Exploring Shakespearean Plots: When Subplots Outshine the Main Plot

Introduction:

A key element in William Shakespeare's plays is the interplay between the main plot and its subplots. Rarely do these subplots overshadow the main story, but on occasion, they capture the audience's attention more powerfully. We will delve into three such instances where the subplot is more captivating than the main plot in Shakespeare's works: "Much Ado About Nothing," "Henry IV, parts 1 and 2," and "King Lear."

1. Much Ado About Nothing

Main Plot vs. Supporting Plot: In "Much Ado About Nothing," the central conflict revolves around the romantic entanglements of Claudio and Hero, a fitting love story with misunderstandings and reconciliations. However, it is the relationship between Benedict and Beatrice that steals the show. They share a complex dynamic, starting as adversaries but eventually falling in love. Their witty exchanges and hidden affections provide a more stimulating and humorous subplot.

Excerpt:

Act V, Scene II

BENEDICT: And now tell me for which of my bad qualities did you first fall in love with me?

BEATRICE: For them all together which maintained some politic a state of evil that they will not admit any part to intermingle with them. But for which of my good parts did you first suffer love for me?

BENEDICK: Suffer love! A good epithet. I do suffer love indeed for I love thee against my will.

These exchanges, with their biting wit and deep emotional undercurrents, highlight the complexity of their relationship and make their subplot more engaging than the main one.

2. Henry IV, parts 1 and 2

Supporting Character: Sir John Falstaff

Main Plot vs. Supporting Plot: The main narrative in "Henry IV, parts 1 and 2," is the struggle of King Henry IV to consolidate his power and his son's development. However, the figure of Sir John Falstaff becomes the central character in parts 1 and 2, as the youthful prince Hal aligns himself with Falstaff's rowdy crew. This partnership provides entertainment and comedy while undercutting the dramatic and serious plot of the king's administration and the rebellion against him.

Stolen Scenes: In both plays, Falstaff's antics, his drunken escapades, and his clever retorts capture the audience's interest more than the protagonist's political maneuvering. Even in the second part, where Prince Hal's character arc concludes with his becoming the stern king Henry V, Falstaff's presence remains a poignant element, symbolizing a loss of innocence and a turning point for the young prince's growth.

Excerpt:

Act II, Scene IV

FALSTAFF: I’ll ha’t, I prithee, good youth, fetch me a flask of sack; I do smell wine. ’Tis hearing good news.

HOTSPUR: Sir John, in faith, you and I must part for a time.

FALSTAFF: Ha! Part! By this late hour, may I say? In faith, I am an honest fellow and a kind one; I love all the world for my heart.

This excerpt showcases the dynamic between Falstaff and the protagonist, highlighting Falstaff's comedic character and the role he plays in the narrative.

3. King Lear

Main Plot vs. Supporting Plot: The tragedy of King Lear is renowned for its central storyline, but the subplot involving Gloucester and his sons, Edgar and Edmund, is just as powerful. This subplot showcases the consequences of Lear's flawed decisions and amplifies the themes of blindness, deception, and human nature. The parallel between Lear's struggles and Gloucester's son's betrayal humanizes the main plot, making it more profound and relatable.

Summit of Aesthetic Beauty: The reconciliation scene between Edgar and Gloucester on the heath is often cited as a pinnacle of Shakespearean drama. The mutual recognition by Gloucester, referred to as off-stage blindness and restored vision through the metaphor of discovery, is a beautiful moment in the play. As Gloucester says:

"O my dear son! To have one but unins'd, / And not to know him! Courtney, unhappy that I am, / Hath ever looked so sadly?”

The blindness and eventual vision metaphore in this play makes the subplot a critical component of the overall narrative, enriching the thematic elements of the main plot.

Conclusion: Shakespeare often crafted subplots that were not mere distractions but integral elements that enriched and deepened the main narrative. In "Much Ado About Nothing," "Henry IV, parts 1 and 2," and "King Lear," these subplots offered alternative perspectives and emotional depth, making the plays timeless and resonant artworks.

Note: Orson Welles, a renowned film director, adapted "Henry IV, parts 1 and 2" into "Chimes at Midnight," focusing on the character of Falstaff. His adaptation highlights the depth and enduring appeal of these plays, where subplots often become the centerpiece of the drama.