The Development of Benedicks Character in Shakespeares Much Ado About

The Development of Benedicks Character in Shakespeares Much bustle more or less NothingAt the beginning of the play, Benedick come forths as around a comic character, acting as if the most in-chief(postnominal) recrudesce of his character is his wit. However, by the end of the play it becomes obvious that he is a clear-thinking character who is able to take action and keep his bearing in a crisis. The change in Benedicks character is accompanied by the change in his relationship with Beatrice, as they move from merry war and skirmish of wit to become lovers, though Benedick does still protest that he love thee (Beatrice) against my will. Throughout the play, Benedicks relationship with Beatrice is an important mark of his character. In the first scene they are unable to discourse without entering into one of the skirmishes of wit for which Leonato has said they are known. There is a hypnotism from Beatrice that the two have been in a relationship in the lead You always end with a jades trick, I know you of old point of this past relationship provides both a reason for the merry war and a suggestion that there may still be some romantic feelings betwixt the two. However, Benedicks jocular attitude towards women does not stop at Beatrice, even when Claudio asks Benedick, as a friend, for serious advice about Hero, he is unable to take the fact seriously or give a serious answer Shes similarly low for a high praise, too brown for a beauteous praise and too little for a great praise This shows sooner clearly that Benedicks character in the early stages of the play is firmly root in his wit. Of course, Benedicks failure to notice Hero at all is a further suggestion that he has feelings for Beatrice, which is supported by his ... ...e, due to the piecemeal change and development of his character. The extent to which Benedick is changed is shown by the way his attitudes appear completely changed by the conclusion of the play, as he appears no endless to be a tyrant towards women, and he is no longer reliant on his wit as the main feature of his personality.Works Cited and ConsultedBarton, Anne. Introduction. Much bunco game About Nothing. The Riverside Shakespeare, 2nd ed. Boston Houghton Mifflin Co., 1997. 361-365.Lewalski, B. K. Much confidence game About Something Studies in English Literature, 1500-1900 8 (1968) 235-251.Prouty, Charles A. Conformity in Much Ado About Nothing. modern York Books for Libraries Press/Yale University Press, 1980.Rossiter, A.P. Much Ado About Nothing. William Shakespeare Comedies & Romances. Ed. Harold Bloom. New York Chelsea House Publishers, 1986.