This post kicks off my Much Ado About Nothing series, in which I wax on, in a very specific way, on the BBC’s 1984 production of the aforementioned Shakespeare play. The production was directed by Stuart Burge, and featured a cast of highly competent actors. After wading through years and years of blog posts and reviews, this production is not controversial in any way, but rather either eclipsed by flashier Hollywood productions, or fondly mocked as a stuffy, slow-paced, stodgy production- faithful, nonetheless.
However, there are occasions where the brilliance and singularity of the performances are recognized in the annals of cultural history. Take Robert Lindsay as Benedick, for example, who was described by the scholar Dr. Bruce A. McMenomy as “virtuosic.” And a post by Not Cricket Productions notes Lindsay’s interesting and meaningful decision to charge Benedick’s performance in Act I, scene i, i.e. the first skirmish of wits between Beatrice and Benedick, with anger. This was also noted in a Reddit post (authored by yours truly) dedicated to lavishing praise on the production.
So now we know that at least two people have noted this energizing element of anger, today’s post is devoted to that exact question: at the start of the play, why would Benedick be so angry? And, to go even further, why is his anger more interesting and necessary in this part of the play than another key (like arrogance, condescension, levity, etc.)?
To answer this question, there are a few facts to concede to in order to explain Benedick’s anger. I can, at the very least, frame these facts as strong possibilities. I will list them below.
Beatrice and Benedick had a prior “understanding” that was broken. Scholars have noted that there are references in the text that indicate there was a prior relationship, or “pre-history” between the two of them, which ended, most likely by Benedick.
By the time the soldiers come marching home, marriage is on all of their minds. When Leonato and his household are informed that the men, noble men, are coming home, marriage is all on their minds. For example, when the messenger comes to Leonato’s home with a letter informing him of their impending arrival and stay, Claudio’s feats and suitability are given extra attention. The decision for Beatrice (Lunghi) to playfully nudge Hero in this scene is a testament to understanding the subtext. But by that same logic, Beatrice then takes it upon herself to question the messenger about Benedick. Of course this allows the establishment of the “merry war” for the audience, but it also frames Benedick as a would-be suitor.
Historically and logically, marriage would be on the minds of the former soldiers. War is over. With peace comes the desire to “settle down.” We have to understand that Shakespeare, as popular media, had to legitimize at least some contemporary social norms.
So given this subtext, we know marriage is on Benedick’s mind, too. Lindsay wants us to know that Beatrice was on his mind, even before they had their first meeting in the play.
How do we know this? The staging is a little tricky, because Beatrice is out of frame completely when Leonato and Hero approach Don Pedro and his men. All one can see is, aside from the fact that his garb is slapdash and unbuckled, his eyes darting out of frame nervously, like he is anticipating something. Of course, he returns his gaze, smile, and attentions to Leonato, Hero, and Don Pedro, cracking some jokes, but the first moment he steps forward he is on edge, darting his eyes and physically facing a subject we know is out of frame.
We know that he is not looking at Leonato or Hero. He knows Beatrice lives with them. He knows Beatrice is not in their direct proximity. So his direct gaze outside of frame confirms he either sees Beatrice, was looking to see Beatrice, or was anticipating seeing Beatrice.
Apologies for the poor picture quality. Here we see Leonato just in frame. We know Hero is close at hand. So what…or who…is Benedick looking at??
Notice how his expression is rather dour compared to Claudio and Don Pedro. Something is on his mind, and he’s not completely comfortable. He regains his stability once Leonato and Don Pedro join in on the joke with Benedick, and by the time Beatrice singles him out (“It’s a wonder you still be talking, Signor Benedick…”) his false bravado is on full display.
You may ask yourself at one point is Benedick (Lindsay) angry, though? We’ve seen wariness and a bit of arrogance, but anger?
Scholars note that Beatrice’s strength is her diplomacy when it comes to witticisms. She is never socially inappropriate, and instead uses nonsense and self-deprecation to disarm.
And yet this initial scene is interesting Beatrice’s focus is clear- Benedick. Benedick’s first reaction is to turn towards the group and involve them in this back and forth, acutely aware of an audience.
It’s a quick glance backward, almost as if his expectations are confirmed. Leading me to wonder if he talked about the potential for such an interaction with Beatrice with Claudio earlier- consistent with my notes above.
But Benedick quickly forgets about an audience the more Beatrice goes in. We have direct eye contact with Beatrice proclaiming he “loves none,” even though he is the one the brought up “love” in the first place. Is he angry here? I think so!
And before Benedick bows out of the conversation “with a jade’s trick",” his exasperation/anger only rises. It’s not that he can’t keep up with Beatrice intelligence-wise, even though Beatrice is better at this, it’s that he can’t keep up with the emotional control. He is losing it the longer it goes on, to the point he has to exit himself from the conversation.
Benedick wants to be liked- that much is clear from the moment he steps into the scene with Don Pedro and Claudio. But Beatrice, who has reason to dislike him, through artifice and language paradoxically requires of Benedick a realer, rawer, and heightened emotional engagement that he does not truly become comfortable with or proficient with until the later end of the play (which we will certainly talk about). Perhaps that is where the anger comes from. In simpler terms, sparring with Beatrice is grounded in the subtext of doing wrong by Beatrice.
Lindsay the actor is comfortable, controlled, and virtuosic in his performance of Benedick- a character who, despite his reputation is an entertaining man and capable solider, has insecurities and perhaps regrets, and as a result, gives Benedick a unique but gratifying anger.
Sources
Daalder, Joost 2004. The Pre-history of Beatrice and Benedick in "Much Ado About Nothing". English Studies, vol.85, no.6, 520-527.
Willis, Julie. “Every Man the Wrong Side Out”: A Stylistic Analysis of Much Ado About Nothing. California State University, 2005, scholarworks.calstate.edu/downloads/g158bq88c.