Abstract The phrase “much ado about nothing” in popular discourse attempts to dispel suspicion, including in response to high-profile sexual assault allegations such as those against Harvey Weinstein. This article explores how Shakespeare’s play Much Ado About Nothing speaks to this trend. In the play, Claudio falsely accuses Hero of infidelity, abandoning her at the altar. For this play to be a comedy with a “happy” ending, Claudio must admit that he was mistaken. He discovers that consent (or, in the play’s vocabulary, “good will”) is a relational agreement between two equals, not a mediated exchange of property. Claudio’s mistake, the subject of Beatrice and Benedick’s teasing, is inherent to Weinstein’s defense arguments and other usages. Much Ado About Nothing provides a model for reforming our cultural concept of consent.
Bailey Sincox (Wed,) studied this question.