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Wiggins 2 December 1993
That Fatherly and Kindly Power:
Mastery and Servitude in Much Ado About Nothing
We must follow the leaders.
—Beatrice, Much Ado About Nothing , II.1.149
In Much Ado About Nothing, Shakespeare discusses the issue of servitude and how it influences
civil, romantic, and familial matters. With motivations ranging from venal to princely, nearly
every character either serves or is served by at least one other character. Loyalties shift with the
scenes, brothers and lovers turn against one another, and friendships degenerate with such
rapidity and venom, one wonders how Messina escapes a collapse into chaos. Messina’s strong
willed governor, Leonato, emerges as the tie that holds both his state and his family together,
even while villainy and mischief swell around him. He is not able to do this without a complex
power structure beneath him, however — a makeshift amalgam of princes, daughters, and civil
Prince of Aragon. Rather than strengthen his family as Leonato has with his own, Don John
concentrates his considerable energy on alienating and damaging his brother, Don Pedro. The
two figures clash when Claudio falls between them, through his love of Hero and his friendship
with Don Pedro. Don John’s belief that harming Claudio will despair Pedro leads him to the
shameless effort to defame the governor’s daughter. Although it is this act that involves the
greatest number of master / servant intrigues (one character commanding several in the
escalating war over Hero’s honor), the defamation would never be possible were it not for the
conditions of mastery and servitude that had already permeated Leonato’s friends and family.
Indeed, Don Pedro spends nearly all of his time insinuating himself into the romantic affairs of
his friends. In the process, he builds a number of alliances surreptitiously aimed at gathering
more power for himself. It is precisely because of these peculiar relationships that Don John is
able to exploit his brother through Hero and Claudio. As the play progresses, Leonato
increasingly comes to represent harmony. He undergirds his involvements, favors, and
partnerships with feelings of love and allegiance, while Don John develops a criminal network
of discord, in which ducats and illwill act as a temporary bond between him and assorted vil
becomes more pronounced with each battle between Don John and Leonato as several characters
renege or revise earlier promises. The many power plays help define the roles of family, love,
rank and class, and friendship in this plot of discord and the struggle for harmony.
Interestingly, Leonato is the first character to mildly subjugate himself, and he is first to
Leonato, at least, this method seems more ironic than devious, especially as he approaches the
dour Don John with warmth and friendliness, welcoming him and notifying him immediately
that he, Leonato, is “reconciled to the Prince” and therefore “owes [Don John] all duty” (1.1.150
1). Leonato’s token promise initially seems to embody the harmony with which the play begins,
but after this encounter the Governor and Don Juan have little direct contact, and the statement
comes to anticipate darkly the malevolence which later infects them both.
romantic involvement blossoms that indirectly will aid Don John’s nefarious plans. This new
involvement also hinges on mastery and servitude, but it seems aimed toward a happier end.
Upon hearing of Claudio’s sudden love, Benedick, however, does not envision a happy end.
Instead, he is concerned with who would dominate the marriage, and who would be
subservient. He warns not just of the passive loss of a bachelor’s freedom, but of the possibility
that Claudio will be virtually enslaved, as an ox. Benedick fears he will see his friend “thrust
[his] neck into/ a yoke, wear the print of it and sigh away Sundays” (1.1.1934). This attitude is
indicative of Benedick’s approach to marriage through much of the action, but he later reverses
it, just as Leonato retracts his early offering of good will to Don John. Don Pedro suggests to
Benedick, in the latter’s own terms, “In time the savage bull doth bear the yoke” (1.1.232).
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Don Pedro, for his own part, seems unable to resist interpolating either his philosophy
or his actions into the love affairs of others. As soon as he comes across Benedick and Claudio’s
secret conversation, he wants to be involved and subtly begins to construct an ostensibly harm
less power play with the two friends. His first victim is Benedick, but his real target is the lover
Claudio. When Benedick attempts to keep confidential his conversation with his friend, the Don
Pedro increases the authority of his request to know, as though it were a matter of royal
significance. He demands Benedick to reveal the truth “on his allegiance” (1.1.200) to the Prince,
forcing the Paduan to choose between friendship or royal obligation. This is no small decision,
and Don Pedro knows it. By obligating Benedick to choose the prince over the lord and friend,
Don Pedro reinforces the gravity of his stately position and the consequent power he has over
those in the hierarchical structure. He makes it known to Benedick that his allegiance to his
meeting even slight resistance among friends, the Prince might say, it is better to be feared than
loved. Benedick forsakes his ability to “be secret as a dumb man,” as Don Pedro traps Benedick
into spilling, “He is in love...with Hero” (1.1.2015). Don Pedro thereby completes the first step
in this shrewd, but benign, effort for control of Claudio’s love life.
The second, and more consequential, step in this campaign twists Leonato’s oblique
gesture of docility. Where Leonato courteously welcomes his guests to his home and later can
use his good nature to strengthen the resolve of his family and associates against Don John’s
malfeasance, Don Pedro disguises his attempt to master Claudio’s relationship as a means of
teaching him the ways of love. Either way, Don Pedro assumes the dominant role, as either
usurper or teacher, and further accentuates his power. Offering Claudio “a hard lesson that may
having been asked, and tells the young lord he, Pedro, “will break with [Hero] and with her
father, / And [Claudio] will have her” (1.1.299300). In convincing Claudio that this is a good
idea — “the fairest grant” (1.1.307), even — the Prince fortifies his dominant image and secures
for himself yet another contest for ascendancy, i.e. with Hero and Leonato.
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That contest brings Don Pedro as much pleasure as the prior two, and he takes it on with
similar nonchalance, though with a more advanced grace, no doubt generated to impress the
lady with his smooth manner and impeccable style. His pointed banter illustrates the pleasure
Don Pedro finds in these mind games, and suggests he plays every one to the limit. In less time
than it takes Benedick to explain his fear of being a cuckold, Don Pedro captures the hand, if not
the heart, of Hero, and moved on to the final stage of this power play, negotiation with Leonato.
The Prince’s pursuit of Hero is so convincing, it fools Claudio and Don John, both of whom had
been under the impression that Don Pedro was wooing her for Claudio’s sake. Claudio is so
worried that he has lost his woman to the Prince, he begins to question the whole structure of
mastery and servitude that pervades his echelon of society. Eerily foreshadowing Benedick’s
later challenge to a duel, Claudio worries that “friendship is constant in all other things / Save in
the office and affairs of love” and resolves dejectedly, “Let every eye negotiate for itself / And
trust no agent” (2.1.173177). After thus promising himself, Claudio neither accepts nor seeks
the service of any other character, though he does throw himself to the mercy of Leonato.
Rather than placate his urges to dominate everyone in the realm of love, Don Pedro’s
victories only incite him to more manipulation. Emerging victorious from his discussion with
Leonato (“I have wooed in thy name,/ and fair hero is won” 2.1.29596), Don Pedro savors his
winning streak and is reluctant to end it. He seeks more prey of his appetite for control; he is
ready for a challenge, ready for “one of Hercules’ labors” (2.1.360). This time, he hopes to create
a love and a marriage out of vitriol and enmity. He aims “to bring Signior Benedick and the
Lady Beatrice into a mountain of affection” (2.1.3602). But on this occasion, the challenge in
volves much more than taking advantage of only the two parties involved. He wants to have
influence over everyone at the Governor’s mansion, so he enlists them in a plan with himself at
the head. He claims he will be able to unite Beatrice and Benedick only “if you three will but
minister such assistance as [the Prince] shall give [them] direction” (2.1.3645). He is redolent of
Satan in the Garden when he promises, “We are the only lovegods” (2.1.382). Leonato, Claudio,
and Hero all agree to aid the Prince, and with their acceptance of his offer, the Prince realizes he
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has secured the services not only of these three, but also of all their servants. He calculates each
of his maneuvers to obtain the greatest control over the greatest number of people possible. All
surmise from these exercises that the Prince’s quest for dominance is pervasive and that his
power games would not be so paltry were he the bastard, and his brother the prince.
Immediately after this episode, Leonato is busily engaged in building and maintaining a
power structure of his own. It begins with securing the support and obedience of the two al
ready closest to him, Antonio and Hero. Antonio’s announcement that he has “strange news”
would be valuable intelligence indeed, if it were accurate, but Antonio’s mistaken belief that
Don Pedro, not Claudio, wishes to marry Hero contributes to much confusion after negotiations
begin. Antonio’s eager haste to share the news with his brother, and therefore help him keep
control of a potentially volatile situation strikes an interesting contrast with Don John’s treat
ment of his own brother. Antonio’s loyalty is unquestionable, but his information is inaccurate,
while Don John’s notion of the proposal (that Claudio is the suitor) is correct, but he wishes to
use this information to exploit “cross [his brother, Don Pedro] / any way” and thereby “bless
[himself] every way” (1.3.645). These different conceptions of family values suggest the state of
harmony in Leonato’s family and the discord of Don John’s. The secondary significance of
Antonio’s espionage is its source. The strange news comes not firsthand, but from someone the
Governor’s brother refers to as “a man of [Antonio’s]” (1.3.10). This implies that Antonio’s men,
his contacts and underlings, are by extension, the Leonato’s servants as well. This plays at least
a small part in bolstering Leonato’s forces.
The second family member Leonato seems to command merely by the nature of his rela
stands to gain much from marrying her to the Prince of Aragon, as he believes he is about to do.
It is therefore important for him to control and guard her chastity throughout her life, so that she
will make an acceptable wife to someone of high standing. Leonato hardly utters a word to her
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regarding the marriage before Antonio observes that she “will be ruled by [her] father” (2.1.51)
in this matter as in all others. It is clear, in any case, that the decision of whether to marry the
Prince is not her own. Leonato has taken that choice from her. Invoking the subservient nature
of her relationship to him, and adopting a stern, but loving, tone, Leonato appeals to her almost
as the Prince makes Benedick swear on his allegiance: “Daughter, remember what I told you. If
the / Prince doth solicit you in that kind, you know your / answer” (2.1.657). Hero need not
even respond; her father has and will answer for her. Despite the almost overbearing nature of
Leonato’s discourse with his daughter, this relationship is one of the few in which the loyalty
extends both ways. Much later in the action, after the charges of promiscuity lead to chaos,
Leonato at first violently berates his daughter, but then stands steadfastly beside her.
Such resolve is necessary, given that Don John begins building his force of scoundrels
John’s conspiracy threatens three major relationships that are built around and promulgate
harmony. Desiring to harm his brother, Don John tries to break up the intended marriage of his
brother’s friend, and to damage the friendship between Leonato and his guests. The assemblage
of rascals recruited to see this plan to fruition are loyal only so long as there is a flow of ducats
from the hand of their master. When Don John questions the loyalty of his servants, Conrade is
less than convincing when he promises fealty “to the death” (1.3.65). More likely, his loyalty
(like Borachio’s) is limited by fiscal resources, a problem that reveals the disharmony that in
trudes even into Don John’s immediate power structures. He cannot have mastery based on ei
ther affection or wit, as Leonato and Don Pedro had done. The bastard son, apparently born out
of marital discord, perpetuates his birthright through strife and malfeasance against his and
other families. The inability to elicit true loyalty from his assistants works against Don John, as
does his indirect involvement in the whole cause. Although he declares, “to despite them, [he]
will endeavor anything” (2.2.31), his only activities are to pay the fees necessary to buying
Borachio’s assistance and to accompany Claudio to the scene of the hoax. Borachio, after all, not
Don Juan, hatches the idea to strike at Don Pedro through Claudio and Hero. Borachio, too,
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seems to have more contacts than his master, and it is he who is “in the favor of Margaret, the
waiting Gentlewoman to Hero” (2.2.1314) and who secures her the critical aid for the hoax. His
commitment seems somewhat hollow and little more than a salable commodity, however, since
he has nothing to gain from dishonoring Hero except a thousand ducats (2.2.53). As the
criminals are captured, Borachio further commodifies himself and his partner, predicting that
they “are like to prove a goodly commodity” (3.3.178).
In may ways, Don John becomes the servant of his servants, because his only claim to
power is his wealth, and the criminals are able to exploit even that. Borachio observes with
criminal sagacity that “when rich villains have need of poor ones, poor ones make what price
they will” (3.3.11315). He answers with this in response to Conrade’s inquiry as to whether it is
“possible that any villainy should be so dear” (3.3.100), a question that contrasts effectively with
Claudio’s asking Benedick whether “the world [can] buy such a jewel” as Hero (1.1.175). The
difference is that villainy is purchased, and love given.
Unfortunately for him, Claudio is in the middle of each transaction because Don Pedro
won Hero for him. This closely associates the Florentine with the strife of the Prince’s family
and the harmony of Leonato’s. When Claudio makes his accusations of promiscuity at the
wedding, he simultaneously does the bidding of Don John while alienating and enraging
Leonato. This one action best represents the opposition between the two men and their interests.
But even while attacking Hero, Claudio understands the sacred tie between father and daughter.
He knows to use the governor’s dominance in that relationship to his advantage. In the midst of
his prosecution, Claudio requests that Leonato invoke his daughter’s allegiance to bind Hero to
the truth “by that fatherly and kindly power” Leonato possesses (4.1.73).
Once Leonato resolves to support his daughter, he accumulates a substantial force of
loyal supporters who are motivated by a strong sense of allegiance including in one form or an
other, Antonio, Hero, Margaret, Ursula, the Friar, Beatrice, Benedick, Verges, Dogberry, and the
Watchmen. All of these serve him in either a familial, civil, or friendly capacity, and they share
his passion for his daughter and a hate for Claudio, whom they originally take to be the cause of
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this sudden discord in the governor’s house. Claudio finds himself the victim of considerable
wrath as Antonio wants to duel him, Beatrice demands his blood (4.1.286), and Benedick seems
ready to spill it. Benedick’s willingness to duel his former friend marks a complete turnaround
for the man who once insisted he would never be slave to love. Agreeing to challenge Claudio
for Beatrice is tantamount to putting his neck in the yoke and being whipped by Beatrice (“Bid
me do anything for thee” 4.1.286). It also fulfills Claudio’s early prophesy of love outweighing
friendship. When the truth of Claudio and Don Pedro’s innocence emerges, thanks to the
diligent, if circumlocutory, Dogberry, the Prince and the Florentine are indebted to Leonato and
promise to “bend under any heavy weight / That [Leonato]’ll enjoin them to” (5.1.2789). With
Don Pedro and Claudio prepared to make penance, Conrade, Borachio, and later Don John in
civil custody, and Hero blushing, but still alive, Leonato has restored order to his family, his
friends, and his state. While Don Pedro busies himself insinuating himself into the love lives of
his friends, and Don John concocts devious means of irritating his brother, Leonato creates a
cadre of loyal servants to help him through strife and into a renewed harmony.
3073 words
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