Like a Midsummer Night's Dream, the plot of Much Ado about Nothing is actually a combination several stories:
Although Shakespeare is highly praised for his rich characterization and his brilliant poetic language, some critics overlook his plots because most of his stories are derived from other sources. Yet Shakespeare is equally brilliant regarding plot. He changes his sources so radically and significantly that there is often little resemblance to those original sources. And in a play like Much Ado, Shakespeare shows that he can weave together many separate elements to form a unified and pleasing play.
Of course, in a play where several stories are pieced together, a reader may find himself or herself asking some key questions about the plot: Who is the protagonist? What is the central conflict?
The Hero and Claudio story is not told with the great language of love that is usually typical of Shakespeare. In his other plays, lovers like Romeo and Juliet or like Hermia and Lysander (in the comedy of A Midsummer Night's Dream) speak in a rich and beautiful language of love. But Hero and Claudio are not given any of these striking love dialogues. Claudio, in fact, is rendered almost incapable of poetic speech; and he even requires Don Pedro to woo Hero in his place. Although the focus of most Renaissance comedies is on the young lovers, that is not the case here. Shakespeare breaks with dramatic convention: Hero and Claudio are not the central focus of this play.
Thus, the characters who would traditionally be placed in a subplot -- Benedick and Beatrice -- actually become the stars of this play. Yet the reader may still have questions regarding the plot: Is Benedick the protagonist? Is Beatrice the protagonist? Or are both Benedick and Beatrice protagonists? Shakespeare goes to great lengths to connect these two characters. They are similar in personality; they are placed in similar situations (notably the eavesdropping-in-the-garden scenes); and they react in similar ways. Shakespeare has created dual protagonists who were separated by their stubbornness and pride but who are united by circumstance and fate. Therefore, the central conflict of this play is Beatrice and Benedick vs. Fate. Shakespeare in nearly all of his works depicts fate as a powerful and mysterious force that often frustrates and destroys man but on occasion can also, as seen in this play, bring about joy and happiness.
Critics often refer to Much Ado about Nothing as the first of Shakespeare’s Three Joyous Comedies (along with As You Like It and Twelfth Night). The plays are joyous not only because they end happily for the couples in love. They also contain a rich, fun, carnival atmosphere that permeates the entire play from start to finish. When these comedies are presented correctly on stage, the audience becomes immersed in that fun and joy. The plays are fast and furious and a little bit mad. Quite simply, they are great entertainment.