Gender Roles In Much Ado About Nothing By William Shakespeare

Shakespeare's lasting effect on the English language and the production of stories is an irrefutable fact. His plays have been replicated a multitude of times and have even been called upon for inspiration in countless cases. From his groundbreaking plays that encapsulate bitterness and betrayal all the way to love and lust, Shakespeare has not only left an impression but paved the way for literature. However, while audiences may have cried and grinned, it is difficult not to see the glaringly obvious negative gender stereotypes that existed at that time within the play Much Ado About Nothing. Hero portrays many of the expected traits of women and their gender roles shown by MacDonald in The Bedford Companion to Shakespeare. Throughout the

Macdonald writes upon this idea by explaining “the emotional affections or physical desires of a man and woman diminished in importance” when the decision to marry came into play. Meaning, marriage was not done in the name of love or affection, instead, it was a simple act done merely for a social or economic purpose. Hero and her marriage to Claudio massively portray this same ideology. Claudio had dishonored Hero, publicly shamed her, and defiled her name; this was not an act of love and was truly so far from any definition of love there is. If Claudio had loved Hero, he would have had a conversation with her and would have brought the accusation to her privately to have discussed it. The argument surrounding the fact that Claudio had to insult Hero publicly is irrelevant, for if he had loved her, it would not matter. Hero did not marry a man who loved her, instead, she married a man for the social and economic status that comes with it. Women in the Elizabethan era did not marry for love, and Hero illustrates exactly

This alludes to the fact that women were seen as under control or of a lesser standing than men at the time. Of all the conflict that exists within the play, a great deal surrounds Hero and her womanhood. This conflict, however, was caused and then solved by men. Hero was a damsel in distress; she was placed there by men and then rescued by men. The destiny of Hero was decided amongst the men that were superior to her and left her without choice or control. Accusations surrounding her virginity and virtue were conspired by men and her innocence was proclaimed by men. Claudio does not ask Hero if it is true, instead only asks “what man has he talked with you yesternight?” (Quote). Continuously put into a position below men and controlled by men, Hero’s character had no choice but to be the subordinate woman that MacDonald illustrates in the Bedford