Use of Language in Shakespeare's Much Ado About Nothing

William Shakespeare's Much Ado About Nothing is a comedy enriched with witty banter and entangled conversations. Throughout the play characters overhear false dialogue, battle each other with words, and jumble their vocabulary. In some cases, like those between Beatrice and Benedick, language is a sport used as a form of foreplay. Truth can be revealed through language as well. Claudio and Hero are quiet characters who do not speak much for themselves. For that reason, whenever these two characters speak their mind, one must really listen to what they have to say. Language can also reveal social status. Claudio and Don Pedro use language to show respect to others. Dogberry, on the other hand, confuses his words thereby showing his lack of social stature. Language, and the misuse of language, is vital to the characterization of Much Ado About Nothing.

Words are very important in Much Ado About Nothing. Shakespeare uses terminology that deals with speaking and overhearing words. The first line of the play is Leonato saying he has received word of Don Pedro's arrival. Don John states in act 1, scene 1 that he is not a man of many words. Many instances occur in Much Ado About Nothing where words speaking of words are spoken by the characters. When Don Pedro asks Hero to accompany him she replies by saying, "I may say so when I please" (2.1.76). Likewise, Margaret tells Balthasar, "I say my prayers aloud" (2.1.87). Words that deal with overhearing or speaking appear all throughout the play. By using words that deliberately conjure up images of speaking and hearing, Shakespeare is reiterating his theme of language. Alfred Hitchcock would reiterate themes by making a prop in his movie the main focus. Therefore, a simple cigarette lighter could help symbolize the theme of identity. Shakespeare uses a similar technique in Much Ado About Nothing when he uses words to reiterate his "noting" motif.

Not only do the characters woo and woe with words, but Shakespeare uses these words to reinforce a motif of 'noting.' When Shakespeare wrote Much Ado About Nothing, "nothing" would have sounded similar to "noting." To "note" someone is to observe, listen, write, or speak to them. During the play, many characters "note" each other. The plot against Benedick and Beatrice works purely on "noting." Don Pedro drops hints, or "notes," that lead Benedick into marriage. Hero and Ursula trick Beatrice by using her love of "noting" against her. Don John uses "noting" to execute his evil plan, while Dogberry uses "noting" to record the truth. Claudio must "note" Margaret and Balthasar under false sexual pretenses before he will shame Hero in public. Dogberry makes a written account of Borachio and Conrad's statements in order to preserve justice and truth. Dogberry uses "noting" again when speaking to his watchmen. When giving instructions to his men, he says, "Well then take no note of him, but let him go…" (3.3.25). Many instances occur in Much Ado About Nothing that require the characters to observe, speak or write to one another. By writing these scenes with words specifically dealing with "noting," Shakespeare focuses on one object that will carry on an entire motif.

The banter between Benedick and Beatrice is an example of language at its best. Every time the two characters see each other they have a "merry war" with words, "they never meet but there's a skirmish of wit between them" (1.1.50-51). The first conversation featuring Benedick and Beatrice displays the two characters skill of wit and language. Therefore, it makes sense that these two characters cannot fall in love without some use of word play. Benedick and Beatrice are against marriage. Benedick is a glorified bachelor and swears he will never marry. He tells Claudio, "And the fine is-for the which I may go the finer-I will live a bachelor" (1.1.200-201). Beatrice, much like Katherine in Taming of the Shrew, is outspoken and wild. In act 1, scene 1, Beatrice announces, "I had rather hear my dog bark at a crow than a man swear he loves me" (107-108). Benedick and Beatrice compete to outwit each other at every turn, flirting and fighting go hand in hand with these two. Through their incessant bickering and eavesdropping of false words, language is a powerful asset to Benedick and Beatrice rather than a hindrance.

Not only does the "merry war" between Benedick and Beatrice show the character's match of wit and possible foreplay, but it is also used to make these characters conform to their environment. Language reveals social conformity in Much Ado About Nothing. Society needs marriage, therefore Don Pedro schemes and makes Benedick and Beatrice fall in love. He plays psychological mind games sure to bait Benedick into marriage and therefore into a proper social convention. In act 2, scene 3, Don Pedro says, "I love Benedick well, and I could wish he would modestly examine himself to see how much he is unworthy so good a lady" (184-186). By questioning Benedick's worthiness of such a lady, Don Pedro plants the idea of marriage in Benedick's mind. Benedick falls for this reverse psychology and immediately decides that maybe marriage is in his future. Meanwhile, Hero, Ursula and Margaret dupe Beatrice in the same manner. In act 3, scene 1, Ursula baits Beatrice by saying:

She cannot be so much without true judgement,
Having so swift and excellent a wit
As she is prized to have, as to refuse
A rare a gentleman as Signor Benedick. (88-91)

Ursula questions Beatrice's intelligence in the same manner as Don Pedro questions Benedick's worthiness. After Beatrice hears what Hero says about her, she decides to change her ways. Suddenly, the shrew is tamed and she decides to love Benedick in return. Through Don Pedro's reverse psychology and carefully placed conspirators, Benedick and Beatrice overhear the words that make them fall in love with each other. This conveniently placed love allows social conformity through marriage. Although both characters are against marriage from the beginning, by overhearing their respected friends speak of the other's love, they eventually relent and decide to requite love. Language not only changes the stubborn heart of characters, but it also reveals their true nature.

Don Pedro's language reveals his social identity. He is the highest ranking character in Much Ado About Nothing and reveals this hierarchy through his language. When speaking with Leonato he is always polite. The first exchange of words between the two are pleasant and friendly. Don Pedro greets Leonato by saying, "Good Signor Leonato, are you come to meet your trouble?" (1.1.77). Leonato immediately returns the friendly greeting and welcomes Don Pedro and his party into his home. Since Leonato rises in rank with Don Pedro's visit and Hero's marriage to Claudio, it is no wonder that he does not hesitate to host such a large group of people. Just as Don Pedro is polite and friendly towards Leonato, he is a gentleman to Beatrice. In act 2, scene 1 he even offers himself to her in marriage saying "Will you have me, lady?" (285). Each character brings out a different aspect in Don Pedro. However, with each character, his language reveals him to be slightly higher in social status. The only characters that are close to equal with Don Pedro are Claudio and Benedick. While speaking to his friends, though, Don Pedro still holds rank in the language. Don Pedro tells Benedick to "repair to Leonato's, commend me to him, and tell him I will not fail him at supper" (1.1.225-226). Even though Don Pedro is talking to a close friend not far below him in social status, he still has him serve as a messenger to announce his arrival at supper. Don Pedro shows his superiority by wooing Hero for Claudio through his loving words. He takes control of language by wooing Hero for Claudio rather than letting Claudio capture the heart of Hero on his own. Beatrice takes control of the language once Hero has been wooed. Hero is not even given a chance to reply before Beatrice says, "Speak, cousin. Or, if you cannot, stop his mouth with a kiss, and let not him speak, neither" (2.1.271-272). Just as Don Pedro took control of the language in wooing Hero, Beatrice takes control of it to finalize the courting process with a kiss.

Claudio and Hero do not have many speeches in which they speak their mind, therefore when they do, one must pay attention. Claudio does not speak on his own until act four, scene one when he defaces Hero in front of everyone. Claudio attacks Hero by saying, "You are more intemperate in your blood than Venus or those pampered animals that rage in savage sensuality" (4.1.57-59). Shakespeare creates a harsh oxymoron by juxtaposing "savage" and "sensuality" creating a dynamic contrast of polar opposites. The unsympathetic word "savage" with the passionate word "sensuality" startles the reader. At the same time, Claudio uses harsh diction and strong assonance to accentuate his anger. His attack is vicious and stings and, for once, Don Pedro is not speaking for him. Hero talks back in this scene saying, "I talked with no man at that hour, my Lord" (4.1.85). Just as Claudio has found a voice against Hero, she finds hers fighting against him. Another section worth noting is when Hero, Ursula and Margaret talk about Beatrice. Their words are supposed to be startling, for only strong words will force Beatrice to change her ways. Hero is allowed to speak her mind in this scene because it is under the pretense of a joke. Since she is supposed to be driving Beatrice to change her ways and marry Benedick, she can say the harsh truth that she really feels. Hero attacks her cousin by saying:

Disdain and scorn ride sparkling in her eyes,
Misprising what they look on, and her wit
Values itself so highly that to her
All matter else seems weak. She cannot love,
Nor take no shape nor project of affection,
She is so self-endeared (51-56).

The above words are particularly harsh when spoken by Hero, the soft-spoken pleasant girl in the play. Although the words are supposed to be biting in order to bait Beatrice, one must wonder if Hero steps over a line here in saying that "scorn ride[s] sparkling in her eyes" (3.1.51). Claudio and Hero do not make a habit of speaking their mind or saying anything harmful, yet each character has a turn to reveal their true thoughts throughout the play. Whenever the soft-spoken characters lash out at others, one must notice how strong are the words the characters uses.

Every play must have a villain and Much Ado About Nothing is no exception. Don John is the villain here, the outsider, the bastard. Don John's full name in the list of characters is Don John, the bastard brother of Don Pedro. Immediately, before the character has said a word, he is condemned. In the first act, Leonato welcomes Don John along with his brother. Don John says, "I thank you. I am not of many words, but I thank you" (1.1.127). Even though later in the play his words slander Hero's name, Don John states he is not of many words. In exact opposition to Don Pedro, Don John speaks very little in Much Ado About Nothing, yet his words are more important than the ones Don Pedro speaks. Don Pedro speaks words of love and even though he is involved in trickery, it is for a greater good. Don John, however, contrives to ruin Don Pedro by ruining Claudio and Hero. His plan against Hero is so viciously thought out that it resonates more than Don Pedro's schemes. The night before Claudio and Hero marry, Don John conspires, "The word is too good to paint out her wickedness…Go but with me tonight, you shall see her chamber window entered, even the night before her wedding day. If you love her then, tomorrow wed her. But it would better fit your honour to change your mind" (3.2.91-97). Just as Don Pedro planted the idea of love in Benedick's mind, Don John plants the seed of hate in Claudio's.

From the very beginning the audience notes that Dogberry and Verges are conscious of the importance of language but oblivious as to the correct ways to use it. Both of them do their best to sound important, yet fail by saying a malaprop instead. The first line Verges speaks he means to say "damnation," but instead says "salvation" (3.3.2). Immediately he has praised these men instead of cutting them down as was intended. Other instances occur making Verges out to be the proficient follower. Much like Watson to Sherlock, Verges seems to be the brains behind the operation. While Dogberry is giving instructions to the watchman, he stumbles on how to recognize a Prince's man. Verges steps in by saying, "If he will not stand when he is bidden he is none of the Prince's subjects" (3.3.28-29). Dogberry concurs and goes about his instructions.
Dogberry talks in a manner all his own. In act 5, scene 1, he addresses Don Pedro saying, "Marry, sir, they have committed false report, moreover they have spoken untruths, secondarily they are slanders, sixth and lastly they have belied a lady, thirdly they have verified unjust things, and to conclude, they are lying knaves" (202-205). In these three lines Dogberry strays from every convention in language. Instead of going in numerical order he jumps around like a character in a Monty Python film. Also, like every other speech Dogberry makes, he confuses words for another meaning. He says "slanders" instead of "slanderers." Dogberry's speech is unique in several ways. In the manner in which Dogberry states the offenses he repeats himself straight away. If he were to give the accounts in a chronological order, he would not directly repeat himself. Every proof of evidence he has repeats itself as soon as he says it, therefore instead of having six accounts of perjury, Dogberry has one long-winded accusation that can be categorized into three almost separable parts. His choppy way of speaking shows his inability to fit in with the upper class environment. All the other characters in the play speak fluently, but Dogberry's speech is always fragmented. Dogberry is an immigrant to the high class society. Instead of constructing whole and logical sentences, he speaks in bloated fragments incapable of grasping the fluid way everyone else speaks.

Just like the Duke in A Midsummer Night's Dream, Don Pedro accommodates Dogberry as he relates to him his story of the criminals. When Dogberry addresses Don Pedro with his speech of illogical order, Don Pedro responds, "This learned constable is too cunning to be understood" (5.1.212-213). Don Pedro adds to the humor here by pointing out Dogberry's fault. He calls him "learned" which could be an insult considering all the mistakes Dogberry is likely to make. One could assume that Don Pedro does not think the constable is learned and instead thinks he is a commoner one must bend to. Deference and accommodation work together here to save the day and return Hero to Claudio. Through the precise style of Don Pedro's speech, the audience knows immediately that he is an upper class character and respected. In direct contrast, through Dogberry and Verges' cluttered way of speaking, the audience immediately sees that these lowly creatures stand out from their environment. The commoners, although they try, will never fit in. The truth about the status of characters is exposed to the audience by the eloquence or malaprop of language throughout Shakespeare's Much Ado About Nothing.

Characters reveal the truth about themselves through language. Benedick and Beatrice battle each other with words, revealing to the audience that they are equally matched in wit and intellect. Don Pedro proves his superiority by the tricks he forces upon the feisty lovers. By using psychological mind games, he convinces Benedick and Beatrice that they are in love with each other. Benedick and Beatrice were on the outside of society because they were glorified singles, something not acceptable in Shakespeare's time. Don Pedro's victory over Benedick and Beatrice produces love and social conformity. Claudio and Hero reveal their true selves by speaking for themselves. Throughout most of the play, Claudio and Hero are spoken for by someone else. Therefore, whenever these two soft-spoken characters speak up, one must pay close attention to what they have to say. Dogberry and Verges display their misunderstanding of communication through their constant muddling of terms. As soon as these characters open their mouths, the audience can see they do not belong in their surroundings. Language and the misuse of language allows the audience to see the true character and social status in each of the characters in Much Ado About Nothing.