BENEDICK:
“Pray thee, sweet Mistress Margaret, deserve well at my hands by helping me to the speech of Beatrice.”
Explanation: Benedick is politely asking Margaret to help him talk to Beatrice. He is requesting her assistance in bringing Beatrice to him.
Analysis: Benedick is being charming and respectful towards Margaret here. His tone suggests that he values her help, showing his affable side.
Language Device: “Sweet” is a term of endearment that emphasizes Benedick’s politeness and playful attitude.
MARGARET:
“Will you then write me a sonnet in praise of my beauty?”
Explanation: Margaret jokingly asks if Benedick will write her a sonnet about her beauty in exchange for her help.
Analysis: This is a playful and flirtatious response. Margaret is teasing Benedick by asking for a sonnet, a common form of romantic expression, and turning it into a lighthearted challenge.
Language Device: “Sonnet” is a literary reference, as sonnets were often used to express love or admiration.
BENEDICK:
“In so high a style, Margaret, that no man living shall come over it, for in most comely truth thou deservest it.”
Explanation: Benedick responds with exaggerated praise, telling Margaret he would write a sonnet so grand that no man could ever top it, and that she truly deserves the praise.
Analysis: Benedick uses flattery, boosting Margaret’s ego by saying she deserves the highest form of praise. The phrase “no man living shall come over it” is hyperbolic, suggesting the sonnet would be unmatched.
Language Device: Hyperbole (“no man living shall come over it”) is used to emphasize the exaggeration in Benedick’s praise.
MARGARET:
“To have no man come over me? Why, shall I always keep below stairs?”
Explanation: Margaret humorously responds, asking if she will be neglected by all men and relegated to the background (literally “below stairs”).
Analysis: Margaret uses humor to downplay the compliment. The metaphor of being “below stairs” refers to being unimportant or out of the main action, which she finds amusing and sarcastic.
Language Device: The phrase “below stairs” is a metaphor for being treated as inferior or unimportant.
BENEDICK:
“Thy wit is as quick as the greyhound’s mouth; it catches.”
Explanation: Benedick praises Margaret’s quick wit, comparing it to a greyhound’s mouth that catches its prey quickly.
Analysis: This is a compliment on Margaret’s sharpness and intelligence. The comparison to a greyhound highlights speed and precision.
Language Device: Simile (“as quick as the greyhound’s mouth”) is used to compare Margaret’s wit to a greyhound’s swiftness.
MARGARET:
“And yours as blunt as the fencer’s foils, which hit but hurt not.”
Explanation: Margaret humorously retorts that Benedick’s wit is dull, comparing it to a fencer’s foil (a light sword used in practice) that can strike but doesn’t really harm.
Analysis: Margaret is mocking Benedick’s wit, suggesting it doesn’t have the sharpness or impact of hers. The metaphor of the “fencer’s foils” is a playful jab.
Language Device: Metaphor (“as blunt as the fencer’s foils”) is used to describe the dullness of Benedick’s wit.
BENEDICK:
“A most manly wit, Margaret; it will not hurt a woman. And so, I pray thee, call Beatrice. I give thee the bucklers.”
Explanation: Benedick acknowledges that Margaret’s wit is strong, but adds that it won’t harm a woman. He then asks her to call Beatrice and offers her “bucklers” (shields) as part of the playful exchange.
Analysis: Benedick continues the playful exchange, making light of the situation. The use of “bucklers” refers to fencing shields, reinforcing the idea that wit is a weapon in conversation.
Language Device: The term “bucklers” is used metaphorically, drawing from fencing imagery.
MARGARET:
“Give us the swords; we have bucklers of our own.”
Explanation: Margaret replies that she and Beatrice already have their own “bucklers” (defensive tools) and don’t need Benedick’s.
Analysis: Margaret is asserting her independence and sharpness, implying that she and Beatrice are well-equipped to handle themselves without Benedick’s help.
Language Device: Metaphor (“bucklers of our own”) is continued, highlighting Margaret’s confident and self-reliant nature.
BENEDICK:
“If you use them, Margaret, you must put in the pikes with a vice, and they are dangerous weapons for maids.”
Explanation: Benedick humorously suggests that if Margaret and Beatrice use their wit, they must be careful, as it is a dangerous weapon for women.
Analysis: Benedick continues to play with the metaphor of wit as a weapon. The mention of “pikes” and “vice” (a clamp) suggests that sharp wit can be dangerous, especially in the hands of women. This is a reflection on how women’s intellects can be intimidating.
Language Device: Metaphor (“dangerous weapons for maids”) is used to compare wit to weaponry, and “pikes” and “vice” are terms borrowed from fencing.
MARGARET:
“Well, I will call Beatrice to you, who I think hath legs.”
Explanation: Margaret agrees to call Beatrice, but jokingly adds that Beatrice “hath legs,” meaning she’s capable of coming to Benedick without issue.
Analysis: Margaret is continuing the playful tone, teasing Benedick by implying that Beatrice is perfectly capable of walking to him. The phrase is a light, humorous remark.
Language Device: Humor and wit are present in this line, emphasizing the playful banter between Margaret and Benedick.
BENEDICK:
“And therefore will come.”
Explanation: Benedick responds that because Beatrice has legs, she will indeed come.
Analysis: This is a simple and literal response to Margaret’s teasing, and Benedick plays along with the jest. He seems to accept the humor of the situation.
Language Device: This line uses a straightforward, playful acknowledgment of the previous joke.
Benedick (sings):
“The god of love
That sits above,
And knows me, and knows me,
How pitiful I deserve—”
Explanation: Benedick begins a song, invoking the “god of love” (Eros), claiming that the god knows how unworthy he is in love.
Analysis: Benedick humorously portrays himself as unskilled in love. This is self-deprecating humor that reflects his awkwardness with romantic emotions.
Language Device: Personification (“The god of love / That sits above”) and self-deprecation are used to illustrate Benedick’s feelings of inadequacy in love.
BENEDICK:
“I mean in singing. But in loving, Leander the good swimmer, Troilus the first employer of panders, and a whole book full of these quondam carpetmongers, whose names yet run smoothly in the even road of a blank verse, why, they were never so truly turned over and over as my poor self in love.”
Explanation: Benedick continues, joking that he is hopeless at love. He references Leander (a tragic lover), Troilus (a character in Greek mythology known for love), and “quondam carpetmongers” (possibly referring to old-fashioned or unromantic men), comparing them to himself, suggesting they were never as confused or tormented in love as he is.
Analysis: Benedick is humorously exaggerating his own situation, saying he is more tormented by love than any of the great lovers in literature. He uses complex references to emphasize his feelings of being out of his depth.
Language Device: Allusion (references to Leander, Troilus, and others) to draw connections to classical literature, adding layers of humor.
BENEDICK:
“Marry, I cannot show it in rhyme. I have tried. I can find out no rhyme to ‘lady’ but ‘baby’—an innocent rhyme; for ‘scorn,’ ‘horn’—a hard rhyme; for ‘school,’ ‘fool’—a babbling rhyme; very ominous endings. No, I was not born under a rhyming planet, nor I cannot woo in festival terms.”
Explanation: Benedick humorously explains that he cannot write a sonnet because he can’t find good rhymes for the words. He provides some poor rhyming examples and complains about his inability to woo in the traditional, romantic way.
Analysis: Benedick uses humor to downplay his own attempts at expressing love. The use of poor rhymes shows his self-awareness and provides comic relief.
Language Device: Rhyme and humor—Benedick humorously lists poor rhymes as part of his self-deprecation.
BENEDICK:
“Sweet Beatrice, wouldst thou come when I called thee?”
Explanation: Benedick is gently calling to Beatrice, asking if she would come when he calls her. The use of “Sweet” emphasizes his affection for her.
Analysis: Benedick’s tone is tender, indicating his softened feelings towards Beatrice. He is no longer the witty, teasing character but has grown sincere in his admiration.
Language Device: The term “Sweet” is a form of endearment that shows Benedick’s affectionate tone.
BEATRICE:
“Yea, signior, and depart when you bid me.”
Explanation: Beatrice responds affirmatively, agreeing that she will come when called and leave when told to. Her tone is straightforward and cooperative.
Analysis: Beatrice is responding with practicality and calmness. She doesn’t share Benedick’s warmth yet, showing that she’s still somewhat guarded despite their previous exchanges.
Language Device: The use of “signior” is a respectful term for addressing Benedick, showing formality and decorum.
BENEDICK:
“O, stay but till then!”
Explanation: Benedick implores Beatrice to stay a little longer, showing his desire to prolong the interaction.
Analysis: This is a more vulnerable moment for Benedick, where he wants to delay Beatrice’s departure because he wants to continue their conversation.
Language Device: Exclamation (“O”) expresses Benedick’s urgency and longing.
BEATRICE:
“Then is spoken. Fare you well now. And yet, ere I go, let me go with that I came, which is, with knowing what hath passed between you and Claudio.”
Explanation: Beatrice says “Then is spoken” to signal that their interaction is over. She then asks for the news about Claudio, as she wants to know what has transpired.
Analysis: Beatrice remains practical, requesting important information before leaving. Her focus on the issue at hand indicates that she hasn’t yet fully embraced the romantic shift in their relationship.
Language Device: The phrase “ere I go” is an older, poetic way of saying “before I leave.”
BENEDICK:
“Only foul words, and thereupon I will kiss thee.”
Explanation: Benedick briefly mentions that only “foul words” have passed between him and Claudio, and jokingly says that he will kiss Beatrice in return.
Analysis: Benedick downplays the seriousness of the situation, introducing humor into the conversation. His statement is playful but also subtly shows his growing affection for Beatrice.
Language Device: The phrase “foul words” refers to harsh or heated words. The idea of kissing Beatrice in exchange for these words adds a layer of flirtation.
BEATRICE:
“Foul words is but foul wind, and foul wind is but foul breath, and foul breath is noisome. Therefore I will depart unkissed.”
Explanation: Beatrice responds with her usual sharp wit, stating that foul words are just unpleasant breath and, therefore, she will leave without a kiss.
Analysis: Beatrice maintains her clever and quick-witted persona, refusing the kiss with humor and using a metaphor to emphasize the unappealing nature of the “foul words.”
Language Device: Metaphor (“foul wind is but foul breath, and foul breath is noisome”) to describe the unpleasantness of “foul words.”
BENEDICK:
“Thou hast frighted the word out of his right sense, so forcible is thy wit.”
Explanation: Benedick praises Beatrice’s sharp wit, saying it has twisted the meaning of “foul words” into something more humorous and less serious.
Analysis: Benedick acknowledges Beatrice’s intellectual prowess and her ability to disarm serious situations with her wit. His admiration for her quick thinking is evident.
Language Device: Hyperbole (“so forcible is thy wit”) emphasizes the power of Beatrice’s wit.
BENEDICK:
“But I must tell thee plainly, Claudio undergoes my challenge, and either I must shortly hear from him, or I will subscribe him a coward.”
Explanation: Benedick informs Beatrice that he has challenged Claudio, and if he doesn’t hear from him soon, he will label Claudio a coward.
Analysis: Benedick is showing his resolve and readiness for a confrontation. His confidence in issuing the challenge is a sign of his loyalty and commitment.
Language Device: “Undertakes my challenge” is an idiomatic expression for accepting a challenge.
BEATRICE:
“For them all together, which maintained so politic a state of evil that they will not admit any good part to intermingle with them. But for which of my good parts did you first suffer love for me?”
Explanation: Beatrice responds, teasing Benedick by saying she loves all of his flaws together as a package. She then flips the question, asking which of her good qualities made him fall in love with her.
Analysis: Beatrice is playfully mocking Benedick’s self-deprecating humor and turning it into a challenge. She is shifting the focus onto her own virtues.
Language Device: The phrase “maintained so politic a state of evil” is a complex metaphor that humorously exaggerates Benedick’s bad qualities.
BENEDICK:
“Suffer love! A good epithet. I do suffer love indeed, for I love thee against my will.”
Explanation: Benedick acknowledges Beatrice’s remark and agrees, saying that he “suffers love” because he loves her unwillingly.
Analysis: This line highlights Benedick’s internal conflict. He admits he is in love with Beatrice, but it is against his wishes, revealing a mix of vulnerability and resistance.
Language Device: “Suffer love” is an oxymoron, emphasizing the pain and contradiction Benedick feels in his love for Beatrice.
BEATRICE:
“In spite of your heart, I think. Alas, poor heart, if you spite it for my sake, I will spite it for yours, for I will never love that which my friend hates.”
Explanation: Beatrice teasingly comments that Benedick’s love is in spite of his heart. She then says that if he harms his heart because of her, she will refuse to love what he hates.
Analysis: Beatrice’s tone is playful yet serious, as she establishes that love should not be forced or done out of spite. Her statement reflects her independent mindset and reluctance to be manipulated.
Language Device: The phrase “spite of your heart” is a metaphor for acting against one’s own feelings.
BENEDICK:
“Thou and I are too wise to woo peaceably.”
Explanation: Benedick humorously comments that both he and Beatrice are too clever to woo each other in a conventional, peaceful manner.
Analysis: Benedick acknowledges that their relationship has always been marked by wit and banter, and it will not be straightforward.
Language Device: The use of “wise” is a self-reflective comment on their mutual intelligence, implying that their approach to love will be unconventional.
BEATRICE:
“It appears not in this confession. There’s not one wise man among twenty that will praise himself.”
Explanation: Beatrice responds to Benedick, pointing out that wise men don’t typically praise themselves. She challenges him to show more humility.
Analysis: Beatrice subtly critiques Benedick’s self-praise. Her sharpness in this response shows that while she is attracted to him, she doesn’t easily accept his arrogance.
Language Device: The phrase “not one wise man among twenty” is a hyperbolic critique of self-praise.
BENEDICK:
“An old, an old instance, Beatrice, that lived in the time of good neighbors. If a man do not erect in this age his own tomb ere he dies, he shall live no longer in monument than the bell rings and the widow weeps.”
Explanation: Benedick responds with a metaphor, saying that in earlier times, men would build their tombs before they died, ensuring they were remembered. Without this, he suggests they will only be remembered momentarily.
Analysis: Benedick reflects on the fleeting nature of fame and reputation. His historical reference is a playful way to comment on his own self-praise.
Language Device: The metaphor of building a tomb before death suggests the importance of creating one’s own legacy.
BEATRICE:
“And how long is that, think you?”
Explanation: Beatrice asks, somewhat humorously, how long the fleeting fame of a man would last.
Analysis: Beatrice’s question reflects her skepticism of Benedick’s lofty thoughts about legacy and reputation. She maintains a grounded perspective.
Language Device: The question “how long is that” continues the humorous and sarcastic tone.
BENEDICK:
“Question: why, an hour in clamor and a quarter in rheum. Therefore is it most expedient for the wise, if Don Worm, his conscience, find no impediment to the contrary, to be the trumpet of his own virtues, as I am to myself.”
Explanation: Benedick responds with an exaggerated, comical answer, implying that a man’s legacy lasts only a short time—an hour in noise and a quarter in tears. He then humorously praises himself, comparing himself to the wise who trumpet their own virtues.
Analysis: Benedick is continuing his self-deprecating humor and using exaggerated imagery to describe the fleeting nature of human legacy.
Language Device: “Don Worm” is a humorous, invented title for Benedick’s conscience, playing on “worm” as a symbol of moral corruption.
BENEDICK:
“So much for praising myself, who, I myself will bear witness, is praiseworthy. And now tell me, how doth your cousin?”
Explanation: Benedick finally shifts the topic away from his self-praise to ask about Beatrice’s cousin, showing concern for others.
Analysis: Benedick’s sudden change of topic signals his care for Beatrice’s well-being and his attempt to ground the conversation in something more important.
Language Device: The repetition of “I” emphasizes Benedick’s self-awareness and humor.
BEATRICE:
“Very ill.”
Explanation: Beatrice responds that her cousin is very ill, providing a serious tone in contrast to the previous playful banter.
Analysis: Beatrice’s response brings a sobering moment into the conversation, signaling a shift in tone.
BENEDICK:
“And how do you?”
Explanation: Benedick asks about Beatrice’s well-being, showing concern.
Analysis: This is a caring question that reflects Benedick’s genuine interest in Beatrice’s condition, marking the emotional depth of their relationship.
BEATRICE:
“Very ill, too.”
Explanation: Beatrice responds that she is also not doing well, continuing the serious tone.
Analysis: Beatrice’s answer signals her emotional state, though it’s unclear if it’s physical or emotional illness.
BENEDICK:
“Serve God, love me, and mend. There will I leave you too, for here comes one in haste.”
Explanation: Benedick offers a humorous yet caring farewell, advising Beatrice to mend and end by saying goodbye.
Analysis: Benedick’s playful tone remains, but his words show genuine care for Beatrice’s health.
Enter Ursula.
URSULA:
“Madam, you must come to your uncle. Yonder’s old coil at home. It is proved my Lady Hero hath been falsely accused, the Prince and Claudio mightily abused, and Don John is the author of all, who is fled and gone. Will you come presently?”
Explanation: Ursula enters with urgent news that Hero has been wrongfully accused and Don John is the culprit.
Analysis: The tone shifts to one of urgency, as this news will have a significant impact on the events to come.
Language Device: The phrase “old coil” refers to a complicated or troublesome situation.
BEATRICE:
“Will you go hear this news, signior?”
Explanation: Beatrice asks Benedick if he wants to hear the news, involving him in the situation.
Analysis: Beatrice involves Benedick in the next steps, signaling her trust in him.
BENEDICK:
“I will live in thy heart, die in thy lap, and be buried in thy eyes—and, moreover, I will go with thee to thy uncle’s.”
Explanation: Benedick passionately declares his devotion to Beatrice, pledging to stay close to her and support her in the upcoming situation.
Analysis: Benedick’s romantic words show his deepening love for Beatrice, while his pledge to join her demonstrates his commitment.
They exit.
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