thy eyes I throw
All the power this charm doth owe;
When thou wak'st let love forbid
Sleep his seat on thy eyelid.
So awake when I am gone:
For I must now to Oberon.

(2.2. 66 – 83)

Another aspect regarding confusion is speech. When Lysander wakes up he

immediately falls in love with Helena. He claims that he no longer loves Hermia and
that it is her whom he loves. Helena believes he is making fun of her and gets irritated.
Her annoyance is probably due to the strangeness of the situation that somebody
radically falls in love with somebody else and that might be the reason why she thinks
Lysander is mocking her. In Lysander’s speech he claims to repent having loved Hermia
and this is something that might generate astonishment in any character. Shakespeare
shows it in this way:

LYSANDER. Content with Hermia? No: I do repent

The tedious minutes I with her have spent.
Not Hermia but Helena I love:

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 Who will not change a raven for a dove?
The will of man is by his reason sway'd;
And reason says you are the worthier maid.
Things growing are not ripe until their season;
So I, being young, till now ripe not to reason;
And touching now the point of human skill,
Reason becomes the marshal to my will,
And leads me to your eyes, where I o'erlook
Love's stories, written in love's richest book.
HELENA Wherefore was I to this keen mockery born?
When at your hands did I deserve this scorn?
Is't not enough, is't not enough, young man,
That I did never, no, nor never can
Deserve a sweet look from Demetrius' eye,
But you must flout my insufficiency?
Good troth, you do me wrong,--good sooth, you do
In such disdainful manner me to woo.
(2.2. 111 – 130)

Entertainment is clearly shown in A Midsummer Night’s Dream. In this play

celebrations are of great importance. In Elizabethan times the calendar was divided into
two halves, from Christmas to June 24, which corresponds to Midsummer. During the
summer half agrarian feasts and local celebrations took place. As regards royalty, the
feasts organized for them were quite extravagant. In festivities, it was the Queen who
was regarded and what was called the Queen’s year was also divided into two and it is
important to notice that all the celebrations were organized for the Queen. In A
Midsummer the use of metadrama is seen by the fact that a play that contains another
play and this can be found, specifically at the end of the story. This play is presented by
some craftmen who perform the work for the Duke, Thesus, as in Elizabethan times a
play was performed for the Queen. It seems that the question of humour is undoubtedly
present at the end of this story:

MOON All that I have to say, is to tell you that the lantern is the moon; I, the man i' the
moon; this thorn-bush, my thorn-bush; and this dog, my dog.
(5.1. 250-253)

The play the craftmen perform is supposed to be a tragedy, similar to Romeo and Juliet.
However, it causes laughter throughout the play among the audience. There are some

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instances of humour like the improvisation of some characters in the performance due to
external factors and some characters who seem to forget the script. The appearance of a
dog on stage and the fact that someone plays the role of a wall does not help to create
the atmosphere of a tragedy but the contrary. In Much Ado about Nothing Shakespeare
also presents the matter of festivity as an important tool to create humour. At the
masked ball, for instance, some characters appear to enjoy the event and some
situations, like the one described below, show humour caused by entertainment:

URSULA: I know you well enough; you are Signior Antonio.

ANTONIO: - At a word, I am not.
URSULA: -I know you by the waggling of your head.
ANTONIO: -To tell you the true, I counterfeit him.
URSULA:- You could never do him so ill-well unless you were the very man. Here’s
his dry hand up and down; You are he.
ANTONIO: - At a word, I am not.
URSULA: - Come, come, do you think I do not know you by your excellent wit? Can
virtue hide himself? Go to; mum; you are he. Graces will appear, and there’s an end.
(2.1. 97 – 107)

When observing the origins of courtly love, they are thought to take place in France in
the 12th century. In those times marriages were arranged and chivalry, which has an
aristocratic military origin, is closely associated with the topic under discussion given
that both had certain codes and rules. Despite the fact that love seems to touch
Claudio’s, Hero’s, Benedick’s and Beatrice’s hearts, there is a difference between the
former couple and the latter. Courtly love is observed in Claudio’s attitude, which in
Benedick’s case does not occur. Firstly, it is necessary to define this idea of courtly love
and below some features are quoted:

The courtly lover idealizes his beloved; she, his sovereign lady, occupies an exalted
position above him. His feelings for her ennoble him and make him more worthy;
her beauty of body and soul makes him long for union with her, not for passion’s
sake but as a means of achieving the ultimate in moral excellence.1

If the assumptions of what courtly love is were analysed, it might be stated that not only
Claudio but also Benedick seem to follow certain features related to courtly love. Both

1
‘Courtly love’, TheNew Princeton Encyclopedia of Poetry and Poetics, Alex Preminger
and T. V. F. Brogan (eds.) (Princeton, NJ: Princeton University Press, 1993). P.245

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of them belonging to an aristocratic family, the question of coming from war, the
language they use and the fact that they show admiration towards an idealized woman
might be present in courtly love characteristics. However, there are some differences
between Claudio and Benedick regarding courtly love. Firstly, Benedick not
recognizing his love towards Beatrice and his verbal war with her lead to think that he
does not follow the conventions that courtly love proclaims. This is proved in these
lines:

BENEDICK:- Then is courtesy a turncoat. But it is certain I am loved of all ladies, only
you excepted; and I would I could find in my heart that I had not a hard heart, for truly I
love none.
BEATRICE: - A dear happiness to women. They would else have been troubled with a
pernicious suitor. I thank God and my cold blood I am of your humour for that. I had
rather hear my dog bark at a crow than a man swear he loves me.
BENEDICK: - God keep your ladyship still in that mind! So some gentleman or other
shall 'scape a predestinate scratched face.
BEATRICE: - Scratching could not make it worse, an 'twere such a face as yours were
BENEDICK: - Well, you are a rare parrot-teacher.
(1.1. 105 -1117)

The relationship, perhaps because of humour, between Benedick and Beatrice tends to
be more interesting than that of Claudio and Hero’s. It seems that Shakespeare intends
to mock courtly love since the former couple appears to be more attractive than the
latter. This is observed given that Claudio and Hero’s relationship seems to have more
elements that perfectly make emphasis on nobility and chivalry. Although Benedick is a
soldier who is longing for Beatrice’s love, he seems to be very critical of marriage and
Beatrice might criticize the matter of chivalry mocking the male character in some
instances.

Another characteristic of this theme is the matter of Claudio’s thoughts about getting
Hero as if she were an object. If some lines were analysed the conclusion to draw would
be that he wants to purchase her, without taking into account what she feels. This can
signal an important detail in Shakespeare’s times, the role of women. Obviously some
marriages were arranged and women’s feelings were not considered. At first sight it
seems that Claudio intends to possess her at all costs. These lines account for Claudio’s
interest in Hero’s fortune:

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 CLAUDIO: - Hath Leonato any son, my lord?
PRINCE:- No child but Hero;she’s his is only heir
(1.1 256 – 257)

Unlike Much Ado, A Midsummer Night’s Dream shows exaggerated courtly love, which
leads to ridicule. This is seen when Lysander tells Helena that he has fallen in love with
her, while she begins to think that it is a kind of mockery. While the lack of this kind of
love by Benedick in Much Ado brings about humour, in A Midsummer excessive courtly
love causes the same. Penny Gay in her book The Cambridge Introduction to
Shakespeare’s Comedies claims that Lysander “has the appropriate Petrarchan language
on the tip of his tongue” 2 and she exemplifies with these lines:

LYSANDER: - Transparent Helena, nature shows art

That through thy bosom makes me see thy heart.
(2.2. 104-5)
Reason becomes the marshal to my will
And leads me to your eyes, where I o’erlook
Love’s stories written in love’s richest book.

(2.2.120-2)

This shows again that Shakespeare, like in Much Ado, intends to mock courtly love
presenting a magic and absurd situation where not only Lysander but also Demetrius
experience a radical change. In fact, the link to courtly love is their speeches when they
wake up after being enchanted by the magical flower. They deliver very romantic
declarations of love. Penny Gay again quotes this to show exaggerated romantic
speech.

DEMETRIUS: -O Helen, goddess, nymph, perfect, divine!

To what, my love, shall I compare thine eyne?
Crystal is muddy! O, how ripe in show
Thy lips, those kissing cherries, tempting grow!
(3.2.137–40)

2
The Cambridge Introduction to Shakespeare’s Comedies, Penny Gay (Cambridge, Cambridge
University Press, 2008) P.18

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Another relevant point must be mentioned. Those characters not being affected by the
enchantment of the flower are Hermia and Helena, who do not seem to get involved in
the kind of love it is discussed. Penny Gay means that in a certain way they do not seem
to enjoy the partners’ romantic speeches and she shows this:

HELENA: -O spite! O Hell! I see you all are bent

To set against me for your merriment.
If you were civil and knew courtesy,
You would not do me thus much injury.
Can you not hate me, as I know you do,
But you must join in souls to mock me too?
If you were men, as men you are in show,
You would not use a gentle lady so,
To vow, and swear, and superpraise my parts,
When I am sure you hate me with your hearts.
(3.2.145–54)

In contrast with Claudio, Benedick states different views regarding marriage. As family
and religion are related, this character tends not to take them at face value and makes
jokes about them. In a conversation with the Prince he postulates his ideas, in an ironic
way, concerning this blessed union. Some ideas can be read between lines in this
dialogue, which according to Don Pedro are heretic. When Benedick says:

BENEDICK: -That I neither feel how she should be loved nor know how she should be
worthy is the opinion that fire cannot melt out of me. I will die in it at the stake.
PRINCE: - Thou wast ever an obstinate heretic in the despite of beauty.
(1.1. 199 -203)

Alison Findlay in her essay in the book A Companion to Shakespeare’s Works Volume
III writes “To refuse to be “overmastered with a piece of valiant dust” on the grounds of
sexual equality, or to advocate personal choice of marriage partner “as it please me”
(2.1.41–4), challenges the patriarchal order outright.” This perfectly shows that Beatrice
does not follow the conventions that society in those times imposed. However, some
change can be noticed in these characters along the play. At the beginning Benedick
claims opposition towards marriage but at the end the character gives in and accepts it
as a step towards gladness.

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Marriage is seen as a must in A Midsummer Night’s Dream. As it was said before
marriages were arranged in Shakespeare’s times and in this play this is clearly shown
when Egeus forces his daughter to marry Demetrius, whom she does not love. There are
some similarities in both plays regarding marriage. As marriage is not only related to
family but also to God in accordance with the characters’ beliefs, a religious ritual must
be taken into consideration, which is wedding. These romantic comedies seem to
suggest that some stages are necessary in life and getting married is one of them. It
appears that prosperity is only achieved through marriage. The happy end of these
plays, maybe ironic and exaggerated, given that in Much Ado there is a wedding
followed by another one, making the story end up in a double wedding. In A
Midsummer three celebrations close the story. It might make one think that Shakespeare
chose weddings as an important tool to finish some romantic plays.

So far it can be observed that women do not seem to have the same advantages as men
do. Regarding honour, it is meant the importance of chastity in women. In Much Ado
this is clearly seen when a plot is made by Don John so that Claudio believes that Hero
has been unfaithful. At that time it was humiliating for a woman to have lost her
virginity. It was public humiliation and whoever dared do that act, would be rejected not
only by society but also by her family. Shakespeare describes a disillusioned father,
Leonato, who, at the beginning, does not believe his own daughter but then is persuaded
by the people being next to him and he chooses to believe in her purity. A chauvinistic
attitude can be noticed here. Neither Claudio nor Hero’s father seem to trust her at first,
a fact that shows that both of them are easily persuaded by rumours – Even in Claudio’s
case who claims to have seen her having sex with another man but he has not seen her
face at all – made up by men. Linked to this problem a metaphorical war breaks up,
maybe a war of the sexes in which Beatrice stands for Hero.

There is a clear division, sometimes, between men and women’s thoughts and ideas. A
Midsummer Night’s Dream presents the question of honour in a subtle way but it is still
present. Lysander and Hermia’s escape to the woods, a place that might be associated
with freedom, and where law does not reach, shows that their escape is not only
geographical but it also has to do with escaping from society and one of the things
society requires from the female role is chastity. Anyway, when Lysander intends to

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have sex with Hermia, she does not accept explaining to him it is a question of honour,
no matter if they are in the land of freedom.

LYSANDER Fair love, you faint with wandering in the wood;

And, to speak troth, I have forgot our way;
We'll rest us, Hermia, if you think it good,
And tarry for the comfort of the day.
HERMIA Be it so, Lysander: find you out a bed,
For I upon this bank will rest my head.
LYSANDER One turf shall serve as pillow for us both;
One heart, one bed, two bosoms, and one troth.
HERMIA Nay, good Lysander; for my sake, my dear,
Lie farther off yet, do not lie so near.
LYSANDER O, take the sense, sweet, of my innocence!
Love takes the meaning in love's conference.
I mean that my heart unto yours is knit,
So that but one heart we can make of it;
Two bosoms interchained with an oath,
So then two bosoms and a single troth.
Then by your side no bed-room me deny,
For lying so, Hermia, I do not lie.
HERMIA Lysander riddles very prettily.
Now much beshrew my manners and my pride,
If Hermia meant to say Lysander lied!
But, gentle friend, for love and courtesy
Lie further off; in human modesty;
Such separation as may well be said
Becomes a virtuous bachelor and a maid,
So far be distant; and good night, sweet friend.
Thy love ne'er alter till thy sweet life end!
LYSANDER Amen, amen, to that fair prayer say I;
And then end life when I end loyalty!
(2.2.35 – 64)

These lines account for what it was previously mentioned. This place is natural, which
gives freedom and temptation tends to be always associated with liberty and in these
lines we can witness it. Yet, Hermia does not seem to fall in that kind of temptation
given that she considers chastity to be important.

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Previously, the matter of honour has been named and there is a connection between
honour and disillusionment. This is seen in Much Ado when Claudio believes the
calumnies said about Hero. Who really has this feeling? Perhaps, not only Claudio but
also Hero given that she is also disappointed by his attitude towards her. Claudio – Even
when he is said that Hero has passed away – seems to be tough in his thoughts. This
character shows his weaknesses when he is innocently convinced and does not realise
that everything is a plot, a strong man in terms of war, used to fighting but far from
getting to know his future wife. Anyway, right or wrong, he is disillusioned. Hero’s
father also possesses the same feeling once Claudio embarrasses her in front of the
guests at the wedding. However, the character who should feel disillusionment is Hero,
but she appears not to show that emotion as much as the others do. Again, Shakespeare
makes female characters suffer from men’s rejections. Consequently, they become
victims. Nevertheless, it is not the case of Beatrice, who is not as submissive as Hero or
other characters in A Midsummer are. As an example of this; it is Helena who appears to
experience disillusionment, caused by men. It is noticed that Claudio from Much Ado
and Lysander and Demetrius from A Midsummer easily go from love to hate. Although
the latter deals with fantasy and the change in Lysander’s feelings is produced by
magic, his rapid movement of emotions shows that this character can play the role of an
evil or a good man. Much Ado and perhaps A Midsummer, in a subtle way, show once
more women as victims of men, due to a matter of love. In Much Ado there is a
consequence, Hero’ unreal death. In a certain way Claudio must repair his mistake and
as a kind of punishment he is said that Hero has passed away. However, at first he does
not show any sign of remorse but gradually he begins to repent. This metaphorical death
shows a change, another wedding, another chance for the puritan young man, like a
resurrection giving Claudio his most desired jewel, Hero.

The question of death takes place in A Midsummer in a different way. And this is related
to law and the question of obeying, something which is not present in Much Ado, where
the father seems to agree on the marriage. Unlike Much Ado, Egeus does not allow
Hermia to get married with Lysander, wanting her to marry Demetrius. She happens not
to have many choices. If she does not do what her father wants, there will be two
possible consequences: Death penalty or becoming a nun in a locked monastery. Even
though the first option has a fatal result, it can be said that according to the second one
there is a kind of death, which would be renouncing men. This might be like dying for

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one who does not have either the intention or the vocation of becoming a nun. Hermia
seems to undergo the consequences from the law and the only way out is to escape.

To conclude, it is undoubtedly shown in these romantic plays how Shakespeare uses

confusion and mistaken identity to cause humour. However, that is not the only
technique he makes use of. Entertainment also helps to achieve it and in both plays it is
present. Differences between characters’ ideas about love and marriage were discussed
and as a conclusion the position of men and women in society in Shakespeare’s times is
clearly shown. It can be said that these romantic stories talk about the same topics, such
as love, hatred, deception, the forbidden and death. These last topics might be
encountered in a tragedy, like Romeo and Juliet. At first sight, they do not seem to be
treated as humoristic topics. However, they were part of two well-known comedies and
worked very well. It seems that in both plays there was much ado about night’s magic
dreams.

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Bibliography:

Dutton, Richard and Howard, Jean E. A Companion to Shakespeare’s Comedies,

Volume III. Oxford: BlackWell Publishing. (2003)
Gay, Penny. Introduction to Shakespeare Comedies. Cambridge: Cambridge University
Press. (2008)
Shakespeare, William. A Midsummer Night’s Dream. Cambridge: Cambridge
University Press (1984)
Shakespeare, William. Complete Works of William Shakespeare. Glasgow:
HarperCollins (1994)
Shakespeare, William. Much Ado about Nothing. New York: Washington Square Press.
(1995)
Young, Bruce W. Family Life in the Age of Shakespeare. New York: Greenwood
Publishing Group. (2009)

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