"Just like in “The Beauty and the Beast,” where Belle and the Beast start off with different views about life and love but eventually their perceptions about each other shift and change, in William Shakespeare’s “Much Ado About Nothing,” a similar relationship between the characters Benedick and Beatrice is shown. We see the development of Benedick and Beatrice’s relationship to highlight how perceptions can be changed by other influences, which challenges the idea of their initial dislike for love and marriage.The play takes place in a town called Messina after the soldiers come back from war. In the play, Benedick and Beatrice banter and say how they’re never going to fall in love or get married. Their friends start messing with them by making them think that they’re in love with each other. All the teasing and fake rumors make Beatrice and Benedick second-guess themselves and everything they thought about love. “Much Ado About Nothing” shows us that sometimes people can change what they think, especially when it comes to love and marriage. Even the two characters who seemed to be completely sure they wanted to stay single end up catching feelings. Shakespeare shows us that our views aren’t always as set in stone as we think, especially when we’ve got friends who can be deceiving.
At the start of the play, Benedick and Beatrice detest love and marriage, which is shown in their witty banter and mutual mockery. “I had rather hear my dog bark at a crow than a man swear he loves me” (Act 1, Scene 1, line 129-130). Beatrice’s remark shows her resistant view on romantic love and foreshadows her witty banters with Benedick. Another example of this is when Benedick says, “Shall I never see a bachelor of threescore again?” (Act 1, Scene 1, Line 195-196). Benedick’s dislike towards marriage matches with Beatrice’s views and shows his bachelor status as a part of his identity. Beatrice also takes part in this mockery, saying, “He that hath a beard is more than a youth, and he that hath no beard is less than a man” (Act 2, Scene 1, Line 36-37). Beatrice’s association of beards with manhood displays her witty attitude and hints at the social constructs she will challenge.
As the play progresses, the manipulation by the other characters begins to erode the facade of resistance that Benedick and Beatrice have constructed around themselves. “I did never think to marry: I must not seem proud, happy are they that hear their detractions and can put them to mending” (Act 2, Scene 3, Line 230-233). Benedick’s self-justification reveals a crack in his resolute bachelorhood when he hears his friends discuss Beatrice’s supposed love for him. Upon hearing Benedick’s supposed feelings for her, Beatrice says, “What fire is in mine ears?” (Act 3, Scene 1). Beatrice’s astonishment at overhearing her own fabricated love story exemplifies the beginning of her transformation driven by overheard gossip. Back to Benedick, “When I said I would die a bachelor, I did not think I should live till I were married” (Act 2, Scene 3). Benedick entertains the notion of marriage, signifying a pivotal shift in his perspective prompted by perceived external affection.
The conclusion of the play reinforces the triumph of love and companionship, as Benedick and Beatrice openly accept each other, symbolizing love’s ability to conquer fixed attitudes. “Peace! I will stop your mouth” (Act 5, Scene 4). Benedick’s playful declaration, sealed with a kiss, captures the moment of their mutual acceptance, showcasing their transformation to lovers from sparring partners. “Thou and I are too wise to woo peaceably” (Act 5, Scene 2). This insightful admission by Beatrice to Benedick aligns with their character’s intellectual compatibility and mutual understanding, transcending earlier contentions. “Serve God, love me, and mend” (Act 5, Scene 4). Benedick, once a critic of marriage, embraces his role as Beatrice’s lover, highlighting a complete reversal in his previous convictions." "MUCH ADO ABOUT NOTHING Essay Checklist
Introduction
Begins with an engaging hook comparing the idea of the claim to another story or character that is more commonly known
Gives overall plot info that provides meaningful context
Smoothly transitions to claim
It’s clear which statement in the intro is your claim, and the claim clearly reveals the writer’s idea addressing the prompt

Organization
Topic Sentences clearly reword claim to preview body paragraphs effectively
Proficient and effective use of logical format: set up + plot info, evidence, explanation
Sophisticated transitions (words or phrases) help connect ideas and aid in fluency
Logical order of evidence to support progression
Quotes are in order of appearance that suits argument (either strictly chronological throughout or chronological within each paragraph with a paragraph order that makes sense)
Evidence is formatted appropriately
Smoothly embedded quotations are correctly punctuated
Clincher statement = smooth, relevant, adds insight to the topic sentence

Support
Context sentences helpful to background of quotation
Quotes are well-chosen to theme and progression
Moves beyond WHAT happens and analyzes the WHY
Concrete analysis: WHY chosen: directly refers to the words, attitude, idea in quote
Abstract analysis: HOW it connects the quote to theme words that evaluates and shows insight, not restates or gives plot info.
Main idea controls the essay
Author has expressed unique insight & deep thinking, producing a convincing & enlightening paper

Conclusion
Begins with brief review of mains points of the argument
Avoids repetition and pulls out most persuasive commentary
Connects to introduction paragraph
Final mic drop makes the reader think or reflect on the significance of the argument

Style and Conventions
Clearly proofread for typos, capitalization, punctuation, spelling
Essay uses 3rd person, active voice, present tense (no past tense) with strong verbs
Embedded quotations use a variety of introductions and avoid run ons
Effective vocabulary and generally successful using rich language
avoids “this quote shows” (or variations), avoid vague words like good/bad/thing/stuff/big
Uses active verbs and minimizes “to be” verbs (is, are, was were)
Subject/ verb agreement
No run-ons or fragments
Avoids first person (“I,” “We”) and second person (“you”)"
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