Essay: Daughters in Much Ado about Nothing / Pride and Prejudice

In pre 1900 literature, daughters are often presented as being controlled by their parents, their marriages often being arranged to profit their family. Marriage was often considered as a union between two families in which a woman was passed on from her father’s control to become her husband’s possession. The exploration of the impact of parental style on the developing characters and personalities of daughters can be seen with Shakespeare’s staging of the Hero-Leonato relationship in Much Ado about Nothing. The relationship resembles the typical dominating father thriving to make marriage connections and the silently obedient daughter living up to the figure of the chaste women that was expected of Elizabethan societies. Likewise, in Pride and Prejudice, Austen portrays the contrasting attitudes between Mr and Mrs Bennet towards their daughters, especially Elizabeth, Jane and Lydia. Their different treatments have resulted in differing judgements on marriage, leading to distinct life paths. Within the Georgian society where a woman’s financial wellbeing relies on her marriage, it is no doubt that parental approaches as well as the own relationship of the parent can affect their daughters’ choices.
Although almost contradictory characters, Hero and Lydia can both be viewed as echoing their mothers’ characteristics. Their crisis in their relationships towards marriage have been hinted in their parents’ marital problems. Hero is introduced as the only child and heir of Leonato, silent in the company of men. When men tease how she looks like her father but “would not have his head on her shoulders”, she seems to be taking their words as a recognition for her beauty and attraction, without defending of her pride. Shakespeare may be suggesting Hero’s submissive attitudes comes from her absent mother, as Leonato replies casually to Don Pedro’s polite greetings regarding Hero’s identity, that Hero’s mother “hath many times told (him)’’ that he is Hero’s father. The power dynamic in their marriage reflects the wife’s justification of her commitment to marriage where the man simply casts off her voice as a joke. This can be seen as a further reference of Elizabethan men assuming the normality of being cuckolded as Shakespeare’s audiences have been predominantly male. Hence Hero holds no position as a subordinate woman against accusations of her sexual infidelity by her fiancé and the Prince. Like her mother’s unheard defences, Hero’s catharsis lacks agency in front of the patriarchy.
Lydia, on the other hand, has only narrowly avoided the fate of being stripped of her reputation. Being described as “good humoured” by her mother in comparison with her sisters, Lydia’s arrogance and assertiveness emerges from her first line, which has been said “stoutly”. Austen foreshadows Lydia’s elopement on the grounds of superficialities with the character expressing marriage is just another opportunity for enjoying some “very good fun”. Considering Lydia is Mrs Bennet’s favourite child, the latter has bestow some of her shallow qualities upon the spoiled girl. The omniscient narrator highlights how the lack of mutual understanding and irrational decision on marriage based on youth and beauty can easily drain the “conjugal felicity” in Mr Bennet’s case. Critic notes their marriage “had clearly been no genuine love match, but a match between cool self-interest and male susceptibility.” This is true as Mrs Bennet is only hysterical as an amusing source Mr Bennet is indebted to, for her “ignorance and folly”. Her trivial understanding of the real world beyond immediate interests and vulgarity is observed and mocked not only by his father but also Miss Bingley. She eagerly discredited the Bennet girls’ integrity by scornfully calling Mrs Bennet “a charming mother-in-law” during her conversation with Darcy. This sardonic term used on Mrs Bennet manifests other’s resentment at her behaviour. Lydia’s behaviour is similar to that of her mother, with a complete ignorance of grave matters of conduct and propriety, with no concern how her “easy manners” with the officers may affect the family name.
It is questionable whether Leonato has fulfilled his duty as a protective father with his numerous attempts to sell his marketable daughter, and this is also obvious in Mrs Bennet’s anticipation of her marriageable daughters, though her concern can be regarded as fitting for the finical pressure weighing upon single women in the early 19th century English society. Leonato has made clear his eagerness for establishing links with the powerful man by initially “acquaint(ing)” Hero to “be the better prepared” for the possibility of being proposed by the Prince. Thus on the masquerade, even though she replies to willingly be in Don Pedro’s company “when (she) please(s)”, the very conduct of Hero talking to this masked man is the fruit of her father’s will. This might also explain the reason for Hero’s muted acceptance when it is revealed she is wooed for Claudio, as she is simply obeying Leonato’s orders. The excitement in Leonato’s language considering the scenario as “a dream” emphasises his dedication to set up male bond that would elevate his own honour and respectability. This is reflected in Leonato’s belief of Hero’s accuser Claudio without much hesitation. The metaphor of “rotten orange” (oranges were associated with prostitutions) symbolises Hero’s lost of maidenhead, however, Claudio’s condemnation “give not … to your friend” also suggests the shame is on the broken contract between male friends. Therefore it is no surprise that Leonato with his honour on trial would conduct harsh treatment towards his fainted daughter, wishing her dead as the “fairest cover for her shame”. Further evidence is provided with Shakespeare’s device of Leonato’s soliloquy which laments his lost honour as Hero has “fallen into a pit of ink’’, also tainting his own reputation. The chilling violence in Leonato’s language to “strike at (Hero’s) life” if her shame does not kill her reveals the his complete loss of the caring qualities of a father. Hero’s silence has reduced her to an object of male honour which her father obtains and gifts to his benefits. Leonato’s choice to continue befriending the irrational Count after the exposure of conspiracy and redemption of Hero’s virginity works out without dispute from his obedient daughter.
Mrs Bennet is established in the opening chapter as “a woman of mean understanding”, and getting her daughters married is the “business of her life”. Ironically, her obsessive pursuit of wealthy matches for her daughters nearly backfires. The bragging of Mrs Bennet which “seemed incapable of fatigue while enumerating the advantages” of marrying Jane to Mr Bingley has been noticed by Mr Darcy, whose “composed and steady gravity” later prompts Bingley to repulse by Mrs Bennet’s behaviour. Psychologist and Critic D. W. Harding argues Mrs. Bennet is risible but also detestable, for her power within the family enables her to thwart and humiliate her daughters. This is true in her frequent causing of mortifications on her elder daughters, making exhibitions of her impudence. For instance the narrative voice signifies her hysteria of taking every opportunity to strengthen the connection between Jane and Bingley as she has “no wish of her recovering immediately” upon her visit to a poorly Jane resting in Netherfield. It is also significant that Jane’s illness has been originated by her mother’s insistence of horseback travelling with an expectation to coincide with the bad weather following up making her to stay overnight. Mrs Bennet’s insouciance on the side effects of endangering Jane’s health further illustrates her shallowness and failure of protecting her child. Furthermore, Mrs Bennet’s aggressive promoting of her daughters is not only embarrassing to Jane and Elizabeth but also ending up harming the their hosts’ prospects by tainting them with their mother’s vulgarity. Her negative influence on Lydia is obvious with the “stout” girl challenges her host to fulfil his promise for a ball at Netherfield.
Nevertheless, Diaches points out “Mrs. Bennet is realistic enough to know that by hook or by crook her daughters must be properly married off before their looks begin to fade” as means to secure their future lives financially. Her attitude towards Mr Collins’ proposal to Elizabeth, is most evident of the argument. Regardless of whether such a match would felicitate her daughter, Mrs Bennet threatens to “never see her again” upon her rejection. In some sense she does care for Elizabeth and the prospect of her future as such a marriage would benefit Elizabeth financially, enabling her to claim to share Longbourn with Collins after Mr Bennet’s death. The entail was a common legal device in 1800s for keeping the family estate intact and under the same name, therefore with the passing of Mr Bennet, Mr Collins would inherit the family estate and the daughters could have little inheritance.
In comparison with Leonato and Mrs Bennet’s unsuccessful parental influences partly due to their excessive involvement in their daughters’ marriages, Mr Bennet remains coolly detached from his parental duties to daughters who he find disappointing. He casually acknowledges that Lydia “cannot grow many degrees worse, without authorising us to lock her up for the rest of her life.” Ironical as Mr Bennet’s words always are, Austen implies Mr Bennet has absolutely no intention of taking up action to discipline Lydia or her two other “very silly siblings”. This indifferent attitude of Mr Bennet is also seen with his justification that Lydia’s departure would bring “peace” to Longbourn as he trust “sensible man” such as Colonel Forster would “keep her out of any real mischief”. His equanimous sentiments contemplating the death of a child is the cruelest, for he takes the opportunity for a bon mot. The humorous language he uses to tell Mrs. Bennet when the news comes that Jane is confined at Netherfield, after being sent out in the rain to dine with the Bingleys seems harsh for a father of compassion to express: “if your daughter should have a dangerous fit of illness, if she should die, it would be a comfort to know that it was all in pursuit of Mr. Bingley, and under your orders” Even though the words can be interpreted as a upfront mocking towards Mrs Bennet’s matrimonial schemes, Mr Bennet’s reference to the possibilities of Jane passing away is without civility. The searing quality about his wit and his lack of solicitude is further evidential in Jane’s genuine unhappiness when Bingley abandons her. Responding with the critical satisfaction of a spectator at a play, Mr Bennet “congratulates” Jane by gaining “a sort of distinction among her companions”, in his callous statement of “next to being married, a girl likes to be crossed in love a little now and then.” His habitual irony and humour becomes less amusing for now his wit is directed not against unsympathetic fools like his wife, but against a kind-hearted daughter in need of comfort.
Elizabeth’s outlook of marriage immediately stands out from what her female relatives and lady friends perceive as the conventional. Twice she rejects proposals by privileged men, her persona is of her father’s jesting and blithe, which Mr Bennet admits her with “something more of quickness than her sisters.” Austen structures Mr Bennet’s few serious lines in response to the worrying Elizabeth to illustrate his earnestness with her. The rhetorical question directed at himself “Who should suffer but myself?” marks his awareness that the situation has been caused by his negligence. Another of Mr Bennet’s significant exchanges with no laughing matter is dedicated to his urging for Elizabeth to reconsider Darcy’s proposal. The words of “grief” and “misery” generate a regretful tone, Mr Bennet’s poignancy is increased by their contrast with his usual cynicism. Reflecting on his own tragic marriage where he clearly “(has been) unable to respect (his) partner in life”, he expresses a sincere wish for his favourite child to avoid the same fallacy. However, the more frequent, daily influence of his casualness does shape Elizabeth’s character. Critic comments “As her father takes life to be a spectacle, Elizabeth will accept a fiction as life.” It is compliant as Elizabeth herself absorbs Wickham’s carefully constructed fiction and almost becomes infatuated with him. Later Elizabeth’s realisation of her prejudice is anchored with the narrative offering the background for her parents’ troublesome match. She identifies the “disadvantages of so unsuitable a marriage” and the implications of “Ill-judged a direction of talents”. Accordingly, the eventual contentment of Elizabeth takes guidance from the representation of decency and good manners through the Gardiners. Austen’s portrayal of the characters with a less advantaged social status and praising of their virtues suggests the propitious role model is not limited in the elites. The Gardiners compensate as the more reliable parents also offers a realistic tone where the ending of two Bennet girls from their problematic original family are wedded willingly to wealth and class would seem too idealistic.
Just as readers can find a more caring Mr Bennet in his affinity with Elizabeth, Leonato’s approaches to the young are not completely dominating with patriarch authority, he can also be a tender uncle and a jolly matchmaker. Beatrice’s wildness from a lack of parentage is presumably distinct in her savage language and valiance. One of her most unostentatious line with repeated cries of “Oh God that I were a man” to “eat (Claudio’s) heart in the market place” reflects such aggression. Leonato’s ability to note the “marry war” between Beatrice and Benedick indicates his attentiveness to her. Shakespeare’s deployment of oxymoron also places Leonato at the observational position in romantic union as well as directly involved in the fight for honour and social standing. Although Leonato warns Beatrice to be wary of the “shrewd of (her) tongue” for fear that she “wilt never get … a husband” can be distinguished as a patriarch view pressurising women to marry advantageously, Beatrice’s ultimate felicity is reinforced by the amiable slander from the conspiracy Leonato takes part in. However, Hero’s life and Leonato’s honour is almost redeemed as the price for the malicious slander.
Controversially, Hero has her moment of Peripeteia in her first wedding ceremony. In spite of that, her outlook of marriage has been carved by the domination of Leonato with no alternatives as her has only insufficient, if not little participation in society. Her father resolves the male friendship with Hero’s compliance with Claudio who has disgraced her. Although perceiving the death of her former self tainted by false accusations in exclamation of “One Hero died defiled, but I do live, And surely as I live, I am a maid”, Hero has not experience a spiritual rebirth and plainly offers the opportunity of restart for the man.
While Shakespeare’s male audiences in the 16th century would have expectations of the comedy summing-up with reconciliations, a modern feminist critic would be disappointed to find Hero’s submission conventional, without subverting any of the code of honour put on women by men. Carol Cook is one who offers an alternative reading of Hero’s fate, noting “Masculine privilege is contingent on the legibility of women, and the ambiguous signifying power of women’s ‘seeming’ is the greatest threat to the men of Messina, who engage various defensive strategies against it, from the exchange of tendentious jokes to the symbolic sacrifice of Hero.” Her argument of Hero being placed in a more vulnerable position due to her lack of voice has posed her as more of a threat to the cuckoldry fearing male is indicated in the title of her essay. “The sign and semblance of her honour” is what Claudio alleges of Hero’s façade, as a matter of fact, it reflects Claudio’s inability to understand her true intentions. Shakespeare therefore contradicts the character of Beatrice who rejects the role Hero so willingly adopted with bold and masculine conduct, manifested through her outspoken attitudes and witty language. It can be suggested Beatrice allies herself with men and challenges Leonato’s parental authority by tempting Hero to pursuit her own interests in the manifestation of “Father, as it please me”. Her behaviour is tolerated and praised among men who find “(her) silence most offends” perhaps as a consequence of the fact that Leonato is only her uncle, posing minimal confinement. Equally, Elizabeth’s outspoken relationship with Mr Bennet allows her to develop more sophisticated intuition and the capability to question his negligence.