Fudging the Outcome of Much Ado About Nothing

Abstract

This article asserts that in Much Ado About Nothing Shakespeare lays open the rottenness within an arbitrary system of government but does not dare carry the plot to its logical conclusion. The responses to events by the dominant nobles, a prince and a count, are not merely foolish and damaging, but, in light of the guidance of, among others, Girolamo Muzio and Baldassare Castiglione, deeply dishonourable. The playmakers, as the most talented team in the realm licensed for performance entertainment, create a historically credible set of characters, but, possibly because they wish to continue to benefit from their protected status and draw their regular customers, do not make explicit any radical questioning of rank and degree. An analysis of Margaret’s role suggests a strategic ambiguity within the jocular ending.