In this scene Shakespeare introduces a dramatic change in tone: it presents a juxtaposed, darker and more tragic atmosphere than the previous one. This in turn creates a surprising climax to the dramatic tension and threat posed by those agents of disorder in “Much Ado About Nothing.” This dramatic contrast of moods is generated through the uprising of the conflict between the aristocracy and the house of Leonato. Claudio's misguided hatred for Hero is expressed through an insensitive, graphic and maniacal denunciation due to his knowledge of the “warmth of a luxurious bed”. Thus presenting the implications of a dramatic change in circumstances for Hero and his family. However, the internal conflict between Claudio's perception of Hero as "the most disgusting, the most righteous" and the use of oxymoronic alliteration in "wild sensuality" reveal a divided instinct and the degree to which his lack of temperance makes him led to pursue revenge while uncertainty still rules him: Oh, what dare men do! What can men do! What men do on a daily basis, without knowing what they do! Even if Claudio intends to comment on Leonato, he unintentionally reveals his own flaw: that ironically Claudio himself does not know the implications of what he is doing due to his misinformation or , that in truth Leonato is actually innocent. Such drastic and consequential violence based on misinformation is astonishing, making this a powerful moment in the show, particularly as the audience recognizes that they have been deceived and, in turn, are misleading those around them. Such misrepresentation and misinformation is the main cause of confusion in the film. scene, significantly infecting the most vulnerable: evidently in Leonato whose rhetorical question "are these things said or dream?" bee modeled by Don Giovanni: Leonato, am I here? Is this the Prince? This is the prince's brother? Is this face the hero's? Are our eyes our own? The extent to which Claudio is certain of Hero's guilt due to flimsy evidence such as his "blushing" as guilt is alarming, especially since he cannot see through Don John's "external shows" as destruction as his vice. Also if this contrasting and darker atmosphere, in a certain sense, generates what can be considered one of the most highly dramatic scenes of the work, but perhaps it is the conflict involved at the heart of this conflict, between the contrasting visions of a reality in which Messina is a virtuous or corrupt world and whether this potential for tragedy can be avoided: this really generates a dramatically powerful moment in the play.