In a play that focuses so clearly on the conflict between reason and emotion, it is a relief to find that the parallels so often drawn between these traits and men and women have been discarded. In Much Ado About Nothing, Shakespeare overturned stereotypes to give audiences a work that is not only insightful into the ways in which men and women interact, but also challenges audiences' unfounded preconceptions. Indeed, at the end of the work, when Benedict reflects that "...man is a stunned thing.", this can be considered not only as a reference to humanity, but to men in particular. The series of events that happened earlier led him to believe that men, and not women, are the fickle, reactive, and emotional species. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The world of Messina is, evidently, autonomous, concerned less with the outside world than with the preservation of its own superficial values. Indeed, the only glimpse we are given of the world outside Messina is in the opening scene, when Don Pedro and his companions return from war, and even here the main characters seem more concerned with the fact that the missing were "nobody named ". The inhabitants of the city are isolated and therefore worry and enjoy themselves with fashion, entertainment, wit and, above all, courtship. These activities require little more than simple observation from spectators and this seems to be the standard way to earn the respect of others. While men seem to try to win 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 noticed Hero with more than 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 appears to be typical of the status quo. Messina's world has a glossy veneer, and it is this that leads the protagonists to show their susceptibility to deception, as judgments made without thought or reflection amount to mere suppositions. Fashion and wit are deceptive tools and are used in this way by the characters. They make the first impression, conveying an impressive appearance, but that's all, as Borachio perceptively notes: "You see... what a deformed thief this fashion is..." Indeed, confidence in appearance and the way it things appear to be at first glance inevitably leads to a detachment from reality and leaves one vulnerable to misjudgments and deception. In Act 4, Scene 1 Claudio questions his own discernment, asking rhetorically, "Is this the prince's brother? Is this the hero's face? Are our eyes our own?" and falsehood can become confusing and faith 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 shown and we realize how easily his perception can get in the way of reality. His views shift dramatically from speaking of marriage with disdain at the beginning of the scene, saying that "man is a fool when he devotes himself to love," to exclaiming only moments later, triumphantly, "...I will be terribly in love with her." Here Benedetto proves not only fickle and unpredictable, but also extraordinarily inconsistent. Beatrice's deception in Act 3 Scene 1, however, despite her expression of a seemingly similar response, shows her to be coherent, resolute and certainly not "dazed". He believes what he heard "better thanreportedly", and thus is aware of Benedick's qualities and ability to love without having to be told, emphasizing her ability to deduce things on her own and overlook appearances. However, both characters are deceived and therefore perhaps not they manage to use reason, to some extent. Certainly Benedick's response (and some might argue Beatrice's as well) is emotional and instinctive, and we see a conflict between reason and emotion that is extremely significant throughout the play ability to maintain an adequate balance between reason and emotion seems to elude every character at some point during the show, except, I think, Beatrice proves constant, loyal and, certainly unlike most of the other characters, particularly coherent it is her that we look to for comparisons with the reactions and responses of other characters. In Act 4, scene 1, she shows not only loyalty and trust in her dear friend Hero, but also certainty and confidence in her own beliefs. Leonato's response to Claudio's accusation is unequivocal and explicit, as he takes what he is told as truth, showing absolutely no trust towards his daughter and saying: "Death is the most beautiful cover for his shame/ Which could be desired." The reaction is intensely emotional and is reinforced by awareness of one's status. Beatrice, on the other hand, shows the ability to deduce the truth through a refined balance between reason, commitment to her friend and instinct. She is aware of the fact that, as a woman, her opinions are not appreciated in Messina (she is considered by men, "a rare teacher of parrots" who repeats herself and speaks little sense) and recognizes that "they were [she] a man ", this would not be the case. However, he uses his skill with words and reason against Benedick to convince him to fulfill his wish to have Claudius killed. Through his perception and understanding of society, he believes that "gallant" men are mere "valiant dust", concerned more with the status and image that comes with being a warrior than actually fulfilling this facade. He tells Benedick bluntly, “…men are only changed in tongue, and also in form.” By this he is implying that, however sharp and witty he may be, he is actually all talk and no action. This ferocious observation shows not only an extraordinarily keen insight into the way men work, but also an ability to use reason and intelligence to manipulate others, an aptitude displayed by no other character in the play. In analyzing the work, and when taking into account the critical role that not only Beatrice but also Hero plays in it, it seems evident that in Messina the men are the most emotional of the species, and the women the most reasonable. This certainly challenges stereotypes that have existed for thousands of years in the West, and it can be said that Shakespeare was well ahead of his time. As I have already discussed, Beatrice represents the perfect fusion of emotion and reason, and is almost the epitome of stability, underlining the dizziness of the other characters. But I feel that Hero, perhaps in a more subtle and subtle way, plays an important role in this. Far from the watchful eye of social expectations, she shows herself, similarly to Beatrice, capable of manipulating language and using reason and logic. to persuade and influence others. He is instrumental in planning Beatrice's effective deception in Act 3 Scene 1, evidently using harsh and harsh comments as a tool against her, as Beatrice moans, "What fire is there in my ears?" In contrast, Don Pedro, Leonato and Claudio's ostentatious attempt is unplanned, ad hoc and full of errors that would be considered irredeemable, if not".