Scheff, Thomas - Gender Wars - Emotions in Much Ado About Nothing

Gender Wars: Emotions in "Much Ado about Nothing"
Author(s): Thomas J. Scheff

Source: Sociological Perspectives, Vol. 36, No. 2 (Summer, 1993), pp. 149-166
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Sociological
Perspectives
Copyright?1993PacificSociological
Association
Vol.36,No. 2,pp. 149-166

ISSN 0731-1214
GENDER WARS:
Emotionsin MuchAdo AboutNothing
THOMAS J.SCHEFF
University
ofCalifornia,
SantaBarbara
between
loveandwar,I apply
ABSTRACT: Inorder
toexplore
therelation
a theory
theaffinity
between
andanger
ina classic
showing
romance,
shame,
text.Shakespeare's
an exceedingly
playspresent
grimportrait
of the
menandwomen.
relationship
between
Evenhislighthearted
treatment
ofthis
inMuchAdo aboutNothingsuggests
a manand
theme
thatlovebetween
a woman
involves
unending
tension
andconflict,
muchlikethecontinuous
andoutright
between
A closereading
nations.
distrust,
deception,
warfare
of
thetextofMuchAdo showsshamelanger
bothin conventional
sequences
courtship
andintheunconventional
relation
ofBeatrice
(HeroandClaudio)
andBenedick
Bothrelationships
involve
infatuation.
Myanalysis
suggests
shameandangerbetween
thatacknowledging
menandwomen
maybean
their
important
first
steptoward
resolving
conflict.
I hatewhileI love;wouldyouask howI do it?

My caseprovesitstrue;that'sall thereis toit.
-Catullus
ATTACHMENT, SHAME, AND IMAGES OF HUMAN NATURE
Untilrecently,it has been customaryto view human naturein one of two ways,
as eitherinherentlydestructiveor as a blank slate upon which culture writes
human character.The firstview is associated with Hobbes and, in a later form,
Freud; the second view, with the culturalrelativityfoundin the workofclassical
anthropologyand sociology.More recently,it has become the dominanttheme
in psychology,as expressed in learningtheory.
In the last twenty years, however, results of a corpus of studies of infantcaretakerrelationssuggestthe possibilitythata new perspectiveis needed which
will be in betteraccord with the infantstudies and withclinicalfindingson adult
Directall correspondence
to:ThomasJ.Scheff,
ofSociology,
Department
ofCalifornia-Santa
University
Barbara,
CA 93106-9430.
SantaBarbara,
150
2,1993
36,Number
Volume
PERSPECTIVES
SOCIOLOGICAL
emotions.Thisnew viewpointbeginswiththepostulatethatsocialattachment
bymany
ithas has beenformulated
humanmotive.Although
is thefundamental
in outline,thepositiondevelopedby HelenB. Lewis(1976,
I willfollow,
authors,
1981,1983).
a
have,at birth,
suggestthathumaninfants
The recentinfantstudiesstrongly
year,
Earlyinthefirst
capacityforsocialinteraction.
programed
genetically
strong,
areabletoengageinthegameoftakingturnsatlookingandlookingaway,
infants
This game formsthe basis formutualdelight
and in smilingat the caretaker.
reviewofthese
inlove.(Fora comprehensive
betweenparentandchild,andfalling
a
bond,is not
secure
parent,
and
child
between
Love
1991.)
Retzinger
see
studies,
not occur.
may
it
game,
the
play
to
fails
child
or
parent
the
If
however.
certain
these
has
subsumed
(1976)
Lewis
studies,
clinical
her
with
conjunction
In
theory,
In
this
anger.
and
shame,
attachment,
relates
which
in a theory
findings
Bowlby
butinterdependence.
nordependence,
independence
loveinvolvesneither
are
and
anger
Shame
bond.
social
secure
a
as
as
sucha relationship
characterizes
of,
signals
and
to,
responses
emotional
universal
and, therefore,
instinctive
prominently
would
figure
and
bonds.Ifthiswerethecase,shame anger
threatened
in all loverelationships.
Lewis'swork,likeFreud's,suggeststhatambivalenceis inevitablein intimate
UnlikeFreud(especiallyin hislaterwork),however,Lewisargues
relationships.
are not a fixedpart of the human
relationships
that hatredand destructive
I suggest
Inthisarticle,
butareproducedbyalienatedsocialrelationships.
condition
thatromancemaymaskmassiveamountsofunconsciousshameand anger.
thatinvolveextensive
Shameand angerseemtoplaya keyroleinrelationships
I considertheroleofthesetwoprocesses
In thisarticle,
or hostility.
idealization
levels.
and cultural
at boththeinterpersonal
relationships
in romantic
The traditionof courtlylove and romanceprovidesa culturalscriptfor
idealizationin Westerncivilization.Althoughthere is more emphasis on
considerable
ofthewoman,especiallyin theoriginsofthetradition,
idealization
is provided."Fallinginlove,"oftenat first
formutualidealization
encouragement
fromthemundane
state,fardifferent
sight,is consideredto be an extraordinary
witha unique
aspectsofeverydaylife.Ideas ofa fatedor destinedrelationship
personarealso prominent.
with it, is the
Separate fromculturaltradition,yet stronglyinteracting
Individualsmaymerelyact outthecultural
processofinfatuation.
psychological
thescriptis deeplyfelt;
scriptofidealizedromancewithoutfeelingit.But,often,
Idealization
partner.
falls"headoverheels"inlovewiththe"perfect"
theindividual
sanctionedrolebut also a
to a culturally
in thiscase is not merelyconforming
compellingemotional experience.I propose that both the cultural and
elementsin idealizedromancecan be understoodin termsofthe
psychological
dynamicsofshameand anger.
thatshameand rageare
Suppose,as suggestedinthediscussionofattachment,
Further,
toimportant
relationships.
tosignalthreats
programmed
bothbiologically
one person
in intimate
relationships:
theseemotionswouldbe rousedfrequently
Wars
Gender
151
is so dependenton theotherthats/hefrustrates
us,leadingto anger,and we feel
criticized
or rejected,
leadingto shame.Frequentepisodesofshameand/orrage
maybe an inevitable
partofall intimate
relationships.
as is sometimes
thecase,they
Iftheseemotionsareimmediately
acknowledged,
and Bushnell1984).Perhapsin early
maybe quicklydispelled(Scheff
1979;Scheff
infancy,
beforestrongsocialsanctionsareappliedbyselforother,theseemotions
aroused but immediately
are frequently
expressedand dispelled.For adults,
however,the case maybe quitedifferent.
Especiallyin Westernsocieties,these
emotionsare severelycontrolled.They may be acknowledgedonly under
ifat all.Theyare oftenseen as evidenceofselfextremely
restricted
conditions,
indulgence,
weakness,orlackofself-control;
theyaretaboo(Scheff
1984).
the affectsof shame and rage lead a shadow life,
Under these conditions,
An
One channel,I will argue,involvesidealization.
expressedonlyindirectly.
individualmaydenyhis/her
own shameby linkingselfwithan idealizedperson
orclassofpersons.Excessivepatriotism
maybe seenas oneroutethatidealization
may take;snobberyattachedto a person'slineageor social class is another.
with
Idealizationmayalso takea morepersonalizedroute,romantic
infatuation
anotherperson,orhero-worship.
Theprocessofinfatuation,
whether
witha classofpersonsora particular
person,
intermsofa combination
canbe understood
ofidealization
and shaming.
Itbegins
withthedenialofa person'sownshame:feelings
ofinadequacyand rejection.
One
linksone's selfwithan idealizedother,who manifests
thedesirablequalitiesthat
are missingin one's self,and has none of one's own undesireablequalities,
especiallyweaknessand commoness.The otheris seen as "special,"possessing
glamour,
charisma,
ormagic.Perhapsthisrouteis a distorted
versionoftheprocess
referred
to by Durkheim(1915)as thedifferentiation
betweenthesacredand the
profane.
whichbeginswiththedenialofshame,alsoincreases
Idealization,
shame.Having
createda perfect
other,one maycometo view one's selffromthepointofview
ofthathypothetically
other.Theprocessis self-perpetuating
perfect
to theextent
thatone underplaysthe imperfections
of the other,and overplaysone's own.
Viewingone's selffromthe pointofview ofa scornful
otheris the prototypic
context
forgenerating
shame.Themoreidealization,
themoreshame,andthemore
an aspectofwhatLewis(1971)calleda feeling
shame,themoreidealization:
trap.
In orderto illustrate
some of its features,
thismodeland the theoryof shame
dynamicson whichitis based willbe appliedtoMuchAdoaboutNothing.
SHAME/ANGERSEQUENCES IN A SHAKESPEAREANCOMEDY
MuchAdois certainly
a comedy,
Although
itdisplaystheusualShakespearean
dark
underside
withconsiderable
prominence:
physicalandemotional
violencebetween
men,and betweenmenand women.I willfirst
describethiselementin theplay,
theninterpret
itinterms
ofa theory
ofemotion.
Hopefully,
thistreatment
willfurther
oftheambivalent
understanding
lovethatoccursbetweenmenand women.
152
2,1993
36,Number
PERSPECTIVES
Volume
SOCIOLOGICAL
the conventional
relationships:
MuchAdoconcernstwo parallelmale-female
one between
courtshipbetweenHero and Claudio,and the unconventional
ofphysical
takeplacewithina framework
Thesecourtships
and Benedick.
Beatrice
violence.Sincethe
involvebothphysicaland emotional
violence,and themselves
it oftengoes unremarked.
wovenintoa plausiblenarrative,
violenceis skillfully
theviolentelementsin thestory.
I willbeginby describing
toLeonato
is reporting
A messenger
towarfare.
Theplayopenswitha reference
aftera victoryin
Hero,and BeatricethatDon Pedrois arriving,
(Hero'sfather),
battle.In answerto Leonato'squery,theylearnthatthevictorywas won with
theloss ofonlya smallnumberofmen:"Butfewofanysort,and noneofname."
Thatis to say,a fewmendied,but theywerecommonsoldiers,notgentlemen.
place.The firsttopicoftheplay
but occursin a strategic
is faint,
The reminder
is a warin whichmendied.
thetearsshedbyClaudio's
reports
Thesecondtopicis weeping.Themessenger
himselfin battle.
uncle when he learnedthathis nephewhad distinguished
We have
is
unhurt.
that
Claudio
relief
theuncle's
thetearsalso reflect
Presumably
scenethatinwarsomemendie,others
fewsecondsofthefirst
learnedin thefirst
and weeping
kinweepforjoy.Violentdeath,survival,
and thesurvivor's
survive,
marka somberbeginning
fora comedy.
whensheentersthedialogue,
Thetopicofviolentdeathis takenup byBeatrice,
lineis:
in herjestsaboutBenedick'sadequacyas a soldier.Herfirst
from
thewarsorno?
I prayyou,isSignior
Mountanto
retumed
a reference
whichHerois able to translate
to himas Mr.Swordthrust,
She refers
As we shallsee below,the
playfulnameforBenedick.
fortheothersas Beatrice's
inreferences
labelsratherthanpropernamesoccursfrequently
use ofimpromptu
other.
make
to
each
Beatriceand Benedick
lethalact.Beatricegoes on to
to a potentially
In thiscase,thesobriquetrefers
thatBenedickis deadly,however.Hernextreference
deny,in hernextcomment,
betweenBenedickand Cupid.Finally,
withbluntarrows,
is to a shootingcontest,
as a killer,
bypromising
Benedickas a solider,
sheridicules
inthissamecomment,
to swords,bows
Beatricerefers
In herinitialcomments,
to eat all "ofhiskilling."
all aspectsofwarfare.
to killing,
and arrows,and finally
makesseveralmorejestsatBenedick's
expense,heruncle,Leonato,
Beatrice
After
explainsto the messengerthe backgroundof Beatrice'sjesting,thatthereis a
term:each of
war"betweenB and B. He goes on to use anothermilitary
"merry
of wit." Beatrice,continuingthe
he says, is a "skirmish
theirconversations,
inwhich
withBenedickas a conflict
toherlastmeeting
refers
ofwarfare,
metaphor
he was vanquished,to the pointthathe lost "fourofhis fivewits."The initial
betweenmento thewarfare
fromthewarfare
dialoguemoves,withouttransition,
the
seemsto suggesta parallel
The
of
and
women.
men
play
between
beginning
and
romance.
warfare
between
Gender
Wars
153
The nextdialoguein thefirstsceneinvolvesone oftheskirmishes

betweenB
and B thatLeonatoreferred
to. Thisis one ofthe six dialoguesbetweenB and
B in theplay.Each involvesa disagreement
or a quarrel.As I willsuggestbelow,
each also involvesa considerableamountof hostileinnuendoby bothparties
towardtheother.Sincebothofthecontenders
arepresent,
andeachseemscapable
ofdefending
theskirmishes
themselvescan be consideredto be fair
his/herself,
fights
betweenequals.Thisis nottrueoftheopeningdialogue,however,
inwhich
BeatriceridiculesBenedickin his absence,movingLeonatoto defendhimand
mildyreproveBeatrice.
SincesheberatedBenedickwhenhe was unabletodefend
we are leftwiththeimpression
himself,
thatBeatrice'sanimosity
towardhimis
notcompletely
in goodhumor.
At the centerof the plot are two scenes involvingemotionaland physical
violence.The firstis thedenunciation
and humiliation
ofHeroin thechurch;in
thesecond,BeatriceasksBenedicktokillClaudio,hisbestfriend.
In thefirstscene,Claudiocarefully
orchestrates
thesituationso as to disgrace
Hero.The nightbeforetheweddingwas to takeplace,Don John,
thevillian,had
caused Claudio to believethatHero had been unfaithful
to him.Ratherthan
cancelingthewedding,Claudioarrivesat thechurchwithhisseconds,Don Pedro
and Don John,
and allowstheceremony
to begin.He haltsit dramatically
at the
pointwheretheminister
asksifanyimpediment
to theunionis known.At this
point,he declaresthatshe has beenunfaithful,
secondedbyPedroand John.The
mendenounceHeroas a "rotten
orange"and a "commonstale,"a prostitute.
She
is publically
disgraced.
Themostintenseviolenceinthescenecomesnotfrom
Claudio'sparty,
however,
but fromHero's.Her father's
firstreactionto thedenunciation
is to wishdeath
forhimself.
AfterHerofaints,
his nextresponseis to wishforherdeath,to hide
hershame.At the heightofhis fury,
he hopes thatshe willdie so thathe will
nothavetokillherhimself.
After
Herohasbeenquestioned,
Leonatoacknowledges
thepossiblity
thatshehasbeenwronged.
Evenso,he vowsrevenge,
eitheragainst
her,ifshe is guilty,
oragainstheraccusers,ifshe is innocent.
Thepublicshaming
ofhisdaughterrousesLeonatoto extremes
ofshameand rage.
The secondscene occursimmediately
afterthe denunciation,
when B and B
remainin thechurchaftertheothershaveleft.Benedickdeclareshimself
in love
withBeatrice.
In thecourseofhis declaration,
he asksherifthereis anything
he
can do to provehislove.Herreplyis succinct:"KillClaudio."Beatricewantsher
cousin'shonoravenged.After
an intensequarrelinwhichBeatrice
expressesstrong
angerand outrage,
Benedickagreesto challengehisfriend
Claudioto a duel.
In thefirst
scene,a denunciation
byonemanarouseshumiliated
fury
inanother,
tothepointofdesiring
first
hisowndeath,thenthatofhisdaughter.
In thesecond,
a promiseofphysicalviolencebetweentwomenis instigated
by a woman.This
comedybeginswithina framework
ofwar to thedeathbetweenmen;theplot
hingesupon the potentialfordeadlyrevengewhen honoris impugnedin the
relations
betweenmenand women.(Fora discussionoftheroleofhonor,insult,
and revengein feuds,see Scheff
and Retzinger
1991.)
154
2,1993
Volume
36,Number
SOCIOLOGICAL
PERSPECTIVES
buttheviolence
inthisplayinvolveviolence,
relationships
Bothoftheromantic
ofHeroby Claudio,thereis
in each case.In thecourtship
is disposeddifferently
love.(Some
itis hiddenbeneatha facadeofromantic
no violenceon thesurfacel;
onlythrough
oftheseissuesaretouchedon byHays1980).It comestothesurface
againstHero'ssexualhonor.Untilthemoment
a conspiracy
outercircumstance,
he had idealized
of Hero'ssupposedfaithlessness,
whenClaudiowas informed
to heras a "jewelbeyondprice,"as the"sweetestlady"he had ever
her,referring
in Western
seen (I.i.175,182).Such idealizationof the belovedis conventional
is a
with,theculturalprocessofidealization
societies.Parallelto,and interacting
In the discussionof shame
one, the phenomenaof infatuation.
psychological
and itsrelationto shameand rage.
dynamicsbelow,I willreturnto idealization
On thesurface,
at least,theelementofidealizationseemsto be absentin the
theyseemto engagein the
relationbetweenBeatriceand Benedick.Ifanything,
Once again,their
each otherat everyopportunity.
oppositeprocess,profaning
terms.
in both culturaland psychological
can also be interpreted
relationship
lady-killer;
thewoman-hater,
to thatofthemisogynist,
Benedick'sroleconforms
femalerole,theshrewwho is "curst"with
Beatriceoccupiesthecomplementary
Antoniomake
and hatredofmen.(In II.i,bothLeonatoand hisbrother
ill-temper
thispoint.)
is more ambiguousthan its cultural
The psychologyof theirrelationship
is an openexpression
is thattheirwarfare
however.One possibility
components,
One ofFreud'smost
ofthe hositility
thatis a partof all intimaterelationships.
oflove and hate.In
a mixture
insightswas thatall love is ambivalent,
important
eachpersonis so dependenton theotherthatfrustration,
relationships,
intimate
In this
whichleadsto anger,and lossofface,whichleadstoshame,areinevitable.
view, humiliatedfurytowardthe beloved is a naturalpart of any intimate
The onlyquestionis whetherit willbe hiddenby idealizationand
relationhip.
openly.
oracknowledged
infatuation,
MyreadingofthedialoguesbetweenB and B,to be discussedbelow,suggests
a quarrelbasednoton theopen
quarrel,
thattheyareinvolvedinan interminable
so
ofshameand ragebuton thesupressionoftheseemotions,
acknowledgment
in sarcasmand otherformsof hostile
thattheyare expressedonlyindirectly,
innuendo.
SKIRMISHES
I willtreat
creations,
in Shakespeare'splaysarefictional
Althoughthecharacters
aremuchmore
themas iftheywereactualpersons.It maybe arguedthatwriters
factual
workthaninostensibly
andtheirworldinfictional
ofthemselves
revealing
Thisseemsto have been thecase withGoethe.His
worksuchas autobiography.
dealt,in large part,with loftyintellectualand philosophical
autobiography
themes.His novels,on the otherhand,apparentlywerebased almostentirely
on his own experiencesand,to a lesserextent,on thoseofpersonswho were
wellknownto him.Sinceso littleis knownofShakespeare'slife,thereis no way
Wars
Gender
155
arebased uponactualobservations
toevaluatetheextenttowhichhischaracters
ofrealbehavior.
oflived
Whateverthe case,however,his dramaticsceneshave the character
responsesas iftheywerereal.Forthisreason,
theyevokeouremotional
experience:
someideas aboutemotionsand their
theymayservethepurposeofillustrating
to thoughtand behavior.
relationship
in Much
In thisdiscussion,I willdescribehow bothofthelove relationships
In thecase ofHeroand Claudio,thespiral
Adoseemto be drivenby shame-rage.
except
invisible
is madeup largelyofemotionswhicharebypassedand,therefore,
not
a
only
psychological
The
is
operation
bypassing
undergrossprovocation.
but a culturalone as well.The culturalscriptprovidesa
process(infatuation)
the processof idealizationwhichis partof the Western
disguiseforhostility:
processesact in
traditionof romanticlove. When culturaland psychological
completeunderordinary
ofshameandrageisvirtually
therepression
conjunction,
circumstances.
As willbe seenbelow,thedialoguebetweenB and B suggeststhepresencenot
onlyof bypassedshame-ragebut,in addition,considerableamountsof overt,
I refer
torelations
likethatbetween
versionsofthesameemotions.
undifferentiated
and
is usuallybypassed,as silentimpasses,
Hero and Claudio,whereshame-rage
relationslike that of B and B, where some of the shame-rageis overtand
as interminable
quarrels.
undifferentiated,
I willdiscuss
muchoftheirrelationship,
SinceB and B's first
exchangeforetells
variantsand other
ofthemethodofcounterfactual
itat length.(Fora description
in a verbaltext,see Scheff
1990).Beatrice'sfirst
affects
methodsused in inferring
lineto Benedickis:
nobodymarks
SigniorBenedick;
I wonderthatyouwillstill(always)be talking,
you.
Benedickrepliesin kind:
What,mydearLadyDisdain!Areyouyetliving?
as wouldbe expectedin any

wordto Benedickis nota greeting,
Beatrice'sfirst
socialrelationship,
buta hostilejest.Thefactthatshedidnotwelcome
conventional
itsuggeststhat
forseveralreasons.First,
himbutberatedhiminsteadis important
inwhichpeaceatleastoutwardly
prevails,
socialrelationship
insteadofan ordinary
likethelarger
thisskirmish,
theyareinvolvedinan ongoingquarrel.Furthurmore,
We arenevergivena cause for
is unmotivated.
quarrelin whichitis an incident,
thehostilites.
For most of Shakespeare'slovers,the path of love is blockedby palpable
eitherofnations
In thehistory
Realpolitik,
playsand thetragedies,
impediments.
thereis usuallysome
militates
orfamilies,
againstthelovers.Evenintheromances,
Violais in love witha manwho loves
Night,
realobstacle.Forexample,in Twelfth
156
SOCIOLOGICAL
PERSPECTIVES
Volume
36,Number
2,1993
anotherwoman.ButinMuchAdo,thereis no obstacleintheouterworld.Theonly
obstaclesare within.In thisrespect,therelationship
betweenB and B resembles
thatbetweenLeontesand Hermionein TheWinter's
Tale([160811972):
theirpeace
is shattered
byLeontes'jealousy,whichis utterly
withoutfoundation.
Finally,thereis one morereasonthatBeatrice'sunmotivated
hostility
in this
line is of importance.
Accordingto Lewis (1981),the most intenseshame is
generatedin a contextin whicha personis expectingaffection
but insteadgets
rejection.
It seemsplausiblethata manin Benedick'sposition,returning
froma
war,mighthope his personalwarwithBeatricemightalso be over.I willreturn
to thisconjecture
below.First,considerone morelayerofinnuendoin Beatrice's
comment.
Ifshe had said, "I wonderthatyou keeptalking;
nobodyis listening
to you,"
theremarkwould stillbe disparaging,
sinceit suggestsnotonlythatno one is
listening
but also thathe is unawarethatno one is listening,
thatis, thathe is
a fool.(I use the asterisk(*) to indicatecounterfactual
phrasesthatmighthave
beensaidbutwerenot,following
theconvention
inlinguistics.)
But,as stated,the
remarkis even more disparagingthan that,because the word "still,"which
Shakespeareuses to mean"always,"impliesthatBenedickis foolishnotonlyin
thisparticular
situation,
butthatheisalwaysa fool.Beatrice's
remark
aboutnobody
listening
is also obviouslyexaggerated,
sinceshe at leastis listening
in orderto
surmisethatno one elseis.
Benedict'sresponseescalatesthelevelofhostility
Sincethe
begunby Beatrice.
layersofinnuendoin thissentenceare complex,I willdivideit intothreeparts,
as follows:(a) "What,"(b) "mydearLadyDisdain!,"(c) "Areyouyetliving?"The
ofsurprise,
first
word"what"impliestheaffect
whichis to be a partofthemain
insult,deliveredin part(c). Thatis,Benedickaffects
surprisethatBeatriceis still
thenhisretort
wouldhavebeen
alive.If(b) had been "mydearLady*Beatrice!,"
inform
initialdisparagement,
an addressfollowed
similar
toBeatrice's
byan insult.
and/
Ifanything,
thisformofaddresswouldhave been somewhatmorefamiliar
or affectionate
thanhers,sinceit would have added to hername and formof
thephrase"mydear."
address,"Lady*Beatrice,"
Since Benedickdoes not call her by hername,as she did him,but instead
label"Disdain,"theeffect
ofthephrase"mydear"is
thedisparaging
substitutes
or affection
not added familiarity
but rathersarcasm,an effectmissingfrom
addressto him.The substitution
ofa disparaging
labeland thesarcasm
Beatrice's
in itsuse is one wayin whichBenedick'scomment
escalatesthelevelofhostility.
A secondwayinvolveshismaininsult,affecting
thatshe is stillalive.
surprise
It appearsthatBenedick's
maininsultis muchmorehostilethanBeatrice's,
just
as his formofaddressis morehostile.Raisingtheissue ofthepossibledeathof
in itselfunlessthetopicis handledwithconsiderable
anotherpersonis insulting
deference.The casual way in which Benedickintroducesit is an insult.
aloneis also insulting,
as ifthelifeordeathofthe
Furthurmore,
affecting
surprise
wouldbe pleasure,
affect
otheris ofno intenseconcerntohim.Thesociallycorrect
orevenjoyfulsurprise,
thattheotherwerestillalive,ifdeathwerepossible.Even
Gender
Wars
157
is obviouslyintendedas a jest,itis still

though,in thepresentcase,thecomment
a hostilejest,forthesereasons.
theputativereasonforBenedick's
Sinceit is notmentionedin the comment,
In theabsenceofmention,
Benedick's
label"Lady
is ambiguous.
supposedsurprise
sincehis retortdoes noteliminate
Disdain"can be seen as particularly
insulting
thatthistraitmightsomehowhave led to
theinference
thatshe is so disdainful
natureofBenedick'sassault,involving
herdeath.The two-pronged
labelingand
sarcasm,on theone hand,and jestingaboutBeatrice's
death,on theother,makes
itself.
herinitialinsultseemmoderation
is immoderate,
is that
Theone wayinwhichBeatrice's
initialcomment
however,
it dispenseswiththe greetingand expressionof concernwhichconventional
etiquetterequires.It is this aspect of her quip whichmay have occasioned
he had been hopingfora
Benedick'sextremeresponse.If,as alreadyindicated,
foran affectionate
truce,ifnotyearning
welcomefromthewars,thenBeatrice's
initialjab wouldhavestruckhimlikea slapintheface.In thiscontext,
thesurprise
he affects
at seeingheralivemighthavebeenan inadvertant
defensive
maneuver:
ifyouarestillwarring
againstme,thenI denyhavingthought
ofyouat all,much
In termsofthetheoryused here,his reactionto
less havinghad fondthoughts.
initialcomment
whathe perceivestobe herrejecting
is tofirst
feelintenseshame,
thenextreme
angerdirectedtowardher.
The modeloftheshame/rage
spiralsuggeststhatitoccursnotonlywithin,
but
in an interminable
betweentheparticipants
quarrel.Therearethreefeeling
traps
involved,notjustone.In thepresentcase,theshameis completely
bypassedfor
bothparticipants.
None oftherageis expressedcompletely,
but its presenceis
feltas hostility
and sarcasm.As longas theseaffects
are neitheracknowledged
nordispelled,thequarrelwillnotbe resolved.
The quarrelunderdiscussionseemsto fit,in outline,therequirements
ofthe
model. Beatrice'sinitialhostilitytowardBenedick,in his absence,suggests
on herpart,an interior
resentment
spiralofbypassedshameand rage.Thisstate
occasionsherattackon him,whichtouchesoffhisresentment,
leadingtohiseven
morehostilerebuttal.
Followingthisfirst
roundofbarbs,theytradeseveralmore
insults.Althoughtheystop quarreling
withoutoutsideinterference,
thereis no
resolution:
Benedick:"...Butkeepyourway,a God'sname!I havedone."
Beatrice:"Youalwaysendwitha jade'strick.
I knowyouofold."
Beatrice
getsnotonlythefirst
word,butalsothelast.Shecomplains
thathistactics
arelikethoseofa "jade,"a vicioushorse.TheeditoroftheSigneteditionsuggests
thatBeatricerefersto the trickofthe suddenstop,by whichthehorsetriesto
throwtherider.In an interminable
quarrel,all oftheother'smoves,even those
thatarenothostile,aresuspect.
Benedick'sambivalencetowardBeatriceis suggestedby his onlyreference
to
heraftershe leavesthescene.Immediately
thequarrel,
following
Claudioreveals
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SOCIOLOGICAL
PERSPECTIVES
Volume
36,Number
2,1993
her,as alreadyindicated
his suitforHero to Benedick,at one pointdescribing
above,as "the sweetestlady thatever I lookedon." BenedickcomparesHero
unfavorably
to Beatrice:
herasmuch
witha fury,
exceeds
andshewerenotpossessed
There's
hercousin,
ofMaydoththelastofDecember.
inbeauty
as thefirst
In Benedick'seye,it is Beatrice,not Hero,who is the beauty.However,as is
ofchronicresentment,
he sees onlytheheranger,nothis own or
characteristic
for
thatwhich theyaremutually
responsible.
in
The feeling-trap
modelpredictsthatifleftto theirown devices,participants
one
or
both
an interminable
quarrelare quiteunlikelyto escape thetrapunless
thequarrelis compulsiveand
changesin theirpersonalities:
undergosubstantial
arenotleftalone.Their
theparticipants
involuntary.
In thepresentcase,however,
friendsconcocta plot-actually,a conspiracy-tobringB and B to the altar.
led byHero,surmise
friends,
led byDon Pedro,and Beatrice's
Bendedict's
friends,
thatB and B love each otherbut are unableto acknowledgethisfact,even to
themselves.
ofB and B to followtwo
thefriends
The plotis as follows:Don Pedroinstructs
Don Pedro,Claudio,and Leonato,willarrange
paralleldevices.The malefriends,
secretlove forhim.The female
thatBenedickhearsthemtalkingaboutBeatrice's
and Ursula),willarrangethings
(Margaret
friends,
Heroand two"gentlewomen"
themdiscussing
Benedick's
secretloveforher.Thisplot
so thatBeatrice
overhears
is carriedthroughwithouthitch.Both B and B swallow the bait. Each is
untilthelastscene,as themarriage
is aboutto takeplace.Each is
unsuspecting
immediately
also greatly
bythesupposedloveoftheother,transformed
gratified
froma cynicto a passionatelover,butonlyin privatesoliloquy.In actualcontact,
whichis onlyslightly
abatedby theturn
thetwoloverscontinuetheirhostility,
ofevents.
The nextdialoguebetweenB and B occursbeforeDon Pedro'splotis carried
at odds.Thesceneis a maskeddance.Benedick
out;theloversarestillcompletely
comment
is pretending
to Beatriceto be someoneelse,repeatinga disparaging
because she
about Beatrice.She appearsto suspectthathe is in factBenedick,
launches into a diatribe,calling him a "dull fool" among other things.
however,she also commendshim:she ends her tiradeon a
Characteristically,
sexualnote:"I am surehe (Benedick)is in thefleet;I wouldhe had boardedme!"
to notethatthelastdialoguein theplayalso involvesmasks;
It is ofinterest
lineinthisscene
first
and Herocometotheirweddingsveiled.Benedick's
Beatrice
in
is: "Whichis Beatrice?"Masks or otherdisguisesare a commoningredient
One verycommondevice is forthe
relationships.
Shakespeare'smale-female
as a man,as in thecases ofPortia,Rosalind,and Viola.
heroineto disguiseherself
whichserves
thedisguisesare used to advancea courtship,
In manyinstances,
ofbothparties.In othercases,however,thedisguisemaybe a form
theinterests
whobothdisgusethemselves
oftrickery,
as in thecases ofHelenaand Marianna,
Wars
Gender
159
notas men,butas otherwomen.In someofthecases,however,disguiseis used

merelyas a meansofassault,as in the case ofIachimo'sattackupon Imogen's
sexualhonorin Cymbeline.
Althougheach ofthesedeceptionsservesto advance
theplot,Shakespearemayalso be commenting,
sub rosa,on thelargerolethat
betweenmenand women.
deceptionplaysin therelations
ThethirddialoguebetweenB andBisverybrief,
itinvolvesonlythreeexchanges.
It occursafterBenedickhas overheardtheplotters
describeBeatrice'ssecretlove
forhimbutbeforeBeatricehas beensimilarly
duped.Althoughthesceneis brief,
it is preciselyconstructed.
Beatrice,
notyetpracticedupon by herfriends,
is still
cranky:
AgainstmywillI am sentto bidyoucomein to dinner.
Benedick,
whoseattitude
towardBeatrice
has beentransformed,
is gallant:"Fair
I thankyouforyourpains."ButBeatriceseemsobliviousto thechange,
Beatrice,
in his way,is also oblivious;before,
and she persistsin herhostilities.
Benedick,
in
he saw hostility Beatrice'scommentseven wheretherewas none,but in this
scene,he insistson finding
fairmeaningin herhostility:
"Ha! 'AgainstmywillI
am sentto bid youcomein to dinner,'
there'sa doublemeaningin that...."
AlthoughBenedick'sattitudeis changed,it is also unchanged.It is stillbased
butnow a different
error.Firstitwas excessively
upon error,
rejecting;
now,itis
excessivelyaccepting.Benedickhas merelymovedfromone modeofdistortion
fromprofaning
Beatriceto idealizingher.Perhapsthissceneservesas
to another,
ofchanginga romantic
a wrycomment
on thedifficulty
Unlessboth
relationship.
the
partieschangesimultaneously, impassewillcontinue.
The fourthdialogue occurs afterthe play's centralcrisis,Hero's public
ThisdialogueoccurswhenB and B remainin thechurchafterthe
humiliation.
othershave left.Likeall theotherdialoguesbetweenthesetwo,it also involves
a quarrel.Beatrice
has beenpracticed
uponbyherfriends
bythispointintheplay;
she now thinksthatBenedickis in love withher.Forthefirst
time,he declares
hislove.Buthe is appalledwhenshedemandsthathe killhisbestfriend,
Claudio.
Whenhe hesitates,
she attackshim,withonlyslightindirection,
by complaining
aboutthe fashionofmenwho onlytalk,ratherthanact: "menare onlyturned
intotongue."
Thisdisparagement,
is reminiscent
ofherdirectcriticism
inher
thoughindirect,
on Benedick'smanliness:
"I promisedto eat all his killing."
first
comment,
She is
in a highfury,
mostofwhich,but notall,is directedat Hero'sdetractors.
Some
towardallmen,and therefore,
inpart,at Benedick,
ofit,however,
is directed
when
he hesitatesto do herbidding.
In thiscase, the quarrelis bothemotionaland physical.In herfury,
Beatrice
continually
interrupts
Benedick,at firstallowinghima fewwords("Hear me,
Beatrice,-"),butfinally,
onlypartofoneword,hername("Beat-"). Atonepoint,
the contestbecomesphysical.Beatricevows to leave thescenebecause he will
he triestorestrain
notmeetherdemandforaction.Apparently
herphysically;
she
160
SOCIOLOGICALPERSPECTIVES Volume36,Number2,1993
says, "nay,I pray you, let me go." This scene is a realisticdescriptionof a violent
quarrelbetween lovers.
The fifth(and next to last) dialogue is relativelybrief,only ten exchanges.It is
the least quarrelsomeof the dialogues. Benedickis now the complete gallant:"I
will live in thyheart,die in thylap, and be buriedin thyeyes." Beatrice,however,
thoughnot quarrelsome,is by no means amorous.She is,rather,businesslike.She
is stillconcernedabout her cousin's honor.Her business with Benedickis to find
out ifhe has indeed challengedClaudio as he had promisedto do. When she finds
out that he has, she relentssomewhat,but not completely.When Benedickasks
herwhatitwas about himselfwhichfirstmade herfallin love withhim,she answers
in her usual tartmanner,which combines praise and blame in the same breath
in more or less equal measure. She goes on to asks him the analogous question,
but changingthe phrasingfrom"fallin love" to "forwhich of my good partsdid
love forme?,"implyingthatlove is less a rewardthana punishment.
you firstsuffer
Perhaps because of the continuinguncertaintyof her cousin's position,Beatrice
is much less in a hurryto idealize Benedickthan he is to idealize her.
The sixthand last dialogue occurs in the last scene of the play,thewedding of
B and B and of Hero and Claudio. Once again, the dialogue is shortbut dense
withmeaning.It begins witha quarrel.
Benedick: Whichis Beatrice?
is yourwill?
Beatrice: I answerto thatname.What
Benedick: Do notyouloveme?
no;no morethanreason.
Beatrice:Troth,
Benedick: Why,then,youruncle and the Princeand Claudio have been
deceived-theysworeyoudid.
Beatrice: Do notyouloveme?
no;no morethanreason.
Benedick: Troth,
andUrsulaaremuchdeceived:for
Beatrice: Why,thenmycousin,Margaret,
theydid swearyoudid.
Benedick: Theysworeyouwerealmostsickforme.
dead forme.
Beatrice:Theysworethatyouwerewell-nigh
Thenyoudo notloveme?
Benedick: 'Tisno suchmatter.
butin friendly
recompense.
Beatrice: No,truly,
At the last minutebeforethe wedding,the friendlyconspiracyhas come unstuck.
Benedickhas balked,apparentlybecause ofBeatrice'sinitialtentativeness.(When
she identifiesherselfto himin thefirstexchange,she merelyasks forhis will,rather
hers: *"I am Beatrice,come to marrymy loving Benedick."When
than affirming
thathe loves her),she responds,as
he asks ifshe loves him (instead of affirming
and denying:"Why,no; no morethanreason."
she usuallydoes, by both affirming
They are back in impasse: ifleftto themselves,the marriagemightnot occur.
Once again, theyare not leftto themselves.Theirfriendsintervene,producing
lettersby both lovers,attestingtheirlove. The marriagegoes forward,but under
protest:
Gender
Wars
161
Benedick: Come,I willhavethee;but,bythislight,I taketheeforpity.

Beatrice: I would not denyyou; but by thisgood day,yieldupon great
persuasion,
and partlyto save thylife,forI was toldyou werein
a consumption.
Perhapsit willbe necessaryforthefriends

to attendthehoneymoonas wellas
thewedding.The quarrelhas been disruptedby outsideintervention.
Sincethe
combatants
havenotchanged,itis likelyto continue.
DISCUSSION
I have focusedon thequarrelsome
In thisarticle,
romancebetweenBeatriceand
Benedick,suggestingthattheirlove and attraction
towardeach other,though
In essence,myanalysisunpacksthemeaningofthe
genuine,is also ambivalent.
abstractconceptof ambivalence.This analysisis intendedto develop a new
therootsofinterminable
approachto an old problem,
conflict.
In thecase ofBeatriceand Benedick,
ambivalent
love meansthattheattitudes
of the loverstowardeach otherinvolvethreelayersof emotions.As the play
demonstrates,
the firstlayer,surfacehostility,
maskslove and attraction.
My
analysis,however,suggeststhatbeneaththissecondlayerthereis yeta third,
unknowntothecharacters:
unacknowledged
shameand anger.Myanalysisofthe
discourseappears to supportthis conjectureabout the sources of quarrels:
interminable
conflict
is drivenby unacknowledged
emotions.
My discussionofinfatuation
and idealizationalso pointstowardwhatmight
different
theplaceofobsessivelove in relationto
seemto be an utterly
problem,
large-scalepoliticalissues like charisma.By comparingthe unconventional
romanceofBeatriceand Benedickwiththeconventional
one ofHeroand Claudio,
itmaybe possibleto advanceourunderstanding
oftheselargerissues.
no discoursebetweenthesecondpairoflovers,
Sincetheplayinvolvesvirtually
whichis
Heroand Claudio,I have had verylittleto say abouttheirrelationship,
and therefore
muchmoreconventional,
prevalentin therealworld,thanthatof
Beatriceand Benedick.
totheplotoftheplay,yetshow
How couldtheHero-Claudio
romancebe central
because
littledialoguebetweenthem?Discoursebetweenthetwois unnecessary,
occurswas arrangedby othersin its entirety.
Claudio
the marriagethatfinally
Don Pedro,andLeonato,
threeintermediaries:
approachedHerothrough
Benedick,
herfather.
to marryHero,he had notyetmet
WhenClaudiotellsBenedickhis intention
her
from
a
so
he
is familiar
her.He had seen
distance,
only withher outer
appearance.He also knowsthatshe is notmarriedor engaged,becausehe is a
ofthesamesocialset,thearistocracy
ofthecityofMessina.He alsoknows
member
thatBeatriceis Hero's cousin,and thatBenedickand Beatriceare old friends/
ofintention
enemies.In a sense,hisdeclaration
to Benedickcan be seenas a first,
informal
declaration.
steptowarda formal
162
2,1993
36,Number
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SOCIOLOGICAL
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inthearmy,
Don Pedro,
tohiscommander
His nextstepis tostatehisintentions
Don
a Prince,askingDon Pedroifhe wouldbe willingto arrangethemarriage.
tellsHeroand then,
Pedroagreesto do so, and loses no timein his task;he first
ofClaudio'swish.The matchis made as quickas
withherassent,Hero'sfather,
a wink,withno wordspassingbetweenthetwolovers.
withtheloversnot knowingeach
is arranged,
The mannerthatthemarriage
were
marriages
from
afar.Arranged
pointtoinfatuation
other,
doesnotnecessarily
couldbe madewithout
partoftheculturalscriptofthetime.Sucharrangements
or,indeed,withoutfeelingsof any kind.Claudio'swordssuggest,
infatuation
he also is infatuated.
theculturalscript,
however,thatas wellas following
Claudiois somewhatmoreverbalabouthisintendedthanwithher.His words
with
way,is infatuated
controlled
suggestthathe idealizesHeroand,ina carefully
he says:"In mineeyesheis thesweetestladythateverI looked
her.To Benedick,
towardher.
on" and a "jewelbeyondprice."To Don Pedro,he disclosesfeelings
behindhim,in their
Now thatClaudiohas put his thoughtsofwarand fighting
place,he says:
softanddelicate
desires
Comethronging
Allprompting
young
Herois,
mehowfair
I likedherereI wenttowars.
Saying
and a "jewelbeyondprice"suggests
CallingHero "thesweetestlady,""fair,"
suggests
withwordslike"thronging,"
The lastline,in combination
idealization.
ina womanthatClaudiohad never
and obsessiveinterest
lengthy
preoccupation
met.
sinceClaudiodoes notactuallyknowHero,hisattraction
As theplotsuggests,
In orderto breakup themarriage,
the
to heris vulnerableto outsideinfluences.
with
insinuates
to ClaudiothatHerohas had illicitrelationships
villain,Don John,
willbe convincing,
he arrangesto have Claudiosee
men.So thatthisfabrication
a womanhe thinksis Hero connivingwithmen late at nightoutsideHero's
window.
Even thoughDon John'schargesare absurd,Claudio'sattitudetowardHero
or attemptto
immediately
undergoesviolentchange.Withoutanyinvestigation
an instantabout-face.
Fromadoration
Claudioperforms
questionHero herself,
his feelings
stagesa sceneat
withoutlimit,
changeto intensehatred.He himself
and rejecther.
theweddingto humiliate
in Claudio'sfeelings
is somewhat
transformation
Althoughthelightning-quick
and love.
difference
betweeninfatuation
itpointsto an important
melodramatic,
because it is based on knowledgeof the
Love is morestablethaninfatuation
on theother
beloved.Knowingbothgoodand bad,loveleadstotrust.
Infatuation,
hand,involveslittleor no knowledgeoftheother.As in thecase withClaudio's
to Hero,it is oftenbased onlyon outerappearance.Lackingactual
attraction
one usuallyprojectshisorherowndesires
knowledgeoftheother,theinfatuated
made
and longingson thebeloved.The imageofthelovedone is almostentirely
GenderWars
163
As Tennov(1979)has shown,stronglong-term
up in thebeholder'simagination.
unknown
infatuation
occursin fansofmovieand rockstars,personscompletely
to theirinfatuated
admirers.
I have made betweenlove and infatuation
seems
Althoughthe distinction
on romantic
obviousenough,itis notusuallyexpressedintheliterature
attraction.
In fact,infatuation
is nottreatedas a seriousconceptin thehumansciences.The
to idealization,
none
but virtually
psychoanalytic
literature
givessomeattention
to infatuation.
and infatuation
The twostandardstudiesdealingwithidealization
areby Person(1988)and,as alreadymentioned,
Tennov(1979).Persondiscusses
idealization
butdoes notevenuse thewordinfatuation.
Tennov(1979)givesseriousattention
toneither
concept.Shegoestotheunusual
a word,limerance,
toavoidusingthecorrect
lengthofinventing
infatuation.
term,
Like the popularliterature
on love and romance,she activelyobscuresthe
She usesinfatuation
distinction
betweenloveand infatuation.
onlytomeana brief
adolescentpassion.
I proposethatthedistinction
betweenloveand infatuation
is an extraordinarily
withconsequencesbothforindividuals
and societies.
important
one,fraught
Love
can be interpreted
as a specifictypeofsocialsolidarity,
a strongbond based on
I havereferred
topersons
deepknowledgeand acceptanceoftheother.Elsewhere,
withsuchknowledgeofeachotheras beingina stateofattunement
(Scheff
1990).
thatmakespossibletherapidand flexible
It is attunement
thatis the
cooperation
ofa stablesocialorder.
foundation
based on infatuation
Fromthispointofview,relationships
ratherthanloveare
tenuousbondsdisguisedas strongones.Suchbondsare as confusing
extremely
to thelove objectas to thelover.Theymayalso be paralyzing
fora relationship,
and fora societyin whichtherearemanysuchrelationships.
My argumentconcerninginfatuationsuggests a new approach to the
casts an irresistible
phenomenonof charisma.Infatuation
aura over its target,
whethera loveror a politicalleader.To theuninfatuated
eye,theindividualmay
seeman ordinary
but to theinfatuated,
he or she seemsto be themost
mortal,
or righteous
glamorous,
accomplished,
personthathas everlived.In thisview,
itisnotlovethatisblind,butinfatuation.
To suggestthatloveisblindistoconfound
itwithinfatuation,
whichis whatinfatuated
personsfeelcompelledto do.
Thisargument
proposesthatcharismaexistslargelyin theeyeofthebeholder.
It further
suggeststhatcharismais forthe mostpartproducedby alienated
societies;lackingsecurebonds,its membersseek pseudo-bondswithrockand
moviestarsand,moreominously,
politicalleaders.Ifthisis thecase,an analysis
ofcharisma
requiresa theoryofsocialintegration,
ofalienation
and solidarity,
that
is applicablebothto interpersonal
and societalrelationships.
Sucha theorymust
tracethenatureofsocialbonds,withparticular
attention
to themanagement
of
emotions.
ofsuch a theoryare suggestedby Braithwaite's
The rudiments
(1989)theory
ofcrimeand crimecontrol.
Ifhistheory
is generalized
toapplytosocialinstitutions
in additionto crime,itsuggeststhatreintegrative
formsofsocialcontrolproduce
164
2,1993
Volume
36,Number
SOCIOLOGICAL
PERSPECTIVES
1993),I have
Inanother
place(Scheff
forms
producealienation.
repressive
solidarity;
and how it can
outlinedsomeoftheelementsofa generaltheoryofintegration,
and thosebetweennations.In this
betweenindividuals
be appliedtorelationships
betweenpersons
elementin conflict
becomesan important
scheme,infatuation
and betweengroups.
CONCLUSION
oftenis necessaryto clearawaythe
In Shakespeare'splays,outsideintervention
is
intervention
supernatural
obstaclesbetweenlovers.Indeed,to be effective,
upon
practices
Dream,
Oberon,thefairy
required.
frequently
InAMidsummers's
king,
theDukewith
Vincentio,
In Measure
forMeasure,
theloverswitha magiclove-juice.
whichstandbetweenClaudioand
god-likepowers,removesthe impediments
providestheclearestexample.
and Isabella.TheTempest
Juliet,
andbetweenhimself
the
war is over;thereare no
young
lovers,
the
For Mirandaand Ferdinand,
magician.
themighty
by
Prospero,
arranged
However,all has been
impediments.
in spiteofstormand strife.
Likea god,he has broughtthemtogether
to theneedforgod-likepowersoccurseveninMuchAdo,despite
Thereference
ofthescheme
realistic
natureoftheplay.Don Pedro,thearchitect
theotherwise
on this
to hisco-conspirators
endshisinstructions
to matchthetwoantagonists,
note:
an archer;
his
theloverstogether)
Cupidis nolonger
Ifwecando this,(bring
(II.i.371-373).
shallbe ours,forwearetheonlylove-gods
glory
of the heartsuggestsa tragic
assistancein affairs
The need forsupernatural
Albanysays:
In KingLear([160811972),
resonance.
visible
donottheir
Ifthattheheavens
spirits
downtotamethesevileoffences,
Sendquickly
Itwillcome,
mustperforce
preyonitself,
Humanity
ofthedeep(iv.ii.
Likemonsters
47-51).
a deadlock
My analysissuggeststhat,evenin comedy,Shakespeareintimates
betweenmenand women.Giventhediscussionin thisarticle,
in therelationship
we maysee thatthefeudbetweenBeatriceand Benedickis kinnotonlyto the
ofthistheme,as in theverbalbattlesbetweenRosalineand
comedictreatments
It is also related
and Petruchio.
betweenKatherina
Bironand thephysicalfights
to histragiclovers.
butTroilus
oftheShrew,
PerhapstheclosestrelativetoMuchAdois notTheTaming
between
a storysetintheTrojanwar.In thislatterplay,theinterplay
andCressida,
and war,whichis onlyhintedat in MuchAdo,is made explicit.The
infatuation
the
ofTroilusforCressida;in thisrelationship,
mainplotconcernstheinfatuation
165
Gender
Wars
obsessionofa Greeksoliderwitha Trojanwomanhe hardlyknowsleads only

to personalanguish.Buttheplay also traces,by implication,
theparallelcourse
ofParis'sinfatuation
withHelen,thegreatest
beautyin theworld,whomhe had
nevermet.Paris'sobsession,becauseitbecomesthecauseofhisnation,leadsnot
onlyto personalanguishbutalso to warand destruction.
In bothcomediesand tragedies,
theplaysseemto saythatinfatuated
romantic
lovebetweenmenandwomen,andperhapsheroworshipbetweenmenandmen,
is notdestinedforcooperation
butforcollision.
Thiscourseis not inevitable,
however.Even the mostviciousdeeds maybe
redeemed.In TheWinter's
Tale,16 yearsofsuffering
teachLeontesa lesson.Even
thoughhe has lost his son,his wifeand daughterare returnedto him,partly
through
chance,butpartly,
also,becausehe himself
changes.His deep contrition
butalso hisknowledgeof
overhismisdeedshas increasednotonlyhistolerance
in terms
himself.
His unjustified
jealousragetowardhisqueencan be interpreted
thanacknowldging
hisownshame,whatever
itssource,
ofshamedynamics:
rather
he maskeditwithangerprojectedontohisinnocentwife.
to himafter16years'absence,thequeen's
WhenLeonte'sdaughteris returned
loyalretainer,
Paulina,stagesa viewingofa "statue"ofhissupposedlydeadqueen.
she has vowedto remainin hidinguntilthelost
itis thequeen herself;
Actually,
daughteris found.WhenLeontesfirstsees the supposedstatue,he is quickto
hisfeelings:
acknowledge
I am ashamed:does notthestonerebukeme
Forbeingmorestonethanit?(v.iii.37-38).
our own shamemightbe a firststep away fromwar,

Perhapsacknowledging
ofhumansuffering,
nota hair,
towardpeace.Itmightnotdecreasetheintensity
but it mightdecreaseits duration.Ifshameand rageare relatedto love,as has
oftheseemotionsmighthelpbreakthe
beensuggestedhere,thenunderstanding
deadlockin thewarbetweenthesexes.
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Gender Wars: Emotions in "Much Ado about Nothing"

Author(s): Thomas J. Scheff

Vol.36,No. 2,pp. 149-166

I hatewhileI love;wouldyouask howI do it?

The nextdialoguein thefirstsceneinvolvesone oftheskirmishes

as wouldbe expectedin any

is obviouslyintendedas a jest,itis still

notas men,butas otherwomen.In someofthecases,however,disguiseis used

Benedick: Come,I willhavethee;but,bythislight,I taketheeforpity.

Perhapsit willbe necessaryforthefriends

obsessionofa Greeksoliderwitha Trojanwomanhe hardlyknowsleads only

our own shamemightbe a firststep away fromwar,

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