Summary:
Shakespeare's comedies possess happy endings, with characters ultimately getting what they deserve. Claudio and Hero's marriage is celebrated, and the wounds that are formed during the extent of the play finally begin to close up. Don John is captured after his attempt to escape Messina, and the shame on Hero is lifted as her innocence is restored. However, in Much Ado About Nothing, a large portion of the trouble that occurs can be attributed to Claudio's impulsiveness.
Shakespeare's comedic play, Much Ado About Nothing, begins with the return of Prince Don Pedro of Aragon to the city of Messina after his triumphant battle against his bastard brother, Don John. Under his command is a particular soldier by the name of Claudio of Florence, who proved to be a valuable asset in the war. Leonato, the governor of Messina, welcomes back Don Pedro and his company into the Italian city. Claudio is immediately love-struck by Leonato's only child and daughter, Hero, and the eventual communal love between Claudio and Hero is what supplies the plot for Shakespeare's play. However, Claudio is revealed early on in the story as an impulsive character that acts spontaneously and irresponsibly. His reckless nature is exposed through his misplacement of trust, his tendency to jump to conclusions, and his eagerness to carry out actions.
Claudio's rash behavior is shown through his lack of good judgment with whom to trust. When Don Pedro first hears of Claudio's desire for Hero, he agrees to impersonate Claudio and court Hero for him at Leonato's party. When Don John and one of his companions, Borachio, approach the real Claudio during the masked ball, they claim that "[Don Pedro] is enamored on Hero" (II.i.156) and that they have heard "[Don Pedro] swear his affection" (II.i.160) to her. Claudio immediately believes the villainous pair without even stopping to think that these two men are enemies that he just recently fought against. In addition, Claudio serves under the leadership of the kindly prince Don Pedro, so it is reasonable that Claudio should believe him above his manipulative brother. Afterwards, Don John again tries to thwart the relationship between Claudio and Hero by having Borachio display his affections with Margaret, one of Hero's attendants. However, Borachio will call Margaret by the name of "Hero" while they speak by the Hero's window, so as Claudio views them, he will think Hero is disloyal and unchaste. Don John joins Claudio and Don Pedro to warn them that "[Hero] is disloyal" (III.ii.98) and to tell them that he can show them proof of it. Don Pedro and Claudio both ponder and decide if Don John is truthful about Hero's alleged affair, and agree to observe Hero's window that night. Claudio, along with Don Pedro, does not bother to consider that Don John is a self-proclaimed villain who may be speaking lies again. Because he foolishly places his trust in people undeserving of it, Claudio is revealed as an impetuous character.
Claudio's affinity for jumping to conclusions and presuming what is not true exposes him as a person who acts out of impulse. Shortly after Don John and Borachio falsely inform him that Don Pedro has declared his own love to Hero, Claudio quickly assumes that "the Prince woos for himself" (II.i.166) and becomes enraged. Claudio doesn't speak to Don Pedro directly about the matter (which would be the logical thing to do) and leaves instead. Don Pedro later explains when Claudio returns that he did woo Hero in Claudio's name and that all marriage arrangements are made. Meanwhile, Benedick of Padua, another young lord under the direction of the Prince, questions Claudio if he "[thinks] the Prince would have served [him]" (II.i.186-7) like this. Likewise, Beatrice, Hero's cousin, hints that Claudio's "jealous complexion" (II.i.280) is the root of his anger. Both Benedick and Beatrice suggest that Claudio thoughtlessly presumes that Don Pedro harmed his chances of being with Hero instead of helping them. Thus, Claudio's tendency to take the facts for granted uncovers his hasty temperament.
Claudio is also inclined to hurry through with his actions without considering the consequences, showing that he is impulsive. After the match-up between Claudio and Hero is resolved, they vow to marry. When asked about when he plans to wed Hero, Claudio declares that he wishes to do it "tomorrow" (II.i.339), although he is told by Leonato to wait a while longer. Claudio does not put an immense amount of thought into his choice when he plans to dive headfirst into matrimony. Marriage is a life-changing decision, so for Claudio to carelessly settle on this fate is especially impatient of him. Afterwards, when Don John notifies Claudio and Don Pedro about Hero's supposed infidelity, they agree to go with the Prince's bastard brother to investigate. Claudio says that if he spies proof of unchastely behavior in Hero, he will "shame her" (III.ii.118) "in the congregation where [they] should wed" (III.ii.117-8). Claudio does not give a second thought about Hero's innocence Margaret's actions are mistook as Hero's. Claudio immediately wants to publicly disgrace Hero the next day at the altar. The eagerness and impatience he displays in carrying out a task makes Claudio's impetuosity clear.
Shakespeare's comedies possess happy endings, with characters ultimately getting what they deserve. Claudio and Hero's marriage is celebrated, and the wounds that are formed during the extent of the play finally begin to close up. Don John is captured after his attempt to escape Messina, and the shame on Hero is lifted as her innocence is restored. However, in Much Ado About Nothing, a large portion of the trouble that occurs can be attributed to Claudio's impulsiveness. Because of his inexperience with trust, his ridiculous assumptions, and his haste, Claudio is the source of the many problems in the play. Despite all ending well, much of the nuisances occurring in the story would be avoided if Claudio was more precautious about his actions and decisions.
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