The play of Much Ado about Nothing, written by Shakespeare is based upon deliberate deceptions, some malevolent and others benign. The deceiving of Claudio and Don Pedro results in Hero’s disgrace, while the ruse of her death prepares the way for her redemption and reconciliation with Claudio. In a more lighthearted vein, Beatrice and Benedick are fooled into thinking that each loves the other, and they actually do fall in love as a result. Much Ado about Nothing shows that deceit is not inherently evil, but something that can be used as a means to good or bad ends. Shakespeare starts his play with love that Claudio speaks for Hero, the passion and affection is shown by Claudio throughout the play even though in Act 3, there was deception
The plan sounds good at first, but when the slightest mistake happens the plan ends in devastation. I think the Friar acts foolishly because, firstly, he is the one who marries Romeo and Juliet. Since Romeo and Juliet are two children who were married at a young age, it made them unable to make considered decisions. Friar Lawrence's other foolish action is giving Juliet a potion that will put her into a death-like sleep "Take thou this vial, being then in bed, And this distilling liquor drink thou off," He does send a message to Romeo, but it dosnt reach Romeo. The Friar helps Juliet fake her death and fool her parents.
Much Ado is a play based around the theme of deliberate deception- sometimes this deception is malevolent and sometimes benevolent but much of the play hinges around them and their effect on the characters. An example of malevolent deception would be Don John trying to ruin Hero and Claudio’s marriage whereas an example of benevolent deception would be the gulling’s of Beatrice and Benedick in an attempt to get them to admit their true feelings for one another to get them to wed. The gulling scenes both rely on Beatrice and Benedick being persuaded into believing that they are in love with one another, this is dependent on them ‘accidentally overhearing’ the other characters talking about them whilst being within earshot but so as not to be seen. The majority of the subplot is dependent on these gulling scenes being successful as if they hadn’t worked or if Beatrice and Benedick hadn’t been so susceptible to this benevolent deception than there wouldn’t be much of a story. These gulling scenes provide comic relief in contrast to Don John’s malevolent deception and make Much Ado lean towards being a comedy rather than a tragedy as they use dramatic irony for humour.
Iago is using old methods to make Othello believe he had, by himself, the first thought that Desdemona and Cassio were having an affair, Act III Scene 3 Othello “Was not that Cassio parted from my wife?” Iago “Cassio, my lord?... no, sure, I cannot think it”. Othello is fool by this trick because he is too gullible and can not believe that his friend Iago could betray him that way. He could have suspect that Iago would try to harm him because Othello chose Cassio for the job he wanted. An other traits of character of Othello that bring him to his downfall is his jealousy.
Iago did not feel Othello was a righteous general. He believed that Othello chose Cassio because of personal preference not military performance. Therefore, this led Iago to devise a plan of revenge that would soon change the lives of Othello and all those who surrounded him. <br>Iago schemed a way to convince Othello that his wife, Desdemona, was having an affair with Cassio. He entangled Othello in an intricate web of misleading lies making it seem as if Desdemona had given Cassio a handkerchief, which was symbolic of their marriage.
Borachio makes most of the plans to of deception and to stop the marriage. He says, go you to the Prince your brother, spare not to tell him, that he hath wronged his honour in marrying the renowned Claudio, whose estimation do you mightily hold up, to a contaminated stale, such as one Hero. They then go onto plan to bring Claudio to see Hero with Borachio, but they will have disguised Margaret as Hero. This is one main part of deception. The second of the two main plans of deception is Claudio, Leonato and Don Pedro are talking, in hearing distance of Benedick, of Beatrice.
No explanation, though, would seem to justify the cruelty Oberon uses in winning the boy away from Titania. Oberon casts a spell upon her, a trick that leaves her in love with Bottom, the ass. Many critics recognize Oberon's kindness in releasing her from this spell as soon as he has gotten what he wanted from her — the boy — but his treachery must still be
Hamlet starts to act as a madman to avenge the death of his father by his uncle. Ophelia on the other hand, goes mad after the death of her father. Shakespeare uses both these characters to affect the main plot in the play and their relationships with other characters. Many people debate whether Hamlet’s madness is real or fake. Shakespeare incorporated the theme of madness to serve a motive for Hamlet in order to deceive others.
He cruelly rejects Hero, saying "There, Leonato, take her back again. Give not this rotten orange to your friend!" and proceeds to shame her publicly by hurling wild accusations of her alleged infidelity. This cunning, villainous scheme was planted into the mind of the gullible young Claudio by none other than Don John the bastard, with the assistance of his followers. This comes as a surprise to the audience as Don John attempted to trick Claudio previously saying that Don Pedro was 'in love' with Hero and intended to woo her and marry her himself.
1. Don John begins making trouble by saying that Don Pedro wooed Leonato’s daughter for himself and not for Claudio but the problem was resolved as Claudio and Don Pedro had a conversation about it. So when Don John realized that his first plan didn’t worked, he was planning on ruining Claudio’s wedding with Hero. 2. We know that Don John and Borachio are aware of the possible consequences of their planned deception because whenever they talk of their treachery they isolate themselves from the outside and they talk about the act with no one else because they know that this person could denounce them.