Shakespeare was patronized by Essex and was surely sympathetic to him (see page I-119). In fact, there is every reason to suppose he did not forgive Elizabeth for executing the Earl, and when Queen Elizabeth died he remained mute, something spitefully noted by the poet Henry Chettle, who wrote an elegy in the dead monarch's honor.
And yet here is this passage in Much Ado About Nothing. We might suppose that Shakespeare, not one to risk his neck, or his living either, fearful that his connection with Essex might bring harm down upon his head, inserted this passage as an indication of disapproval of Essex. Such an indication might place him on the right side and out of trouble.
The girls' stratagem works and Beatrice is tricked into love out of pity, just as Benedick was.
Everything is going better and better, but there is Don John even yet His earlier bit of mischief had miscarried and he wants something more effective. His companion, Borachio, has an idea. Why not frame Hero? He can arrange things so that he himself will woo Hero's lady in waiting Margaret at Hero's window. Don Pedro and Claudio will be allowed to overhear and be made to believe that Hero is a creature of light behavior who bestows her favors on anyone.
This vile plot is carried through offstage and works, but almost at once the nemesis of the plotters appears in the shape of comic constables, who mangle the English language with every sentence.
Their chief is Dogberry, epitome of the cowardly policeman who is willing to make an arrest only if there is no risk in it. Thus, when asked by a watchman whether they may arrest any thieves they encounter, Dogberry prudently says:
—Act III, scene iii, lines 57-58
The proverb is biblical; at least it occurs in the apocryphal Book of Ecclesiasticus (13:1), where it is written: "He that toucheth pitch shall be defiled therewith," an analogy that warns against evil companionship.
Two newly sworn watchmen remain behind and almost at once Conrade and Borachio enter. Borachio, having successfully carried through the plot, is bubbling over with glee because he has earned a thousand ducats from Don John as a result. Borachio says to Conrade:
—Act III, scene iii, lines 104-6
It is to be presumed that Don John's companions are Aragonese and speak Spanish. Shakespeare makes no point of it in the play but Bora-chio's reference to himself as a drunkard is interesting, since the Spanish word borracho means just that.
Borachio is triumphant over the ease with which appearance was mistaken for reality (Margaret at the window for Hero). Through him, Shakespeare strikes out at one of his favorite targets-changing fashion. Borachio denounces fashion for making mankind ridiculous:
—Act III, scene iii, lines 134-38
The new fashions only succeed, in other words, in making men look like one variety or another of ancient figures so that those fashions don't even have the virtue of being really new.
The reference to "Bel's priests" brings in another apocryphal book of the Bible. In this case it is Bel and the Dragon, in which the prophet Daniel proved to King Cyrus of Persia that the idol Bel was merely an inanimate object. The priests of Bel pretended that the idol consumed food and wine brought to it by the faithful each day, and Daniel showed that it was the priests themselves who ate and drank.
The watchmen abandon Dogberry's caution and, like valiant men, promptly arrest Conrade and Borachio. Dogberry and his chief assistant, the aged Verges, go to Leonato to acquaint him with the conspiracy against his daughter. Between their wordiness and Leonato's haste to be on with the wedding preparations, communication fails and the plot, which ought to have been scotched, is not.
At the wedding ceremony, Claudio, in the most brutal manner, scornfully refuses to accept Hero, accusing her of immorality. Sadly, Don Pedro confirms this.
Leonato is half convinced, Benedick is puzzled and confused, and Hero faints. Beatrice, of course, is instantly and entirely on the side of Hero.
The Friar, who had been performing the marriage ceremony, suggests (very much in the manner of Friar Laurence in Romeo and Juliet) that the family pretend Hero is dead till the matter can be straightened out. Her supposed death will produce remorse in Claudio and Don Pedro and make them the readier to accept her innocence if the evidence points to it; while if she turns out to be really guilty, her supposed death would hide her shame and make it easier to have her quietly put in a nunnery.
Beatrice, furious, is in no mood, however, for lengthy investigations. She wants direct action. Poor Benedick, confessing his love for her, can scarcely get two words out at a time. Beatrice rages her contempt for Don Pedro and Claudio. She says:
—Act IV, scene i, lines 313-15
"Comfect" is candy (as in our modern "confectionary"), and Beatrice is sneering at the fault manliness of those who could treat a young girl so cruelly.
Beatrice has only one small demand of Benedict; that he kill Claudio. Benedick doesn't want to, but he cannot stand against Beatrice's impetuous fire; gloomily, he goes off to challenge Claudio.
Quietly Benedick challenges Claudio to a duel, out of the hearing of Don Pedro. Claudio, however, can scarcely take his old, bantering friend seriously. He insists on thinking it is some sort of joke and says to Don Pedro (who has overheard the conversation imperfectly and asks if Claudio is being invited to dinner):
—Act V, scene i, lines 153-56
They are all items of food; but calves, capons, and woodcocks are all common symbols of stupidity too. Claudio is still wondering if Benedick is advancing some stupid joke. But Benedick insists on being grim, and stalks off after insulting Claudio unmistakably and formally leaving the service of Don Pedro.