Forgive The Sinner, Hate The Sin: The Role of Deception and Forgiveness by Kayleigh

Kayleigh Winter

Romantic Comedies

Professor Sinowitz

25 February 2020

Forgive The Sinner, Hate The Sin: The Role of Deception and Forgiveness

William Shakespeare’s Much Ado about Nothing has stood the test of time as the play continues to influence modern works of romantic comedy, such as Jack Savage's Libeled Lady. As we have discussed, Libeled Lady embodies the same central themes and elements used in Shakespeare’s play. Although there are many recurring themes throughout both of these pieces, two topics that spark particular interest include the role of deception and female forgiveness. As seen in Shirley Nelson Garner’s article, “Male Bonding and the Myth of Women’s Deception in Shakespeare’s Plays,” she demonstrates that the role of female forgiveness is essential to the outcome of the play. In a similar way, the role of deception is another prevalent theme because Garner uses it to bolster the notion of male dominance. In this case, the roles of deception and forgiveness not only motivate the male characters to abuse their power, but also encourages them to deceive and control the actions of women.

In Shakespeare’s work, deception plays an influential role in the sequence of events and supports Garner’s claim as to the significance of male dominance. The figure of male dominance is noteworthy because deception demonstrates the impact that gender plays among the characters and brings to light gender stereotypes associated with men and women throughout history. While there are many incidences of deception in Much Ado About Nothing, one of the most basic examples is emphasized in the scene in which Claudio publicly denounces Hero of being unfaithful. Although Claudio lacks solid evidence needed to prove Hero’s betrayal, he is quick to sever his love for her and plots to deceive Hero in return for her alleged unfaithfulness. Although we know that Hero is completely innocent, she is unable to clear her name due to the power of male dominance that suppresses her from doing so. 

As mentioned in Garner’s article, the role of deception is crucial because it addresses the significance of male dominance. Garner argues that men want women to deceive them in order to reinforce their power. For this reason, Shakespeare’s male characters crave deception because of the threat that women pose as a result of their emotional capacities and control in relationships. The female’s betrayal enables the male characters to protect their dominance as the superior gender so that they can maintain their image of hero and protector. Because women are often perceived as weak and defenseless, it reflects badly on men if the woman possesses more power and control in the relationship. The men in Shakespeare’s play would much rather protect their ego and bonds of masculinity, rather than exchange their power in return for membership into the institution of marriage. The role of deception allows the male figures to protect themselves by concealing their fear of women and mask their vulnerability. The same can be seen in relationships in the real world.  For instance, when a man likes a woman, he usually goes out of his way to impress her, however the man places himself in a vulnerable position if a woman does not reciprocate his feelings. 

In Libeled Lady the role of deception is portrayed in much more ingenious terms. One of the most obvious cases of deception appears between Warren Haggerty (Spencer Tracy),  Bill Chandler (William Powell), and Gladys (Jean Harlow) as they conspire to deceive Connie Allenbury (Myrna Loy) by making it appear as if she is having an affair. While this is a clear case of deception, a less obvious example emerges in the relationship between Warren and Gladys. From the moment Warren ditches Gladys at the altar to take care of business at the newspaper, it is evident that he places his own affairs above his fiancée. For example, in the opening scene Gladys storms into Warren’s office, wearing her wedding gown as the traditional wedding song accompanies her entrance. Gladys’ body language and tone express her feelings of anger and betrayal towards Warren because she has been waiting to marry him for two years. She even complains “I am tired of being second fiddle to the newspaper. A wedding is supposed to be the best day of a girl’s life” (Liable Lady, 1936). Ironically, her perception of a woman’s wedding day ties directly with Hero’s wedding in Much Ado About Nothing when Claudio destroys Hero’s reputation. As the film progresses, Warren continues to deceive Gladys by promising to marry her if she remains patient and cooperates with the plan. As can be heard in the conversation between the two, the traditional wedding song is repeated yet again as Warren postpones the date in order to undertake the plan of deception. In this case, the use of the wedding music seems as if the song is used as a way to taunt Gladys and the audience with the fact that Warren is never going to marry her.

As discussed previously, the power of male dominance encompasses the role of deception as a way to combat the threat of woman’s emotional power. In this way, Warren demonstrates his male dominance by manipulating Gladys to take part in the plan and giving her false hope that they will get married as soon as the lawsuit against the paper is dropped. Also, Gladys is oppressed time and time again as she is forced to wait to marry Warren until Bill successfully deceives Connie. The notion of Gladys waiting is portrayed by the rack focus shot of the winding clock as Warren struggles to get in contact with Bill by phone and telegraph. In this scene, Warren is in desperate need of Bill’s help in order to protect the newspaper from financial ruin. The camera pans through multiple faded shots of telephones wires, telephones ringing off the hook, and the passing of time on the clock. The clock serves as an important symbol in the film because it reinforces Gladys’ hopelessness as she anxiously waits to marry the man who constantly deceives her. 

Another recurring theme that surfaces in both Shakespare’s play and Savage's film is the act of female forgiveness. The role of forgiveness in the final scene of Much Ado About Nothing is significant because it portrays women, specifically Hero, as vulnerable in the face of love and male dominance. The role of forgiveness is crucial in order to fulfill the audience’s desire for a happy ending. Garner’s article presents a compelling argument that supports the role of forgiveness in Shakespeare’s work. Based on the outcome of the play, the resolution of the plot relies heavily on the act of the female character forgiving her love interest despite the extremity of his actions. Garner states that “behind the women’s forgiveness in these plays is the working out of the male fantasy… the fantasy is that a woman will always forgive a man no matter how terribly he wrongs her” (Garner, 147). Men often use figments of their imagination in order to create female forgiveness stories. Their imagination fosters the ideals of male dominance as a way to rationalize their wrongful and foolish actions that dismantle the reputation of a woman. The notion that females are weak and inferior is represented by her willingness to forgive her lover without any sense of remorse on his part. Unfortunately, the women justify the absurdity of the man’s actions and enable them to continue abusing their power as the dominant gender.

 A perfect example of this in Shakespeare’s play is noticeable in Act 5, Scene 4 in which Hero keenly forgives Claudio after he slanders her on her wedding day. As baffling as it may be that Hero is so quick to forgive Claudio, her forgiveness reinforces his dominance because it demonstrates that he can do whatever he wants without repercussions. The role of females also emphasizes the double standard that places men and women on unequal levels in society. The double standard not only benefits the power of men, but it also portrays women as inferior, oppresses her strength, and emphasizes her vulnerabilities. 

Comparatively, the role of female forgiveness is protrayed in a similar way in Libeled Lady. As mentioned previously, female forgiveness in Shakespeare’s play is necessary in order to end the story on a positive note. More often than not, the audience craves a story that has a happy ending and leaves them feeling satisfied. In terms of Savage’s film, a prime example of female forgiveness is obvious in the scene when Gladys and Bill are getting married at city hall. Although she despises having to marry Bill and is forced to kiss him when the Justice of the Peace says, “You may now kiss the bride,” Gladys forgives Warren by giving him a passionate kiss and taking his arm on the way out of the ceremony. Sadly, it seems as if Gladys condones Warren’s behavior in hopes that one day his empty promises will be fulfilled. No matter how many times Warren breaks his promise to marry her, she inevitably finds it within herself to forgive him. She is so blinded by her love for Warren that she is willing to set aside her own happiness in order to reinforce the notion of male domination. By provoking this behavior, Warren continues to do whatever he wants because he knows she will tolerate his conduct.

Although other central themes, such as reverse class snobbery and marriage may provoke stronger arguments, the less obvious roles of deception and forgiveness unveil many hidden symbols, such as the passing of time and the wedding song in Libeled Lady. Many of the same elements and themes depicted in Shakespeare’s work continue to be mirrored in many romantic comedy films we know and enjoy today, including Jack Savage's Libeled Lady. In addition, Garner’s article is particularly useful in further identifying the purpose of deception and forgiveness as she draws conclusions from Shakespeare’s writing. The tools utilized during Shakespeare’s time have yet to lose their influence as they continue to be manifested in films today. More importantly, the themes mentioned above are portrayed in several different ways, but inevitably express similar conclusions, such as the fact that no matter how much the women despises the sins committed by her lover, she manages to forgive the sinner.

Works Cited

Garner, Shirley N. “Male Bonding and the Myth of Women's Deception in Shakespeare's Plays.”
Experts at Minnesota, University of California Press, 1 Jan. 1989.

Libeled Lady. Directed by Jack Conway, performances by William Powell, Jean Harlow, Myrna Loy, and Spencer Tracy, Metro-Goldwyn-Mayer Studios, 1936. 

Shakespeare, William, et al. Much Ado about Nothing. Simon & Schuster Paperbacks, 2018.