Comparing Deception, Trickery, and Concealment in Much Ado about Nothing and Macbeth

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Deception, Trickery, and Concealment in Much Ado about Nothing and Macbeth

William Shakespeare's classic romantic comedy, Much Ado about Nothing and tragic history, Macbeth revolve around the theme of deception, trickery, and concealment. There are portrayals within these two plays that depict deception and trickery as merely harmless and even beneficial. In some cases the characters are thoroughly masked in their lies; for ill or well, they are hiding who they truly are. In other cases, the person they attempt to hide is merely obscured, the masks being only a slight deterrent from their real personalities. Sometimes they are harmless diversions; sometimes they are even beneficial tools to be utilized for one's friends. There are times when the masks have only been used to deceive the wearer, and other times when they serve no effective purpose at all, yet remain.

The double personalities of the characters are revealed, or at least foreshadowed as revelation-to-be, in the masque scene of MAaN. The plays constant theme of deception and trickery are strong notes throughout the festivities, and are frequently used to "unmask" the hidden personalities beneath the exterior.

Beatrice is depicted as a unique and unconventional member of society who is nonetheless thoroughly comfortable in that society. With her close family and friends, she appears to be a very social, friendly character and a witty conversationalist--yet her wit, ironically, is decidedly anti-social. She rejects the societal norms by scorning marriage, encouraging her cousin to become more disobedient, boasting of being "too curst" and positioning herself as a counter-cultural unconcerned with social customs. N...

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