For me, the play has always had a large question mark hanging over the 'comedy' part. Yes, it does follow the conventions of a comedy: two young lovers, longing to be together, are kept apart by some form of authority figure, and are eventually able to come together by the end, and they get married and everyone is happy. But many people, especially feminist critics, would question whether the ending was in fact happy.
To give a brief overview of the plot, Claudio and Hero are in love, and intend to marry. But Don John stages a scene for Claudio to 'overhear' so that he thinks Hero is being unfaithful to him. The gullible young Claudio is swindled, and chooses to confront Hero, not privately, but on their wedding day, utterly shaming her until she faints from shock. Claudio then proceeds to leave her, disgraced, at the alter. Hero's family decides to tell Claudio that Hero has died, and when the news of her innocence is announced, Claudio grieves for her. Luckily, it is revealed that Hero is not dead at all, and the two get married and live happily ever after.
At the risk of sounding dramatic, I feel have to add: 'Or do they?' Hero, being the traditional, submissive woman in this play appears to have no pride. She seems to simply accept what Claudio has done to her. Apparently it's okay that he publicly humiliated her and accused her of lechery on rather unsubstantial evidence, because he is very, very sorry. I do not consider this play's ending a happy one, as Claudio in no way pays for his misguided and thoughtless actions, although it is hardly a tragic ending, as there is no death. However, the lack of death does seem to be the one thing that stops this play from being a tragedy. Therefore, I believe Much Ado About Nothing to be a tragedy in disguise.
After some studying and research on the subject of tragedy and comedy, I have discovered a way to make Much Ado About Nothing, the comedy, into The Tragedy of Claudio and Hero with only a few small changes.
First things first, in order to keep with the format of the Aristotelian tragedy, Claudio must be of a high status. As he is a nobleman, he is already of fairly high status, so no changes required there. Very importantly, as a tragic hero, he will need a tragic flaw. Again, no changes needed, as we can call his naïve and influential tendencies a tragic flaw, as well the fact that he is clearly short-sighted and severely judgemental.
The scene in which Don John tricks Claudio into believing Hero is unfaithful could remain wholly intact, and act as the pivotal point where Claudio begins his descent. He shames Hero on their wedding day, again, no changes necessary, and again, Hero's family later tells Claudio that Hero has died as a result of his heartless verbal onslaught.
Here is where the changes must begin (note how late in the play the changes become necessary): Claudio, grieving for Hero, laments the consequences of his actions, but his pride and sense of honour convince him that he did the right thing in confronting her for her misdeed. When it is revealed that Hero is innocent, Claudio, overcome by grief and regret for his grave error of judgement, takes his own life, tragically, before the news reaches him that Hero is not really dead. Hero, bereft at the death of her lover, follows suit and takes her life as well. Curtain.
Note how, with so few changes, all of them towards the end of the play, this comedy becomes a tragedy. The main differences are that Claudio is punished for his cruel actions, after his descent from a noble, if shy, young lover to a cold, unforgiving 'murderer' as it were. Unfortunately, Hero still does not receive a happy ending, but as a tragedy, it is more fitting, whereas it seems unfair that Hero gets no form of compensation for the terrible experience she has had to endure at her new husband's hand, in what is supposed to be a comedy.
Obviously, this is only my opinion, but I feel that the play would have worked better as a tragedy, as it has always bothered me that Claudio avoided the consequences of what I consider to be a terrible thing to do to someone, particularly to the woman you supposedly love, and none of the other characters seemed to find this unjust. What is very interesting, I find, is that if Claudio simply took a minute to think things through before openly insulting Hero, things would have run much more smoothly, whereas the tragic hero Hamlet suffered dearly for thinking things through too much. Shakespeare's heroes need to learn to find a happy medium, I suppose.
