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The comedy "Much Ado about Nothing" breaks a familiar dramatic convention of the Renaissance. Typically, a writer would direct the central focus of a comedy on the young lovers of the play, and the best lines and most pleasing poetry of the work would be spoken by those characters. In "Much Ado," however, the young lovers of the play, Claudio and Hero, are rather bland and uninteresting. Claudio, in fact, is even tongue-tied and requires the assistance of his prince, Don Pedro, to speak on his behalf when it comes to matters of love. The two young lovers of the play, then, move into the background of the play and become merely plot devices to contrast with the two truly delightful characters of the comedy, namely Beatrice and Benedick.