Essay: To what extent does Beatrice’s opinion on love and marriage develop throughout the play?

Throughout the play Much Ado About Nothing by William Shakespeare, the theme of love and deception is explored in a series of events including the relationship of Benedick and Beatrice. The play presents the development of these characters as they adapt to their emotions as well as explore their intentions regarding the theme of love and relationships. Beatrice’s peculiar perspective on these concepts develop throughout the play as she falls madly in love with Benedick and therefore has to question her own morals.
Towards the start of the play, Beatrice is presented as a witty, free-spirited woman with a certain resentment to romance and marriage rooted by her disdain towards the idea of subservience. Beatrice’s wit becomes present in a dialogue between Leonato and Beatrice, as Leonato jokes that she will never fall crazy in love, to which Beatrice responds “No, not till a hot January” (1.1.91-91) insinuating that she will not fall in love until hell freezes over, essentially meaning never. As Beatrice and Benedick exchange wits, it becomes clear that her invulnerability of falling in love is a point of pride for her. Beatrice states that, “I had rather hear my dog bark at a crow than a man swear he loves me” (1.1.122-130) presenting to the audience and Benedick that she rather listen to an unbearable sound than to have a man love her. It is evident that Beatrice not only shows disinterest in marriage and romance, but a proper resentment which might have developed through the highly sexist society she lives within.
As the play progresses, Beatrice’s feelings for Benedick present themselves and result in Beatrice questioning her current opinion on love. Whilst Claudio and Hero’s proposal is being acknowledged by everyone, Beatrice complains “Good Lord for alliance! Thus, goes everyone in the world but I, and I am sunburnt” (2.1.311-313) not only expressing the same wit as before, but shifting the tone of her speech as if she were complaining that she has no one, and that she is unattractive in the eyes of men, when in reality she has Benedick. Beatrice is now aware and sensitive to the idea of marriage as everyone is getting married except for her. Beatrice has to overcome her stubbornness and confess her love to Benedick, which Benedick does first in a dialogue between the two, to which Beatrice replies “Why then, god forgave me!” (4.1.293-301) as if it were a punishment for her to have to confess her love, exemplifying still her internal fear and denial, as much as she has grown to accept it this far in the play.
By the end of the play, Beatrice’s perspective on marriage and love has completely shifted from fear to desire. Beatrice’s love for Benedick however, hits a wall when it comes to her devotion to her cousin Hero, as she is willing to sacrifice losing Benedick in honor and respect for her cousin. This presents itself in dialogue between the two once Benedick rejects Beatrice’s plan to murder Claudio, to which she answers “I am gone, though I am here. There is no love in you. Nay, I pray you let me go.” (4.1.304-311) proving once and for all that she is capable of loving a man, but that love has not changed her as she feared, and was able to stay true to her character by sacrificing something she desired. Beatrice proves that she still holds respect for herself as Benedick questions her love to him, to which she replies “No, truly, but in friendly recompense” (5.1.87-88) meaning that she is willing to love, but not to lose herself over Benedick, or any other man.
In conclusion, Beatrice’s opinion on love and marriage changed drastically to a certain point where she overcame her fear of vulnerability but still was able to express her emotions and stay the intelligent woman she is. Shakespeare managed to portray this to the audience through the change of tone and intention in Beatrice’s speech, but keeping her character bold and witty, contrasting the stereotype of the damsel in distress who needs a husband to be fulfilled.
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