“Though those who are betrayed feel the betrayal keenly, the betrayer finds himself in a worse case of misfortune” (Cymbeline, III.iv). Shakespeare's carefully crafted world of deception and trickery in Much Ado About Nothing thrives on deceptive characters, both malevolent and virtuous, whose manipulation of information gives them control and power they otherwise would not have not enjoyed. While hidden identities and meanings are obtained through the cunning of almost every main character, the motivations behind these deceptions vary from Claudio's search for love to Don John's evil plot to gain a fortune. The seductive courtship of Benedick and Beatrice based on misrepresentation, the engagement of Claudio and Hero initially based on a lie, and Don Pedro's plot to prevent said marriage through trickery allow Shakespeare to demonstrate the role of deception in the world of play and to comment on theater in general. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Benedick and Beatrice conceal their true feelings for each other by hiding behind masks of witty banter and scathing insults. Even when Benedick is not nearby, Beatrice takes refuge in her criticism of him, remarking to a messenger that Benedick will "cling to [Claudio] like a disease" that will cost him "a thousand pounds before he is cured "(ii). This verbal bombardment is described by Leonato as "a sort of merry war between Signor Benedick and herself", introducing the reader to the idea that perhaps the scathing taunts thrown between the two are indicative of something else (II). The first exchange that takes place between Beatrice and Benedick occurs when Benedick believes that the mask he wears hides his identity. Beatrice, who is aware of his identity regardless of his deception, attacks the unsuspecting Benedick with a barrage of scathing indictments, claiming "that he is a buffoon of a prince" and "a very annoying fool" (II.i ). Because both characters find comfort in their own deception, it is impossible for either to consider the hidden meaning of their verbal tête-à-tête. Ironically, it is only through the masterful intrigues and ruses of Claudio, Hero, and their accomplices that Benedick and Beatrice become aware of their true feelings for each other. Shakespeare's dual, contradictory uses of deception—both separating and bringing Benedick and Beatrice together—create subtle intricacies that give the world of the play a decidedly richer feel. But more generally, Shakespeare uses these same motifs to comment on the contradictions of theater in general. The courtship of Benedick and Beatrice, hindered and enabled by dissimulation, is therefore a parallel with the theater in general. The fate of Claudio and Hero eerily mirrors that of Benedick and Beatrice. Although Claudio does not hide behind a mask of insults and slander, he instead opts for a literal mask in the form of Don Pedro. After a mischievous scheme, Don Pedro hatches a plan to present himself “in disguise” and “take his hearing prisoner with the force and strong encounter of my love story” (II). Claudio's inability to woo on his own behalf means that he must turn to Don Pedro to aid him in his deception. While Don Pedro's seductive charm and grace, prompting him to command the Hero to "Speak low, if you speak of love" wins Claudio's heart, this glorious feat is accomplished through presumably unnecessary deception (II. i). Claudio, pretending to be.