Much ado about nothing many events dealing with gossip, perplexity and rumors. In the 1993 film version, the main focus is on the characters' confusion. In Shakespeare's time, "nothing" would have been pronounced like "note", i.e. chatter. Claudio asks, “Have you noticed Leonato’s daughter?” to which Benedick replies: “I didn't notice her, but I looked at her. » At this point, he starts making jokes about his appearance. This is a thought-provoking argument since Claudio claims to have “noticed” her, but in reality he only saw her. Benedick recognizes the difference. Everyone can get a glimpse of the superficial qualities. We cannot love another, appreciating at a single glance what is worthy of being in him. Claudio, who falsely imparts his wisdoms in an indirect manner without a bit of attraction to the use of motif, is perhaps not capable of "noting" anything while awaiting the conclusion that he ultimately notes Hero under the shape of his cousin. As soon as Hero has been acquired and the double marriage proposal, Claudio says: “Silence is the most perfect herald of joy. » Entered as part of the piece. If the individuals had said less, none of this would have happened. In an additional event, Claudio expresses a spoken line that sums up the play and the theme of chatter and its results: "O what men dare, what men can do!" what men do daily without knowing what they are doing! As a partner, this symbolizes the superficiality of their bond that they once earned, without saying anything to each other. Bendick and Beatice, on the other hand, write down everything that is not on them in an uninterrupted manner. In their particular situation they seem to be blind, but isn't love a little bli...... middle of paper......ly alleged with her and ultimately generating a public hating Claudio , Don John and others trust the stories. Norrie Epstein has a different representation of the piece related to that of Kermode. Epstein perceives this play as a “brilliant and dazzling romantic comedy”. She considers Beatrice one of Shakespeare's "most talkative and engaging heroines." During the play, Benedick and Beatrice are often rude to each other even though it is understandable that they are perfect for each other. Stated not only in Epstein's analysis, but also in that of many researchers, in The Taming of the Shrew, Shakespeare expresses the conviction that individuals "who love most deeply" are often those who are most protected from it. Béatrice and Benedick absolutely meet the necessities of this kind of dissimulation covering their feelings.