Comment on the two following scenes: Much Ado About Nothing Act II Scene iii and Love's Labour's Lost Act IV Scene iii.

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Comment on the two following scenes: Much Ado About Nothing Act II Scene iii and Love’s Labour’s Lost Act IV Scene iii.

The title Much Ado About Nothing perhaps superficially intimates a great amount of irrelevant, unnecessary fuss, however deeper consideration indicates it has a profound resonance. The major ‘Ado’ or complication within the plot springs from Claudio’s denunciation of Hero and moreover, the minor ‘Ado’ derives from the deception which unites Beatrice and Benedick. Act II Scene iii is significant in this minor narrative because it acts as a catalyst for the expression of perhaps an already latent attraction between the latter two characters. Furthermore, the Elizabethan pronunciation of ‘Nothing’ as ‘Noting’ denotes that the themes of eavesdropping and overhearing are central to the play’s importance. Similarly, they can be applied to Act IV Scene iii of the play Love’s Labour’s Lost although their importance is by contrast, not pivotal to the play’s narrative. Thus in this essay the significance of deception, eavesdropping and the discovery of the truth shall be investigated within both scenes in order to analyze their functions within the plots and their overall importance to the corresponding plays.

The character of Benedick, within Much Ado About Nothing openly scorns and disdains the notion of love. His misogynistic beliefs are emphasized in his opening soliloquy of Act II Scene iii where he criticizes Claudio for becoming ‘the argument of his own scorn by falling in love’ (II.iii.11-12). However Benedick never completely dismisses the possibility that he may eventually be ‘made an oyster of’ (II.iii.25), and in preparation he contemplates all the graces he expects his woman to have.

…Rich she shall be, that’s certain; wise, or I’ll

none; virtuous, or I’ll never cheapen her; fair, or

I’ll never look on her; mild, or come not near me;

noble, or not I for an angel; of good discourse, an

excellent musician, … (II.iii.30-34).

All of these qualities, with the exception of ‘mild’ ironically portray the character of Beatrice whom Benedick previously addresses as ‘my dear Lady Disdain’ (I.i.109). Comic conventions additionally suggest that the end of the play will assuredly unite the couple together. Therefore, much significance dwells upon the theme of deception. Perhaps from the outset, Benedick is a victim of deceit or denial with regard to his true emotions? Alternatively, maybe Benedick’s decision to requite Beatrice’s supposed feelings stem from an element of sympathy embedded in his mind by Claudio’s declaration, 'Hero thinks surely she will die; for she says she / will die if he love her not…’ (II.iii.169-170)? This has caused controversy in the play’s critical examination of the couple’s relationship, however Act II Scene iii is implicitly indicative that both suggestions have significance in their own right.

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The speed in which Benedick reacts to the revelation of Beatrice’s affections suggests that he possesses underlying feelings and the mere fact that “the white bearded fellow speaks it’ contributes to the genuineness of what he overhears.  In addition, the art of soliloquy allows him to be true to his heart. ‘I will be horribly in love with / her’ (II.iii.226-227) expresses an innate enthusiasm, which provides a sharp contrast to his reaction in the prior scene where he states ‘I would not marry / her, though she were endowed with all that Adam / had left him before ...

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