Hero: “Good Margaret, run thee to the parlor. There shalt thou find my cousin Beatrice Proposing with the Prince and Claudio.”
- Explanation: Hero gives Margaret instructions to go to the parlor, where Beatrice is talking with Don Pedro (the Prince) and Claudio.
- Analysis: Hero is carefully setting up the plan to trick Beatrice by having her overhear a conversation that seems to be about Benedick, thereby manipulating her emotions.
- Language Device: Imperative tone – Hero is giving clear commands to Margaret, reflecting the controlled nature of the deception.
Hero: “Whisper her ear and tell her I and Ursula Walk in the orchard, and our whole discourse Is all of her.”
- Explanation: Hero tells Margaret to go to Beatrice and whisper in her ear that Hero and Ursula are in the orchard, talking only about Beatrice.
- Analysis: Hero is setting up the premise that Beatrice is the topic of conversation, making Beatrice believe that they are discussing her in a positive light, particularly regarding her relationship with Benedick.
- Language Device: Metaphor – “our whole discourse is all of her” suggests that their conversation will be full of praise for Beatrice, enhancing the deception.
Hero: “Say that thou overheardst us, And bid her steal into the pleachèd bower Where honeysuckles ripened by the sun Forbid the sun to enter, like favorites, Made proud by princes, that advance their pride Against that power that bred it.”
- Explanation: Hero tells Margaret to say she overheard Hero and Ursula talking, and to tell Beatrice to come to the “pleached bower” (a secluded garden area) to listen in on the conversation.
- Analysis: Hero describes the bower as a place where “honeysuckles ripened by the sun” – a metaphor for something beautiful and hidden. The bower is a space associated with secrecy and intimacy, which is a crucial element of the deception.
- Language Devices:
- Imagery: “Honeysuckles ripened by the sun” creates a vivid image of a lush, beautiful garden, symbolizing the sweetness and allure of love.
- Metaphor: “Made proud by princes” and “advance their pride against that power that bred it” compares the honeysuckle’s growth to someone who becomes arrogant and proud, which connects to Beatrice’s perceived pride in the play. Hero is framing the situation as one where Beatrice will be caught up in love and humbled by it.
Hero: “There will she hide her To listen our propose.”
- Explanation: Hero says Beatrice will hide in the bower to eavesdrop on their conversation.
- Analysis: Hero believes Beatrice will be curious enough to listen in, reinforcing the idea that Beatrice has an interest in Benedick but masks it with her pride.
- Language Device: Foreshadowing – By suggesting that Beatrice will hide, it hints that Beatrice is unknowingly going to be led into a trap of self-reflection and vulnerability.
Hero: “This is thy office. Bear thee well in it, and leave us alone.”
- Explanation: Hero instructs Margaret to carry out the plan, and once she has done so, Hero tells her to leave.
- Analysis: The use of “office” here signifies that Margaret is assigned a task or duty, emphasizing how Hero is treating this manipulation as a business-like endeavor, with no emotional consideration.
- Language Device: Imperative tone – Hero is asserting control over the situation, ensuring that Margaret executes the plan as instructed.
Hero: “Now, Ursula, when Beatrice doth come, As we do trace this alley up and down, Our talk must only be of Benedick. When I do name him, let it be thy part To praise him more than ever man did merit.”
- Explanation: Hero tells Ursula that when Beatrice arrives, they will walk through the orchard (the “alley”) and talk only about Benedick, praising him highly when his name is mentioned.
- Analysis: This is the heart of the deception: Hero and Ursula will talk in such glowing terms about Benedick that Beatrice, hearing this, will assume that Benedick is in love with her. The goal is to make Beatrice feel foolish for not recognizing Benedick’s feelings earlier.
- Language Devices:
- Dramatic irony: The audience knows that Benedick does not yet love Beatrice, but Hero and Ursula’s conversation will trick Beatrice into thinking that he does.
- Hyperbole: “Praise him more than ever man did merit” exaggerates the praise that will be heaped on Benedick, making Beatrice more likely to believe that he is truly in love with her.
Hero: “My talk to thee must be how Benedick Is sick in love with Beatrice. Of this matter Is little Cupid’s crafty arrow made, That only wounds by hearsay. Now begin, For look where Beatrice like a lapwing runs Close by the ground, to hear our conference.”
- Explanation: Hero tells Ursula that their conversation must focus on how Benedick is “sick in love” with Beatrice. She compares Cupid’s arrow (symbolizing love) to gossip, which only wounds by hearsay. Hero then points out Beatrice, who is eavesdropping on their conversation, sneaking around to listen.
- Analysis: The image of Cupid’s arrow “wounding by hearsay” is an important metaphor. It suggests that love is often based on rumor and perception rather than reality. Hero is acknowledging the power of gossip to influence emotions.
- Language Devices:
- Metaphor: Cupid’s arrow symbolizes love, but in this case, it is a “crafty arrow” because it’s based on rumors and deception.
- Simile: Beatrice is compared to a “lapwing,” a bird that runs close to the ground, highlighting her stealthy behavior in trying to overhear their conversation.
URSULA, aside to Hero: “The pleasant’st angling is to see the fish Cut with her golden oars the silver stream And greedily devour the treacherous bait. So angle we for Beatrice, who even now Is couchèd in the woodbine coverture.”
- Explanation: Ursula uses an extended metaphor comparing their trickery to fishing. She likens Beatrice to a fish that will bite at the bait (the false praise of Benedick). Ursula says that Beatrice is “couchèd” (hiding) in the “woodbine coverture” (the cover of the woodbine plant, a type of climbing plant, possibly the bower).
- Analysis: The metaphor of fishing emphasizes the manipulation at play. Beatrice is being lured into a trap of false emotions and will eagerly consume the lies they’re feeding her.
- Language Devices:
- Extended metaphor: The entire passage about fishing is a metaphor for the trickery. Beatrice is the fish, and Hero and Ursula are the anglers using false words as bait.
- Imagery: “Golden oars” and “silver stream” paint a beautiful image, symbolizing the temptation and allure of the deception.
HERO, aside to Ursula: “Fear you not my part of the dialogue. Then go we near her, that her ear lose nothing Of the false sweet bait that we lay for it.”
- Explanation: Hero reassures Ursula that she need not worry about her role in the deception, and tells Ursula to move closer to Beatrice so that she hears every word of the false conversation.
- Analysis: Hero’s confidence in the plan shows how well-thought-out and controlled the manipulation is. The language makes it clear that Hero is fully invested in the trick, emphasizing how deceptive the plot is.
- Language Devices:
- Metaphor: “False sweet bait” continues the fishing metaphor, signifying that the praise of Benedick is both alluring and deceitful.
HERO: “No, truly, Ursula, she is too disdainful. I know her spirits are as coy and wild As haggards of the rock.”
- Explanation: Hero says that Beatrice is too proud (disdainful) and that she is “coy and wild,” like a haggard (a wild hawk) that has been trained but still retains its wild nature. Hero believes that Beatrice’s pride will make it hard for her to believe Benedick’s love.
- Analysis: Hero is acknowledging Beatrice’s resistance to love and her pride, which makes the trickery harder but also more rewarding if it succeeds. The comparison to a wild hawk suggests Beatrice’s independence and untamed spirit.
- Language Devices:
- Simile: Beatrice’s spirit is compared to “haggards of the rock,” wild hawks that are difficult to tame.
- Allusion: The reference to a “haggard” is a classical allusion to the hawks used in falconry, a metaphor for Beatrice’s rebellious nature.
URSULA: “But are you sure That Benedick loves Beatrice so entirely?”
- Explanation: Ursula questions whether Benedick really loves Beatrice as much as Hero has claimed.
- Analysis: Ursula seems slightly skeptical or curious about the truth of Hero’s claim, which adds to the dramatic irony, as the audience knows Benedick’s true feelings are not yet revealed. This question creates tension, as the deception has not yet fully taken root.
- Language Devices:
- Rhetorical question: Ursula’s question prompts the audience to reflect on the authenticity of the supposed love.
HERO: “So says the Prince and my new-trothèd lord.”
- Explanation: Hero answers that both Don Pedro (the Prince) and her fiancé (Claudio) have said so.
- Analysis: Hero reinforces the validity of the rumor by citing the authority of the Prince and her fiancé, implying that if these respectable men say it, it must be true. Hero is using their influence to validate the deception.
- Language Devices:
- Appeal to authority: Hero uses the authority of the Prince and Claudio to give weight to her words, making the false narrative more believable.
URSULA: “And did they bid you tell her of it, madam?”
- Explanation: Ursula asks if Benedick and the others asked Hero to tell Beatrice directly that Benedick loves her.
- Analysis: Ursula’s question indicates that there is some doubt about whether the love is genuine or just part of the manipulation. It shows that Ursula is curious about the plan’s legitimacy.
- Language Devices:
- Rhetorical question: The question implies skepticism, questioning the authenticity of the whole plot.
HERO: “They did entreat me to acquaint her of it, But I persuaded them, if they loved Benedick, To wish him wrestle with affection And never to let Beatrice know of it.”
- Explanation: Hero says that while Don Pedro and Claudio asked her to tell Beatrice directly, she convinced them to let Benedick express his love through actions, rather than telling Beatrice outright.
- Analysis: Hero is trying to protect Benedick from embarrassment, suggesting that he should prove his love through behavior rather than words. She is still manipulating the situation, but in a way that appears more thoughtful and caring.
- Language Devices:
- Metaphor: “Wrestle with affection” – The metaphor of wrestling suggests that Benedick’s love should be hard-earned, not easily revealed, showing the tension and struggle in love.
URSULA: “Why did you so? Doth not the gentleman…”
- Explanation: Ursula asks why Hero convinced the men to act subtly instead of telling Beatrice directly, questioning the method Hero has chosen.
- Analysis: Ursula seems surprised by Hero’s choice to have Benedick show love through action rather than declaration. This sets up the idea that the subtlety of the plan makes it all the more effective.
- Language Devices:
- Rhetorical question: Ursula’s question continues the theme of questioning the authenticity and strategy of the deception.
Hero: “Deserve as full as fortunate a bed As ever Beatrice shall couch upon?”
- Explanation: Hero rhetorically asks whether Benedick deserves as much happiness in love as Beatrice does, suggesting that Beatrice might be too proud to accept love or affection from someone like Benedick.
- Analysis: Hero’s question implies that Beatrice’s pride may prevent her from accepting the love that Benedick is ready to offer. Hero is setting up the argument that Beatrice doesn’t deserve love, or at least not Benedick’s love.
- Language Devices:
- Rhetorical question: This is a question that Hero doesn’t expect an answer to but uses to make her point about Beatrice’s resistance to love.
HERO: “O god of love! I know he doth deserve As much as may be yielded to a man, But Nature never framed a woman’s heart Of prouder stuff than that of Beatrice. Disdain and scorn ride sparkling in her eyes, Misprizing what they look on, and her wit Values itself so highly that to her All matter else seems weak.”
- Explanation: Hero expresses exasperation about Beatrice’s pride, saying that while Benedick deserves love, Beatrice is too proud to accept it. She describes Beatrice as someone whose eyes show disdain and scorn for everyone, and whose wit makes her look down on everyone else.
- Analysis: This is Hero’s description of Beatrice’s personality. Hero emphasizes Beatrice’s pride, her intelligence, and her general disdain for the men who might love her. The idea that Beatrice’s heart is made of “prouder stuff” sets her apart as someone who will not easily be swayed by love.
- Language Devices:
- Metaphor: “Prouder stuff” compares Beatrice’s heart to material, implying that her emotional makeup is rigid and unyielding.
- Personification: “Disdain and scorn ride sparkling in her eyes” gives disdain and scorn the qualities of active, dominant forces that control Beatrice’s gaze.
- Hyperbole: Hero exaggerates Beatrice’s qualities, saying that Beatrice’s wit “values itself so highly” that it diminishes everyone else, portraying Beatrice as almost untouchable.
HERO: “She cannot love, Nor take no shape nor project of affection, She is so self-endeared.”
- Explanation: Hero asserts that Beatrice is incapable of love because she is too self-absorbed. She is “self-endeared,” meaning that Beatrice is too in love with herself to be open to loving someone else.
- Analysis: This reinforces the theme of pride, suggesting that Beatrice’s self-love prevents her from forming any meaningful romantic connection. This may also reflect the way women were often depicted as too “self-absorbed” in the context of Shakespeare’s time, a view that Hero is internalizing.
- Language Devices:
- Repetition: “Self-endeared” emphasizes Beatrice’s emotional self-sufficiency and highlights her inability to love anyone else because of her pride and self-focus.
- Paradox: Beatrice’s inability to love is presented as a result of being “too self-endeared,” a contradiction since self-love typically involves a need for love from others.
URSULA: “Sure, I think so, And therefore certainly it were not good She knew his love, lest she’ll make sport at it.”
- Explanation: Ursula agrees with Hero, suggesting that it would not be good for Beatrice to know about Benedick’s love for her because Beatrice would mock him.
- Analysis: This reflects the assumption that Beatrice would dismiss Benedick’s feelings with scorn and make fun of him, further reinforcing the idea of her pride and disdain.
- Language Devices:
- Irony: Ursula’s statement is ironic because she is actually part of the plot to make Beatrice believe Benedick loves her. The irony lies in the fact that they are setting up a scenario where Beatrice will eventually learn of Benedick’s love but are pretending it would be dangerous for her to know.
HERO: “Why, you speak truth. I never yet saw man, How wise, how noble, young, how rarely featured, But she would spell him backward. If fair-faced, She would swear the gentleman should be her sister; If black, why, Nature, drawing of an antic, Made a foul blot; if tall, a lance ill-headed; If low, an agate very vilely cut; If speaking, why, a vane blown with all winds; If silent, why, a block moved with none. So turns she every man the wrong side out, And never gives to truth and virtue that Which simpleness and merit purchaseth.”
- Explanation: Hero says that Beatrice is so critical of men that she finds fault with every man she meets, no matter how noble or handsome he may be. Hero gives examples of how Beatrice criticizes every possible trait in a man: his appearance, height, speech, and behavior.
- Analysis: This passage illustrates Beatrice’s pride and her tendency to find faults in others, especially men. Hero is building a case for Beatrice’s unreasonably high standards and resistance to love. By describing all the things Beatrice finds wrong with men, Hero highlights her perfectionism and disdain.
- Language Devices:
- Antithesis: The contrast between what Beatrice would find wrong with each type of man (fair-faced, black, tall, low, etc.) shows how she is never satisfied and always critical.
- Metaphor: “Spell him backward” suggests Beatrice reinterprets every man in a negative light, twisting their virtues into flaws.
- Imagery: Hero uses vivid imagery to describe how Beatrice would criticize men: for example, calling a fair-faced man “her sister” and a black man “a foul blot,” painting an unflattering picture of Beatrice’s prejudices.
- Hyperbole: Hero exaggerates Beatrice’s flaws, describing her as always finding something wrong with every man, no matter how ideal.
URSULA: “Sure, sure, such carping is not commendable.”
- Explanation: Ursula acknowledges that Beatrice’s constant criticism of others is not a commendable trait.
- Analysis: Ursula’s statement reflects a common sentiment that excessive criticism and negativity are undesirable qualities. It also shows that Ursula sees Beatrice’s behavior as flawed, but her role in the plot requires her to play along with Hero’s manipulation.
- Language Devices:
- Irony: Ursula’s comment is ironic because she, too, is participating in the trickery, despite recognizing that Beatrice’s carping (criticism) is not commendable.
HERO: “No, not to be so odd and from all fashions As Beatrice is cannot be commendable. But who dare tell her so? If I should speak,”
- Explanation: Hero agrees that Beatrice’s oddness and nonconformity are not commendable, but she questions who would dare to tell Beatrice this, implying that Beatrice’s pride makes her untouchable and difficult to criticize.
- Analysis: This highlights how Beatrice’s pride makes her resistant to criticism. Hero is using this as a strategy to make Beatrice feel vulnerable to love and thus manipulate her into falling for Benedick.
- Language Devices:
- Rhetorical question: Hero’s rhetorical question emphasizes the difficulty of confronting Beatrice, underlining her pride and the challenge of making her see her flaws.
- Allusion: “From all fashions” alludes to the idea of conformity in society, suggesting that Beatrice does not fit the typical mold of behavior expected of women.
HERO: “She would mock me into air. O, she would laugh me Out of myself, press me to death with wit. Therefore let Benedick, like covered fire, Consume away in sighs, waste inwardly.”
- Explanation: Hero is expressing her fear of Beatrice’s mockery. Hero believes that if Beatrice were to know Benedick’s feelings, Beatrice would ridicule him and cause him great emotional harm, essentially mocking him to the point where he loses himself.
- Analysis: This highlights Hero’s perception of Beatrice’s sharp wit and how it could hurt Benedick. Hero’s suggestion that Benedick would “consume away in sighs” symbolizes his sorrow as a result of unreciprocated love.
- Language Devices:
- Metaphor: “Covered fire” is a metaphor for Benedick’s hidden love, which, like a fire beneath the surface, is burning him inwardly without being visible to others.
- Hyperbole: “Press me to death with wit” exaggerates the intensity of Beatrice’s sharpness and mockery.
HERO: “It were a better death than die with mocks, Which is as bad as die with tickling.”
- Explanation: Hero suggests that it would be better for Benedick to suffer in silence (to “consume away in sighs”) than to face Beatrice’s mockery, which would be as trivial and unbearable as dying from tickling.
- Analysis: Hero downplays Beatrice’s potential cruelty, equating mockery with something almost comical, but nonetheless painful for Benedick.
- Language Devices:
- Simile: “Die with mocks, which is as bad as die with tickling” compares the pain of mockery to the seemingly absurd idea of dying from tickling, emphasizing that it is a form of emotional torture.
URSULA: “Yet tell her of it. Hear what she will say.”
- Explanation: Ursula suggests that Hero should go ahead and tell Beatrice about Benedick’s love, as it might elicit an interesting reaction.
- Analysis: Ursula’s line is playful, hinting at the idea that Beatrice’s reaction to learning of Benedick’s feelings could be worth witnessing.
- Language Devices:
- Rhetorical suggestion: Ursula’s line implies curiosity or mischief, encouraging Hero to continue with the plan to reveal Benedick’s feelings.
HERO: “No, rather I will go to Benedick And counsel him to fight against his passion; And truly I’ll devise some honest slanders To stain my cousin with.”
- Explanation: Hero decides that instead of revealing Benedick’s feelings to Beatrice, she will advise Benedick to fight his feelings. She also plans to create rumors or false reports about Beatrice to make her seem less worthy in Benedick’s eyes.
- Analysis: Hero’s manipulation takes a more devious turn as she plans to use slander to influence Beatrice’s image in Benedick’s eyes, ensuring that he will not act on his love.
- Language Devices:
- Irony: Hero plans to create “honest slanders,” which is a contradiction, as slander is by definition false or malicious. This highlights the scheming nature of the plan.
- Foreshadowing: The idea of “honest slanders” is a hint that Hero’s scheme will backfire, creating complications later.
URSULA: “O, do not do your cousin such a wrong! She cannot be so much without true judgment, Having so swift and excellent a wit As she is prized to have, as to refuse So rare a gentleman as Signior Benedick.”
- Explanation: Ursula argues that Beatrice, with her quick wit and good judgment, would never reject someone like Benedick, whom she describes as a rare and exceptional gentleman.
- Analysis: Ursula tries to reassure Hero that Beatrice will not act foolishly and reject Benedick. This line elevates Benedick’s character, suggesting he is worthy of Beatrice’s affection.
- Language Devices:
- Hyperbole: Benedick is described as “rare” and “excellent,” which emphasizes his qualities in a way that contrasts with Beatrice’s current indifference toward him.
HERO: “He is the only man of Italy, Always excepted my dear Claudio.”
- Explanation: Hero admits that Benedick is the best man in Italy, aside from Claudio, who is her own fiancé.
- Analysis: This reinforces the idea that Benedick is a desirable match, making the plot to bring him and Beatrice together more compelling.
- Language Devices:
- Contrast: By excluding Claudio, Hero places Benedick on a high pedestal, making him appear exceptional and worthy of Beatrice’s love.
URSULA: “I pray you be not angry with me, madam, Speaking my fancy: Signior Benedick, For shape, for bearing, argument, and valor, Goes foremost in report through Italy.”
- Explanation: Ursula continues to praise Benedick, saying that he is widely recognized throughout Italy for his physical appearance, manners, intellect, and bravery.
- Analysis: This is another form of flattery, intended to convince Hero of Benedick’s worthiness. The line also contributes to the overall theme of courtship and admiration for ideal qualities in a romantic partner.
- Language Devices:
- Parallelism: The repeated use of “for” in “for shape, for bearing, argument, and valor” creates a rhythmic pattern and emphasizes Benedick’s many desirable qualities.
HERO: “Indeed, he hath an excellent good name.”
- Explanation: Hero acknowledges that Benedick has a good reputation, but this recognition only further confirms Hero’s manipulative tactics to match him with Beatrice.
- Analysis: Hero’s recognition of Benedick’s excellent reputation may indicate a small pause in her scheming, showing that she does appreciate his qualities, even if she is still determined to manipulate the situation.
URSULA: “His excellence did earn it ere he had it.”
- Explanation: Ursula suggests that Benedick’s excellence was earned through his actions, not just by reputation.
- Analysis: This reinforces Benedick’s integrity, further elevating his worth in the eyes of Hero, and in turn, in the eyes of Beatrice.
- Language Devices:
- Metaphor: “His excellence did earn it ere he had it” implies that Benedick’s qualities were proven before he received recognition, elevating him as a man of substance.
HERO: “When are you married, madam?”
- Explanation: Ursula shifts the conversation to Hero’s upcoming wedding, introducing a moment of light-heartedness in an otherwise serious discussion.
- Analysis: The mention of marriage connects the previous conversation about Benedick with Hero’s own impending nuptials, perhaps suggesting that Hero hopes for a similar happy ending for Beatrice and Benedick.
HERO: “Why, every day, tomorrow. Come, go in. I’ll show thee some attires and have thy counsel Which is the best to furnish me tomorrow.”
- Explanation: Hero gives a light-hearted response, stating that her wedding will happen “tomorrow,” which is a playful exaggeration. She also invites Ursula to help her choose attire.
- Analysis: This shift to a more personal, domestic matter lightens the tone after their discussion of love and manipulation. It shows Hero’s relationship with Ursula, where they share moments of camaraderie.
Beatrice’s Realization (Beatrice’s Monologue)
BEATRICE: “What fire is in mine ears? Can this be true? Stand I condemned for pride and scorn so much? Contempt, farewell, and maiden pride, adieu!”
- Explanation: Beatrice overhears Hero and Ursula’s conversation and is stunned by what she hears. She realizes that she has been perceived as prideful and scornful. This marks the moment she decides to let go of her pride and embrace love.
- Analysis: This monologue marks a pivotal moment in Beatrice’s emotional development, where she acknowledges her own pride and is ready to change her perspective on love.
- Language Devices:
- Metaphor: “What fire is in mine ears?” suggests that Beatrice is overwhelmed by the emotional intensity of the conversation she overheard.
- Alliteration: “Contempt, farewell, and maiden pride, adieu!” uses the repetition of the “m” sound to create a poetic farewell to her former attitude.
BEATRICE: “No glory lives behind the back of such.”
- Explanation: Beatrice recognizes that pride and scorn offer no true satisfaction or glory in the end, and she is now ready to leave that part of herself behind.
- Analysis: This is a turning point for Beatrice, where she begins to see the futility of her former disdain for love and acknowledges the value of opening her heart.
BEATRICE: “And Benedick, love on; I will requite thee, Taming my wild heart to thy loving hand.”
- Explanation: Beatrice speaks directly to Benedick, declaring that she will return his love. She will tame her pride and wildness to submit to his love.
- Analysis: This line shows Beatrice’s willingness to change and embrace love, symbolizing her emotional growth throughout the play.
BEATRICE: “If thou dost love, my kindness shall incite thee To bind our loves up in a holy band.”
- Explanation: Beatrice expresses that if Benedick truly loves her, she will reciprocate and their love will be united in a sacred, committed relationship.
- Analysis: This is a formal declaration of love from Beatrice, symbolizing her acceptance of both her feelings and Benedick’s.
BEATRICE: “For others say thou dost deserve, and I Believe it better than reportingly.”
- Explanation: Beatrice acknowledges the rumors about Benedick’s worthiness and declares that she believes these claims are true.
- Analysis: This confirms that Beatrice’s change of heart is not just about her own feelings but also the respect she now has for Benedick based on what others say about him.
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