Much Ado About Nothing and Emotional Suppression Much Ado About Nothing is the story of two couples, one whose love the one for the other is discovered by trickery and the other who is almost destroyed by it. A young girl named Hero is won by Claudio, lord of Florence while her cousin, Beatrice, and Benedick, lord of Padua with whom Beatrice engages in a constant battle of wits, are made to fall in love. Beatrice is described as intelligent, witty, and sassy when speaking to Benedick. Although Beatrice's portrayal in the film is faithful to this depiction, she displays a gentleness that is not explicitly expressed in the text, suggesting feelings for Benedick. Benedick seems to be the only person capable of bringing out either extreme of his personality. Benedick was reluctant to leave her that morning, but ultimately made the decision to do so anyway, probably because he didn't want Beatrice to know that he cared. about her. Likewise, Beatrice didn't want Benedick to know that she knew he was leaving, because she would have to either express her feelings for him or hide them. Instead, she chose not to talk about it at all in front of him. Although she maintains her composure in front of the other characters, her desire for companionship and affection is evident when they are not looking. Her sharp tongue is her method of dealing with her feelings for Benedick. At the end of their first altercation, she states that he “always ends with a jade trick” (1.1.118). There is pain in her eyes when she says this sentence. She is also seen looking longingly at Hero and Claudio when they agree to marry, and her voice often trembles when speaking ill of Benedick. Both Beatrice and Benedick are afraid that submitting to each other will hurt their pride, but when they learn (or think) that the other submitted first, they give in, almost like s 'they had already won. Although in the short term this may have a beneficial effect on the lovers, the long-term implications of their prideful tendencies can have debilitating consequences on their lives. Beatrice and Benedick ultimately sacrificed their values ​​and their independent self-image to be together, but they had to sacrifice their values ​​and their self-image. be led to do so. They were never ready to admit their feelings until the other did so first. Benedick likes to be known for being loved but not giving love because it gives him a feeling of power. Béatrice is afraid of being hurt or has already been hurt. Even after declaring their love for each other, Beatrice and Benedick remain in competition to protect their egos. At the wedding, they pretend to not love each other until Hero and Claudio expose the love letters they had written but never sent. They then give in and decide to get married, but they are not rid of the patterns of pride that could later threaten their relationship. If they are still unable to healthily express their love for each other, is that love strong enough to endure the trials of a lifetime together? Another effect of her emotional repression is Beatrice's outburst in Act 4. For the first time, we see her crying, followed by a radical demand. When she tells Benedick that he must kill Claudio or lose her, all the tension and emotion she has been holding in throughout the film is released and you see her frustrations with gender roles and inequality (4.2 .255-329). This scene also reveals the unequal expectations of each other. Benedick is at the origin