In a play that focuses so clearly on the conflict between reason and emotion, it is a relief to note that the Parallels so often drawn between these traits and men and women have been rejected. In Much Ado About Nothing, Shakespeare subverted stereotypes to deliver to audiences a play that not only reveals the ways in which men and women interact, but also challenges the audience's ill-founded preconceptions. Indeed, at the end of the play, when Benedick reflects that "...man is a dizzy thing", this can be seen not only as a reference to humanity, but to men in particular. The series of events that previously unfolded led him to believe that men, not women, are the fickle, reactive, and emotional species. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essay The world of Messina is, by all accounts, a self-contained world, less concerned with the outside world than with preserving its own superficial values. In fact, the only glimpse we are given of the world outside Messina is in the opening scene, when Don Pedro and his companions return from the war, and even here the main characters seem more concerned with the fact that the missing were "none of the names". The inhabitants of the city are isolated and therefore interested and amused with fashion, leisure, wit and, above all, courtship. These activities require little more than on the part of the spectators than simple observation, which seems to be the usual way of gaining the respect of others While men seem to attempt to gain the adoration of women through sport and the use of wit, Hero. can be seen as a kind of ornament, and indeed that is how she is perceived. When Claudio asks him if he has noticed Hero with more than a passing interest, Benedick's response is unequivocal: " I didn't notice her, but I looked at her.” The emotional and instinctive action of “looking” requires no reasoning and seems to be typical of the status quo. The world of Messina has a glossy veneer, and this is what causes the main characters to show their susceptibility to deception, as judgments made without thought or reflection amount to mere guesswork. Fashion and wit are deceptive tools and are thus used by the characters. They make a first impression, conveying an impressive appearance, but that's all, as Borachio perceptively notes: "You see... what a thief distorts this fashion is..." Indeed, the reliance on appearance and the way things appear to be The first glance inevitably leads to a detachment from reality and leaves the person vulnerable to errors of judgment and deception. In Act 4, Scene 1, Claudio questions his own discernment and asks rhetorically: "Is this the Prince's brother? Is this the Hero's face? Are our eyes our own?" In the world of Messina, where what is observed is assumed to be true, truth and falsity can become confusing, and belief in what the characters see can become fragile. However, the men in the play seem to be less aware of this than the women and in Act 2, Scene 3, Benedick's susceptibility is highlighted and we become aware of how easily his perception can get in the way of reality . His opinions change dramatically, from speaking contemptuously of marriage at the beginning of the scene, saying that "man is a fool when he devotes himself to love", to only moments later exclaiming triumphantly: " ...I will be horriblyin love with her." Here, Benedick proves himself not only fickle and unpredictable, but also remarkably inconsistent. Beatrice's deception in Act 3, Scene 1, on the other hand, despite her expression of a seemingly similar response, shows her to be consistent, unwavering, and certainly not "giddy." She believes what she has heard "better than what people say" and is therefore aware of Benedick's qualities and his ability to love without needing to be told, emphasizing his ability to deduce things through her. -even and ignore appearances. However, both characters are deceived and therefore perhaps fail to use their reason, to some extent. Certainly, Benedick's response (and some might argue that Beatrice's as well) is emotional and instinctive, and we observe a conflict between reason and emotion that is extremely significant throughout the play. The ability to maintain an appropriate balance between reason and emotion seems to elude each character. at some point in the play, except, I think, Beatrice. Throughout the film, she shows herself to be unwavering, loyal and, unlike most of the other characters, particularly consistent. It is to her that we turn in order to draw comparisons with the reactions and responses of the other characters. In Act 4, Scene 1, she shows not only her loyalty and faith in her close friend Hero, but also her certainty and credibility in her own beliefs. Leonato's response to Claudio's accusation is unambiguous and explicit, as he takes what he is told as the truth, showing absolutely no trust in his daughter and saying: "Death is the most beautiful cover for his shame/this can be wished.” The reaction is intensely emotional and reinforced by awareness of one's own status. Beatrice, on the other hand, demonstrates an ability to deduce the truth through a refined balance between reason, commitment to her friend, and instinct. She is aware that as a woman her opinions are not valued in Messina (she is seen by men as "a rare parrot teacher" who repeats herself and speaks little sense) and recognizes that "if [ she] a man", that would not be the case. However, she uses her abilities with words and reason against Benedick in order to get him to fulfill his wish of having Claudio killed. Through her perception and understanding of society, she believes that "valiant" men are just "valiant dust", more concerned with the status and image that comes with being a warrior than with the reality of this facade. She bluntly tells Benedick: "...men are only transformed in language, and also in language." By this she implies that, as sharp and quick-witted as he may be, he really only talks about action. This scathing remark demonstrates not only a remarkable insight into the way men work, but also an ability to use reason and intelligence to manipulate others, an ability demonstrated by no other character in the play. Given the essential role played not only by Beatrice but also by Hero, it seems obvious that in Messina, men are the most emotional of the species, and women the most reasonable. It certainly challenges stereotypes that have existed for thousands of years in the West, and it can be said that Shakespeare was way ahead of his time. As I have already mentioned, Beatrice represents the perfect amalgam of emotion and reason, and is almost the very embodiment of stability, emphasizing the vertigo of the other characters. But I think Hero, perhaps in a more subtle and understated way, plays a big role in that. Far from the watchful eye of expectations".