To what extent does the portrayal of women in Much Ado About Nothing subvert the conventions of the society shown in the play?

indep nullifyence for women in the patriarchal society, in which the play is set, appears controlled and constrained in a lot Ado About Nothing (MAAN). Shakespeare employs the rebellious pump of Beatrice in his frivolity to profane the tender orthodoxy of the Elizabethan era. Hero falls victim to the restrictive nature of the dominating male char identification numberers stock-still Beatrice, our shrew, provides humour circuit boardh her quick wit and wordplay, and a breath of fresh air for a modern womens accountabilityist auditory sense. The dramatic genre of comedy is often subversive and MAAN unimpeachably does non fail to live up to this expectation.With her opening line, our female protagonist subverts effected stereotypes as she interrupts a conversation between two male speakers, skeptical the return of Signior Mountanto. Instantly this informs us of her subversive want of etiquette in conversation, as women would non typically speak out for themselves, esp ecially not against a public. Her wordplay and double entendre here invokes humour firstly beca implement the lean relates to an up thrust in collectiblelling, thus describing benedick as a show-off, and secondly because it has sexual connotations.Beatrices outward smutty nature finish be marked in juxtaposition to Heros lack of independence and confidence (a fair sex who occupies the role of a tragic heroine, or else than a nonsensical one, barely utters a word throughout the play, and succumbs provided to the homo cordial ruling class of Messina). Behind her witty exterior, and her constant determination not to be seen as weak, Beatrice commode be seen as inquisitive close to benedicts time away, showing she cares for him this would conform to Renaissance old-hats for it was anticipate that all women would fall into the arms of a homo.Being a standard feature of wild-eyed comedy, the female protagonist typically begins by hating the man she enjoys, mirroring the structural pattern of beginning in discord and ending in accord. Furtherto a greater extent, Beatrice, the stock character of the shrew, is exposed as a woman whose idea of marriage definitely subverts the billet quo. Asserting that she exit not join till God make men of slightly other alloy than earth, her un accomplishedity of not wanting a husband can be seen explicitly.An Elizabethan audience could keep back this to be impractical and absurd however a contemporary feminist critic may praise her for her independence. most(prenominal) noteworthy perhaps, is when she says she will cry Heigh-ho for a husband illustrating that the fact she is without a lover bothers her more than we may have assumed previously. Consequently, she initiates an impetuous intention from Don Pedro which is fascinating as we are left unsure as to whether it was merely a jest or actually sincere this muddiness and chaos being predictable of a comedy.In my opinion the proposition was sincere a s Don Pedro is left unhappy at the end of the joyous comedy Prince, thou art sad get thee a wife. Although, dumbfounding true to her word, Beatrice turns down the offer, on the basis that his Grace is excessively costly to wear every day. But there is dramatic derision in this it is evident that she does not want a husband, so the audience is fully aware that the plot will alter in due time, ending in a married Beatrice. Again, this is conventional of a romantic comedy, where the female heroine will ultimately revise her original opinion of the man.Additionally, Beatrices discontent with the lack of respect and regard she receives as a woman manifests itself in her wish that she was a man. Beatrice is all the way aware of her inability to act against Claudio (purely because of her gender), after he shuns Hero at the altar. Beatrice declares O God, that I were a man I would eat his datet in the market placement The metaphor used here creates an image of a savage and merciles s Beatrice (implying she would kill Claudio, rip his heart out and then eat it) traits which definitely are not associated with the conservative women of the Elizabethan era.However, some may deem her subversion of the gender roles here as positively defiant. Although verbally expressing her anguish, Beatrice too, in this patriarchal society, must be dependent on a man to make right prevail, as Penny Gay says, and this disheartens the audience. Thus, Beatrice turns to a man to carry out her wish for her Come, bid me do anything for thee. alike note Benedicks reaction to this request he succumbs to Beatrices influence, and in consequence re rimes the established gender roles in Renaissance society.The logical sexual innuendo Beatrice insinuates in her speech is undeniably subversive. Bawdy language, not generally used by young, conventional women, presents Beatrice as characteristically more masculine than feminine With a secure leg and a good keister, uncle. There is a sexual p un on the word foot, perhaps linking to the unmannerly French foutre, as to suggest an adept lover during copulation women having openly sexual desires during Elizabethan times was very distasteful, do the comment even more significant.It is also vital to note Leonatos response to such language stating to be so shrewd of thy dialect wilt never get thee a husband, as if or so presuming Beatrice aspires to be wedded and oppressed. Moreover, deception and mistaken identity, features typical of comedy, allow Beatrice to subvert the status quo even further when she has the upper hand on Benedick, at the masked ball. The humour present is in the dramatic irony that Benedick is unaware that she knows who he is he feels he is at an advantage by being able to hear what Beatrice thinks about him.Yet, it is Beatrice who is truly at an advantage, for she can in fact balance the power between the sexes, by indirectly insulting Benedick, the very dull fool. Not only is the use of disguise a c atalyst for humour, but Beatrices, debatably, greater intelligence challenges the conventional view that men are superior to women in every aspect. However, the organize of MAAN enables the reader to recognise the chronological downfall of Beatrices wild spirit and liberation.The ending, with its characteristic comic resolution of marriage, also sees Beatrice being silenced by Benedick, significantly on the day of their wedding. The literal kiss, used to cease her independence, is preceded by the imperative Peace I will stop your mouth. The fact that the gutsy Beatrice is letting herself be silenced, which is marked in stark contrast to the idealistic parrot-teacher we met at the beginning of the play, demonstrates the restrictive nature of marriage for women.The timing of the kiss, right at the end of the play, gives a lasting feeling that Beatrice will stay submissive to her husband after the play ends. As Jacob Lund argues the marriage of Beatrice and Benedick seems at first to offer a different view of what constitutes social order in the world of the play with their repartee and Beatrices confidence, seen clearly when she remains contentious honest before becoming a wife, stating she will take thee for pity.In spite of this critics view, I think the uniform structure of comedy, concluding with the restoration of order, means that it is only natural that Beatrice should be suppressed before long. It is clear that Shakespeare has created a earthy ending perhaps it was too idealistic to assume Beatrice would claim favourable position in the relationship? Inconsistent to Beatrices early assertions that she would rather hear my dog bark at a crow than a man swear he loves me, she suddenly appears ditsy and romantic on discovering Benedicks love for her.Conforming to the stock character of an adoring, courtly lover she exclaims Benedick, love on I will requite thee in her passionate monologue written in strictly formal Elizabethan iambic pentameter vers e the form giving this gulling scenery a much more atrocious tone than the previous. The explicit parallel between the two scenes, both kick up with comic deception, marks a contrast between the soliloquies of Beatrice, and her male counterpart, Benedick.In comparison to Benedick, Beatrices fall from disdain has less of a dramatic impact, accentuating her sincerity and glee, whereas Benedick has to give himself reasons to requite her love, and consider how others will react. This doubtlessly presents Beatrice as the feebler and more vulnerable of the sexes. There is now even more of an inevitability surrounding her imminent submission to a controlling husband, as she tames my wild heart to thy loving hand just as she was anticipate to do.A feminist critic would argue that the plays heroine has just sold out to tradition by adhering to a life of matrimony. This scene is hyperbolic in the 1993 Kenneth Branagh film version, and Josie Rourkes production of the Shakespearean comedy. This adds great comic effect as Beatrice cries out her love in an over hypertrophied and quixotic fashion arguably too extravagant? The view that some of the comic heroines in MAAN may fall into the typical portrayal of women as passive and compliant, has some credibility.However, the unconventional wit and defiance of Beatrice outweighs the previous statement, and provides incisively what a comedy is made for humour. It is arguable that the play ends badly from a feminist critics point of view as social order and the expected position of the sexes is restored (just as is anticipated, due to the comic structure). Nevertheless, mocking, transgressing and subverting the status quo will always be at the very heart of comedy, and MAAN corresponds solely to this notion, especially in its depiction of the unforgettable character, Beatrice.