Deceitfulness In Shakespeare's Much Ado About Nothing

Within the play, Much Ado About Nothing, there is a central theme of deceitfulness, as a way to solve a problem or an issue amongst the characters. Though deception is inherently perceived as evil, it led to positive endings after several conflicts throughout the play. In the creation of this theme, Shakespeare uses both negative and positive examples to contribute to his lesson on ruses. Within this particular scene, all of the cons that the various characters have put on are officially disclosed to each other. This scene highlights that deception is not always evil, nor is it always moral, but can be means to an end that can be beneficial or detrimental to a character’s arc. Shakespeare’s use of honesty within this particular scene, establishes the deconstruction of illusions within human relationships in order to complete a story.
As the scene begins, in line 52, the women are wearing masks to conceal their identities from the men. This physical deceit is used to keep the scheme hidden from Claudio. However, in particular views, this seems to be an intelligent and loving gesture,
in truth until this point, Claudio and Hero’s love have been consumed by only lies and slander. The mask symbolizes all of the lies and shams, whilst the unveiling of the women begins of a sort of truth spiral that will conclude the story. Thus making this instance, another falsehood to add to the list of deceits amongst the two characters. Claudio has had a constant flux of mixed emotions towards his love, his friends, and marriage based on various people’s fabrications rather than seeking out the truth for himself. While these dishonesties did help develop the prized relationship between Claudio and Hero, in retrospective the lies have caused numerous issues between them. Rather than having the characters be truthful, Shakespeare continues the theme of deception in order to emphasize the concerning issues of their relationship. The play is asking the audience to address relationships based on truthfulness versus deceit. Nonetheless by using a mask to hide the women, the truth is discovered yet in an untruthful manner that continues to add to the lack of truth within this relationship. Claudio’s question of, “which is the lady” that he will marry confirms the plays full circle theme of suggestion on the basis of deceitfulness (5.4.52-53). Claudio’s ability to be persuaded is revealed again for almost mindlessly agreeing to the marriage of this supposed stranger. This lack of honesty amongst the two characters just continues them down the path of lies they began upon.
Yet in contrast, this scene portrays the honesty of Beatrice and Benedick’s relationship. This juxtaposes Claudio and Hero’s relationship is based on purely on physical looks, which are not always truthful. In an opposing manner, Benedick and Beatrice’s relationship were not started from a completely dishonest place. Over years they had built a relationship through passive aggressive remarks rather than physical, thus ensuring that they would know each other at their core. Therefore in order to move the relationship along it only took light coaxing of the small truths to progress their love. For instance, in Act One Beatrice and Benedick’s “merry war” of arguments is viewed as a type of flirting instead of actual anger or annoyance towards each other (1.1.50-54). Even though this “war” happens amongst them, it is obvious that they care for one another or else they would not continue the fight; realistically, they would have ceased communication years before. Their relationship, through the war of wits was only seen as deceptive to themselves. Beatrice and Benedick constantly lie to themselves about their feelings towards the other, while their true emotions are apparent to anyone from the outside looking in. It is obvious from the beginning of the play, that the truth of their emotions would be publicized purposely or unintentionally by themselves or those around them. Their ironic nature towards each other, as seen through Benedick’s remark that he “take[s] [Beatrice] for pity” is comical in a loving manner that their foils lack (5.4.93). While their crudeness towards each other is seen as somewhat deceitful it is more honest than their counterparts of Hero and Claudio who solely act upon rumors of others.
Although the scene includes the reveal of some truths, it is obvious that the relationships still diverge in honesty.
The relationship between Beatrice and Benedick exposes the truth in a manner that removes the significance of the lies. Whereas Claudio and Hero’s connection still relies on the treacheries as a crucial property to flourish. These juxtaposing relationships illustrate how varied human relations can be when fabrications are at the center. As the play matures the relationships developed at different degrees into opposing situations: one growing stronger while the other was weakened due to the deceptions. In these final lines, Shakespeare is exposing how circumstances can contrast even amongst comparable conditions. While lying ultimately unites one, it almost destroys the other couple. Trickery is depicted as neither wrong nor right through the scope of these
relationships.
Furthermore, the lines surrounding Hero’s reveal to Claudio uncovers the truth of Claudio’s character. Even though he eventually marries Hero out of “love” like he claims, there is a telling sign that his love is merely superficial. After Leonato denies Claudio the ability to see the masked woman, rather than protest the trickery surrounding the mask he agrees to the marriage and begs the maiden to give her hand to his because he shall be her husband (5.4.58-59). These lines, though seemingly caring expose Claudio’s true to desire for marriage into the great family of Leonato rather than a desire to marry for love. Claudio’s unquestioning response depicts his care of Leonato’s judgment in such a way that the audience can uncover that he does not truly care for the woman who lies under the mask. Throughout Shakespeare’s work, the lesson of the play is seen through various aspects of the text including: characterization, plot development, and even setting. Honesty and dishonesty are often seen as opposing methods of information, where as the latter stereotypically has a negative connotation. Yet, within this play the author reconstructs the connotations of these diverging acts in order to establish the versatility of words as well as the actions of humans in situations pertaining to love. No one remains solely innocent within the play, which determines the human dilemma on love and relationships. In using a seemingly destructive agent in a conventional emotion, the play is questioning how humans go about finding and keeping love and family.