The plot of “Much Ado About Nothing” is an elaborate network of schemes and
tricks. This statement is confirmed throughout “Much Ado About Nothing”. The
play contains many examples of tricks and schemes that are used to manipulate
the thoughts and feelings of characters. The major examples of such manipulation
include- Don Pedro, Claudio and Leonato tricking Bene*censored* into believing
that Beatrice loves him, Hero and Ursula trick Beatrice into thinking Bene*censored*
is in love with her. The relationship between Claudio and Hero also endures much
manipulation. For instance Don John and Borachio trick Claudio and the Prince
into believing Hero is unfaithful. As in the tradition of Shakespeare, the Friar
deceives everybody into thinking Hero is dead. An instance of trickery involves
Bene*censored* being manipulated to believe Beatrice is in love with him. This
trickery is carried out playfully by Don Pedro, Leonato and Claudio. They
realise Bene*censored*'s stubbornness in Act II Scene iii, when he states “man
is a fool when he dedicates his behaviours to love.” Due to this stubbornness
Don Pedro, Leonato and Claudio must devise a way of attaining the love amid Bene*censored*
and Beatrice. In Act II Scene iii the men accomplish this by way of waiting for
Bene*censored* to be within ears reach, then raising the topic of Leonato's
niece Beatrice. Don Pedro’s reference about “your niece Beatrice was in love
with Signor Bene*censored*.” helps to accomplish such manipulation. This
scheme is completed when this is overheard by Bene*censored*, and due to his
insecurity about love he falls for their trick, thus loving Beatrice. Another
example of manipulation that is closely related to the one involving Bene*censored*
but Beatrice becomes the focus of the scheme. Like Bene*censored*, Beatrice's
feelings about love are strong and opposing. When she states "Not till God
make men of some other mettle than earth" she assumes that her desired
partner does not exist. Hero and Ursula believe that Bene*censored* would make a
good husband for Beatrice and as a result of this, they plan a scheme to bring
about love between Beatrice and Bene*censored*. Hero and Ursula accomplish their
scheme in Act III Scene i. Their scheme is concluded by means of discussing that
they have heard that Bene*censored* loves Beatrice greatly. Beatrice overhears
this and thinks the combination of her and Bene*censored*’s wit and
intelligence would make a successful match. Beatrice displays her free will when
making this decision. The most significant trick employed during the play is
carried out in Act IV Scene i; this trick is crucial because it adds the
uncertainty and action to fulfil the requirements of a romantic comedy. Don John
and Borachio manipulate Claudio and the Prince into believing that Hero is
unfaithful the night before she is to be wed. Don John and Borachio achieve this
via Borachio setting up a meeting of himself and Margaret in Hero's room, thus
Margaret portrays herself unknowingly as Hero. Don John then proceeds to
convince Don Pedro and Claudio that he has received word of Hero's
unfaithfulness. Claudio is without complications convinced, due to his insecure
and influential nature. Don Pedro is also easily convinced because he feels
loyalty between his brother and himself. This trick culminates on Claudio and
Hero's wedding day when Claudio accuses and disgraces Hero. Additional
manipulation succeeds the deceit of Claudio by Don John. In Act IV Scene i,
after Hero is accused of being unfaithful, the Friar decides that she should
just play dead until she is proven innocent. As in the tradition of Shakespeare,
the Friar deceives everyone into believing that Hero died from the humiliation
and shock of being disgraced on her wedding day. The deception carried out by
the Friar is vital to the happy ending of the romantic comedy. It leads to
another trick where Claudio is lead to believe that he is marrying Hero’s
cousin but ends up marrying Hero herself. The plot of “Much Ado About
Nothing” is an elaborate network of schemes and tricks. This statement is
confirmed throughout the play as in the examples previously discussed. The play
is based around these tricks and schemes and is crucial for the plot development
and for “Much Ado About Nothing” to fit into the genre of a romantic comedy.
Therefore the plot of “Much Ado About Nothing” is an elaborate network of
schemes and tricks.