Scene III.

Leonato's orchard.

[Enter Benedick alone.]

Bene.
Boy!

              [Enter Boy.]

Boy.
Signior?

Bene.
In my chamber window lies a book. Bring it hither to me in he
orchard.

Boy.
I am here already, sir.

Bene.
I know that, but I would have thee hence and here again.
 (Exit Boy.) I do much wonder that one man, seeing how much
another man is a fool when he dedicates his behaviours to love,
will, after he hath laugh'd at such shallow follies in others,
become the argument of his own scorn by falling in love; and such
a man is Claudio. I have known when there was no music with him
but the drum and the fife; and now had he rather hear the tabor
and the pipe. I have known when he would have walk'd ten mile
afoot to see a good armour; and now will he lie ten nights awake
carving the fashion of a new doublet. He was wont to speak plain
and to the purpose, like an honest man and a soldier; and now is
he turn'd orthography; his words are a very fantastical
banquet--just so many strange dishes. May I be so converted and
see with these eyes? I cannot tell; I think not. I will not be
sworn but love may transform me to an oyster; but I'll take my
oath on it, till he have made an oyster of me he shall never make
me such a fool. One woman is fair, yet I am well; another is
wise, yet I am well; another virtuous, yet I am well; but till
all graces be in one woman, one woman shall not come in my grace.
Rich she
shall be, that's certain; wise, or I'll none; virtuous, or I'll
never cheapen her; fair, or I'll never look on her; mild, or come
not near me; noble, or not I for an angel; of good discourse, an
excellent musician, and her hair shall be of what colour it
please God. Ha, the Prince and Monsieur Love! I will hide me in
the arbour.                                         [Hides.]

[Enter Don Pedro, Leonato, Claudio.]

                  [Music within.]

Pedro.
Come, shall we hear this music?

Claud.
Yea, my good lord. How still the evening is,
As hush'd on purpose to grace harmony!

Pedro.
See you where Benedick hath hid himself?

Claud.
O, very well, my lord. The music ended,
We'll fit the kid-fox with a pennyworth.

[Enter Balthasar with Music.]

Pedro.
Come, Balthasar, we'll hear that song again.

Balth.
O, good my lord, tax not so bad a voice
To slander music any more than once.

Pedro.
It is the witness still of excellency
To put a strange face on his own perfection.
I pray thee sing, and let me woo no more.

Balth.
Because you talk of wooing, I will sing,
Since many a wooer doth commence his suit
To her he thinks not worthy, yet he wooes,
Yet will he swear he loves.

Pedro.
Nay, pray thee come;
Or if thou wilt hold longer argument,
Do it in notes.

Balth.
Note this before my notes:
There's not a note of mine that's worth the noting.

Pedro.
Why, these are very crotchets that he speaks!
Note notes, forsooth, and nothing!                  [Music.]

Bene.
[aside] Now divine air! Now is his soul ravish'd! Is it not
strange that sheep's guts should hale souls out of men's bodies?
Well, a horn for my money, when all's done.

                                          [Balthasar sings.]

                  The Song.

    Sigh no more, ladies, sigh no more!
      Men were deceivers ever,
    One foot in sea, and one on shore;
      To one thing constant never.
        Then sigh not so,
        But let them go,
      And be you blithe and bonny,
    Converting all your sounds of woe
      Into Hey nonny, nonny.
    Sing no more ditties, sing no moe,
      Of dumps so dull and heavy!
    The fraud of men was ever so,
      Since summer first was leavy.
        Then sigh not so, &c.
Pedro.
By my troth, a good song.

Balth.
And an ill singer, my lord.

Pedro.
Ha, no, no, faith! Thou sing'st well enough for a shift.

Bene.
[aside] An he had been a dog that should have howl'd thus, they
would have hang'd him; and I pray God his bad voice bode no
mischief. I had as live have heard the night raven, come what
plague could have come after it.

Pedro.
Yea, marry. Dost thou hear, Balthasar? I pray thee get us some
excellent music; for to-morrow night we would have it at the Lady
Hero's chamber window.

Balth.
The best I can, my lord.

Pedro.
Do so. Farewell.

                    [Exit Balthasar [with Musicians.]

Come hither, Leonato. What was it you told me of to-day? that
your niece Beatrice was in love with Signior Benedick?

Claud.
O, ay!-[Aside to Pedro] Stalk on, stalk on; the fowl sits. --I
did never think that lady would have loved any man.

Leon.
No, nor I neither; but most wonderful that she should so dote on
Signior Benedick, whom she hath in all outward behaviours seem'd
ever to abhor.

Bene.
[aside] Is't possible? Sits the wind in that corner?

Leon.
By my troth, my lord, I cannot tell what to think of it, but that
she loves him with an enraged affection. It is past the infinite
of thought.

Pedro.
May be she doth but counterfeit.

Claud.
Faith, like enough.

Leon.
O God, counterfeit? There was never counterfeit of passion came
so near the life of passion as she discovers it.

Pedro.
Why, what effects of passion shows she?

Claud.
[aside] Bait the hook well! This fish will bite.

Leon.
What effects, my lord? She will sit you--you heard my daughter
tell you how.

Claud.
She did indeed.

Pedro.
How, how, I pray you? You amaze me. I would have thought her
spirit had been invincible against all assaults of affection.

Leon.
I would have sworn it had, my lord--especially against Benedick.

Bene.
[aside] I should think this a gull but that the white-bearded
fellow speaks it. Knavery cannot, sure, hide himself in such
reverence.

Claud.
[aside] He hath ta'en th' infection. Hold it up.

Pedro.
Hath she made her affection known to Benedick?

Leon.
No, and swears she never will. That's her torment.

Claud.
'Tis true indeed. So your daughter says. 'Shall I,' says she,
'that have so oft encount'red him with scorn, write to him that I
love him?'"

Leon.
This says she now when she is beginning to write to him; for
she'll be up twenty times a night, and there will she sit in her
smock till she have writ a sheet of paper. My daughter tells us
all.

Claud.
Now you talk of a sheet of paper, I remember a pretty jest your
daughter told us of.

Leon.
O, when she had writ it, and was reading it over, she found
'Benedick' and 'Beatrice' between the sheet?

Claud.
That.

Leon.
O, she tore the letter into a thousand halfpence, rail'd at
herself that she should be so immodest to write to one that she
knew would flout her. 'I measure him,' says she, 'by my own
spirit; for I should flout him if he writ to me. Yea, though I
love him, I should.'

Claud.
Then down upon her knees she falls, weeps, sobs, beats her heart,
tears her hair, prays, curses--'O sweet Benedick! God give me
patience!'

Leon.
She doth indeed; my daughter says so. And the ecstasy hath so
much overborne her that my daughter is sometime afeard she will
do a desperate outrage to herself. It is very true.

Pedro.
It were good that Benedick knew of it by some other, if she will
not discover it.

Claud.
To what end? He would make but a sport of it and torment the poor
lady worse.

Pedro.
An he should, it were an alms to hang him! She's an excellent
sweet lady, and (out of all suspicion) she is virtuous.

Claud.
And she is exceeding wise.

Pedro.
In everything but in loving Benedick.

Leon.
O, my lord, wisdom and blood combating in so tender a body, we
have ten proofs to one that blood hath the victory. I am sorry
for her, as I have just cause, being her uncle and her
guardian.

Pedro.
I would she had bestowed this dotage on me. I would have daff'd
all other respects and made her half myself. I pray you tell
Benedick of it and hear what 'a will say.

Leon.
Were it good, think you?

Claud.
Hero thinks surely she will die; for she says she will die if he
love her not, and she will die ere she make her love known, and
she will die, if he woo her, rather than she will bate one
breath of her accustomed crossness.

Pedro.
She doth well. If she should make tender of her love, 'tis very
possible he'll scorn it; for the man (as you know all) hath a
contemptible spirit.

Claud.
He is a very proper man.

Pedro.
He hath indeed a good outward happiness.

Claud.
Before God! and in my mind, very wise.

Pedro.
He doth indeed show some sparks that are like wit.

Claud.
And I take him to be valiant.

Pedro.
As Hector, I assure you; and in the managing of quarrels you may
say he is wise, for either he avoids them with great discretion,
or undertakes them with a most Christianlike fear.

Leon.
If he do fear God, 'a must necessarily keep peace. If he break
the peace, he ought to enter into a quarrel with fear and
trembling.

Pedro.
And so will he do; for the man doth fear God, howsoever it seems
not in him by some large jests he will make. Well, I am sorry for
your niece. Shall we go seek Benedick and tell him of her love?

Claud.
Never tell him, my lord. Let her wear it out with good counsel.

Leon.
Nay, that's impossible; she may wear her heart out first.

Pedro.
Well, we will hear further of it by your daughter. Let it cool
the while. I love Benedick well, and I could wish he would
modestly examine himself to see how much he is unworthy so good a
lady.

Leon.
My lord, will you walk? Dinner is ready.

                                           [They walk away.]

Claud.
If he dote on her upon this, I will never trust my expectation.

Pedro.
Let there be the same net spread for her, and that must your
daughter and her gentlewomen carry. The sport will be, when they
hold one an opinion of another's dotage, and no such matter.
That's the scene that I would see, which will be merely a dumb
show. Let us send her to call him in to dinner.

                   [Exeunt Don Pedro, Claudio, and Leonato.]

            [Benedick advances from the arbour.]

Bene.
This can be no trick. The conference was sadly borne; they have
the truth of this from Hero; they seem to pity the lady.  It
seems her affections have their full bent. Love me? Why, it must
be requited. I hear how I am censur'd. They say I will bear
myself proudly if I perceive the love come from her. They say too
that she will rather die than give any sign of affection. I did
never think to marry. I must not seem proud. Happy are they that
hear their detractions and can put them to mending. They say the
lady is fair--'tis a truth, I can bear them witness; and
virtuous--'tis so, I cannot reprove it; and wise, but for loving
me--by my troth, it is no addition to her wit, nor no great
argument of her folly, for I will be horribly in love with her. I
may chance have some odd quirks and remnants of wit broken on me
because I have railed so long against marriage. But doth not the
appetite alters? A man loves the meat in his youth that he cannot
endure in his age. Shall quips and sentences and these paper
bullets of the brain awe a man from the career of his humour? No,
the world must be peopled. When I said I would die a bachelor, I
did not think I should live till I were married.

            [Enter Beatrice.]

Here comes Beatrice. By this day, she's a fair lady! I do spy
some marks of love in her.

Beat.
Against my will I am sent to bid You come in to dinner.

Bene.
Fair Beatrice, I thank you for your pains.

Beat.
I took no more pains for those thanks than you take pains to
thank me. If it had been painful, I would not have come.

Bene.
You take pleasure then in the message?

Beat.
Yea, just so much as you may take upon a knives point, and choke
a daw withal. You have no stomach, signior. Fare you well.
[Exit.]

Bene.
Ha! 'Against my will I am sent to bid you come in to dinner.'
There's a double meaning in that. 'I took no more pains for those
thanks than you took pains to thank me.' That's as much as to
say, 'Any pains that I take for you is as easy as thanks.' If I
do not take pity of her, I am a villain; if I do not love her, I
am a Jew. I will go get her picture.                   [Exit.]

Benedick is walking in Leonato's garden contemplating the change in Claudio since he fell in love with Hero. He decides that he will never fall in love the way Claudio did. He sees Claudio and Don Pedro coming and hides so he can listen to them. Don Pedro arrives with Claudio and Leonato. Don Pedro asks them if they saw where Benedick hid, and Claudio tells him they will give Benedick more than he bargained for. Balthasar is brought onstage to perform a song for them that he duly sings. After the song is over, Don Pedro asks Leonato if it is true that Beatrice is in love with Benedick. Leonato plays along with the lie, saying that he would never have suspected it given the way she treats Benedick in public. Don Pedro continues asking questions about Beatrice's love for Benedick while Benedick listens in the background, slowly becoming convinced that what Leonato is saying must be true. Claudio joins in, telling Don Pedro what he purportedly heard from Hero, and claiming that Hero thinks Beatrice will surely die before she reveals her love. The men leave, with Don Pedro hinting in an aside that the same net must be spread for Beatrice by Hero and Ursula. Benedick comes out of hiding and remarks that he cannot sit idly by and be censured for not returning Beatrice's love. He determines to be kind to Beatrice and consider marrying her. She comes out and bids him come to dinner, unaware that Benedick thinks she loves him. Beatrice is as unflattering as ever, making Benedick's attempts to be polite even more comical

Alone, Benedick talks to himself about how Claudio has changed since his engagement to Hero. Benedick has lost a good friend since Claudio now thinks of nothing but Hero and their approaching wedding. He ponders what perfect combination of qualities a woman must possess before he himself would marry her. When Benedick hears Claudio, Leonato, and Don Pedro approaching, he hides in the arbor to eavesdrop/note what they say. Don Pedro and the others know that Benedick has hidden himself within the sound of their voices. Don Pedro asks the musician Balthasar to sing for them, and he sings a song that begins, "Sigh no more, ladies, sigh no more. Men were deceivers ever." After the singer leaves, Don Pedro, Claudio, and Leonato converse loudly about how much Beatrice really loves Benedick in spite of the way she treats him. She will not show affection toward him for fear that she will be rejected. They agree not to speak of it to Benedick for now, and they leave. Benedick can scarcely believe what he has heard, but because Leonato was part of the group, he does not think it can be a joke. He admits that he did not plan to marry and has been contemptuous of marriage, but maybe he can change for the sake of Beatrice. In fact, he suddenly realizes she has all those qualities he was enumerating earlier. Beatrice reluctantly approaches Benedick to call him for dinner. When he tries to speak kindly to her, she replies unkindly and leaves. He tries to read love into her words and reaffirms to himself that he must try to love her.

This scene is the first of two contrived overhearing/noting scenes in Don Pedro's plan to bring Beatrice and Benedick together. Benedick does not perceive that they have set him up; instead, he eavesdrops/notes the contrived conversation about Beatrice and her love for him and believes it all. The next scene -- Act III, Scene 1 -- is a parallel scene in which Beatrice overhears/notes a conversation about Benedick's love for her. Benedick is first suspicious that this is a "gull" -- a hoax cooked up by his friends -- but Leonato, "the white-bearded fellow speaks it: knavery cannot sure hide himself in such reverence." Therefore, Benedick is inclined to believe what they say about Beatrice's love for him. Benedick's complete change of heart about marriage and about Beatrice is obvious in the comparison of his two monologues -- before and after his eavesdropping -- from his easy talk about the perfection he requires in a woman, to his admission that he "will be horribly in love with her." He recognizes that he is going against his reputation, and others may make fun of him when they find out. But he accepts the fact that he has a right to change his mind: . . . doth not the appetite alter? A man loves the meat in hisyouth, that he cannot endure in his age. He appears to move toward loving and being loved with relief first and then with eagerness. When Beatrice suddenly comes to call Benedick to dinner, he interprets even her insults as veiled expressions of affection. She, of course, has not yet been subjected to the planned eavesdropping/noting treatment by her friends .

This scene opens with Benedick alone, declaring again that he will never marry. He hears voices and hides in the bushes. The voices turn out to be those of Don Pedro, Leonato, and Claudio. Unbeknownst to Benedick, they have seen him hiding and know that he can hear them. Don Pedro uses this opportunity to put into action his matchmaking between Benedick and Beatrice. The three men talk amongst themselves about Beatrice's strong feelings for Benedick. They say they will not tell Benedick, since he will only mock poor Beatrice. They proceed to praise Beatrice for all her virtues, then leave to lay a similar trap for Beatrice. From his 'hiding' place, Benedick falls prey to the scheme. He is convinced of Beatrice's passion and is persuaded by the praises of the men that she is an excellent woman. He decides he loves her in return. As he is about to leave, Beatrice comes to ask him to dinner, a task that Hero has sent her to do. She tells Benedick the invitation is offered against her will. Thinking this is just her way of protecting her vulnerable feelings, Benedick accepts graciously. He goes off with Beatrice, having imagined himself in love with her and she with him, having not yet been tricked into falling in love.

Notes The trio of Claudio, Leonato, and Don Pedro are extremely ingenious in executing their plan, originally conceived by Don Pedro. Benedick automatically falls into the trap because of his great respect and trust for Leonato, whom he cannot believe guilty of such deception. Don Pedro's conversation with his friends appeals greatly to Benedick's self-love. That a lady of such an excellent nature as Beatrice should be attracted to him boosts his pride greatly. It increases his opinion of himself. His soliloquy gives ample proof of his thoughts and is one of the best examples of comic irony in the play. His views on marriage have all of a sudden undergone a drastic change. "The world must be peopled," he emphasizes. There is a great deal of audience participation in this scene. The supposed plot gives an additional role to the audience in that its members share in the inside story--the fooling of Benedick. The irony lies in the fact that the plotters know that Benedick is listening to them. Benedick does not 'note' that the conspirators know his hiding place while the audience 'notes' both deceptions.

Benedick is taking a leisurely stroll in the park and talking to himself about marriage. He debates its pros and cons and its relevancy to his own life. Don Pedro, Claudio and Leonato enter the park, thereby forcing Benedick into hiding as he wishes to remain solitary. They discuss Beatrice's supposed infatuation with Benedick, fully aware that the man himself is absorbing this shocking information while hiding in the bushes. Leonato says that Beatrice cannot bear to show her affection for Benedick because she fears his sharp tongue. The men pity her and slander Benedick to the high heavens for unknowingly causing such pain. Don Pedro enhances the story with tales of fainting fits and suicide attempts for love. The men retreat to their chambers, leaving Benedick very confused. He is convinced that the men were sincere and that the whole thing is not a trick. Benedick wonders if he has blindly been too harsh to Beatrice, and if it is too late to change his bachelor ways. Beatrice enters the garden at this point, wholly unaware of Benedick's predicament. She informs him that dinner is ready and is startled when Benedick does not act snappish or rude. Beatrice exits with the newly lovestruck Benedick close behind.


ACT III. Scene I.

Leonato's orchard.

[Enter Hero and two Gentlewomen, Margaret and Ursula.]

Hero.
Good Margaret, run thee to the parlour.
There shalt thou find my cousin Beatrice
Proposing with the Prince and Claudio.
Whisper her ear and tell her, I and Ursley
Walk in the orchard, and our whole discourse
Is all of her. Say that thou overheard'st us;
And bid her steal into the pleached bower,
Where honeysuckles, ripened by the sun,
Forbid the sun to enter--like favourites,
Made proud by princes, that advance their pride
Against that power that bred it. There will she hide her
To listen our propose. This is thy office.
Bear thee well in it and leave us alone.

Marg.
I'll make her come, I warrant you, presently.    [Exit.]

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.
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.

               [Enter Beatrice.]

Now begin;
For look where Beatrice like a lapwing runs
Close by the ground, to hear our conference.

           [Beatrice hides in the arbour].

Urs.
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 couched in the woodbine coverture.
Fear you not my part of the dialogue.

Hero.
Then go we near her, that her ear lose nothing
Of the false sweet bait that we lay for it.

                                 [They approach the arbour.]

No, truly, Ursula, she is too disdainful.
I know her spirits are as coy and wild
As haggards of the rock.

Urs.
But are you sure
That Benedick loves Beatrice so entirely?

Hero.
So says the Prince, and my new-trothed lord.

Urs.
And did they bid you tell her of it, madam?

Hero.
They did entreat me to acquaint her of it;
But I persuaded them, if they lov'd Benedick,
To wish him wrestle with affection
And never to let Beatrice know of it.

Urs.
Why did you so? Doth not the gentleman
Deserve as full, as fortunate a bed
As ever Beatrice shall couch upon?

Hero.
O god of love! I know he doth deserve
As much as may be yielded to a man:
But Nature never fram'd 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. She cannot love,
Nor take no shape nor project of affection,
She is so self-endeared.

Urs.
Sure I think so;
And therefore certainly it were not good
She knew his love, lest she'll make sport at it.

Hero.
Why, you speak truth. I never yet saw man,
How wise, how noble, young, how rarely featur'd,
But she would spell him backward. If fair-fac'd,
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.

Urs.
Sure, sure, such carping 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,
She would mock me into air; O, she would laugh me
Out of myself, press me to death with wit!
Therefore let Benedick, like cover'd fire,
Consume away in sighs, waste inwardly.
It were a better death than die with mocks,
Which is as bad as die with tickling.

Urs.
Yet tell her of it. Hear what she will say.

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. One doth not know
How much an ill word may empoison liking.

Urs.
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 priz'd to have) as to refuse
So rare a gentleman as Signior Benedick.

Hero.
He is the only man of Italy,
Always excepted my dear Claudio.

Urs.
I pray you be not angry with me, madam,
Speaking my fancy: Signior Benedick,
For shape, for bearing, argument, and valour,
Goes foremost in report through Italy.

Hero.
Indeed he hath an excellent good name.

Urs.
His excellence did earn it ere he had it.
When are you married, madam?

Hero.
Why, every day to-morrow! Come, go in.
I'll show thee some attires, and have thy counsel
Which is the best to furnish me to-morrow.

                                           [They walk away.]

Urs.
She's lim'd, I warrant you! We have caught her, madam.

Hero.
If it prove so, then loving goes by haps;
Some Cupid kills with arrows, some with traps.

                                   [Exeunt Hero and Ursula.]

[Beatrice advances from the arbour.]

Beat.
What fire is in mine ears? Can this be true?
Stand I condemn'd for pride and scorn so much?
Contempt, farewell! and maiden pride, adieu!
No glory lives behind the back of such.
And, Benedick, love on; I will requite thee,
Taming my wild heart to thy loving hand.
If thou dost love, my kindness shall incite thee
To bind our loves up in a holy band;
For others say thou dost deserve, and I
Believe it better than reportingly.                    [Exit.]

Hero tells her servant Margaret to fetch Beatrice and tells her that she overheard Hero and Ursula gossiping about Beatrice in the orchard. Hero then orders Ursula to talk about Benedick as if he were madly in love with Beatrice. She agrees, and they wait until they see Beatrice hide herself in the orchard before walking towards the hiding spot. They arrive where Beatrice is hiding and Hero informs Ursula that Benedick is madly in love with Beatrice, but that she will never tell Beatrice because she is afraid her cousin would only ridicule Benedick. Ursula agrees, and Hero then mentions that Beatrice is so sharp tongued that she often finds faults in men that are not really there. Ursula then praises Benedick as a man, saying he is one of the best men in Italy and would be an excellent match for Beatrice. After they leave, Beatrice steps forward and comments that rather then be condemned for her pride and scorn she will requite Benedick's love and marry him

The issue of noting, or making much ado about nothing, comes up when Claudio and Don Pedro, led by Don John, look at window and think they see Hero. They fail to note that it is not Hero, but instead Margaret. This is fabrication through substitution, and it leads Don John to stand condemned at the end of the play. This scene also plays on men's fears of female infidelity. Claudio tells us, "If I see anything tonight why I should not marry her, tomorrow in the congregation where I should wed, there will I shame her" . This fear is so strong that Benedick declared himself a bachelor as a result, he is terrified of wearing bull's horns, a sign of the cuckold. Gardens are again dangerous places to be. Hero and Ursula are talking in the orchard. This is not merely a plot against Beatrice, but also against female virginity. In fact, gardens can be seen as representing the female sexuality, and they are dangerous places because they are where virginity is compromised. This can be seen when Claudio convinces Don Pedro to win him Hero's heart, a scene that takes place in a garden. In this act, Beatrice will be tricked into loving Benedick by what she overhears in an orchard. Indeed, Hero's reputation, and also Claudio's perception of her virginity, is lost when Claudio and Don Pedro stand in the orchard and watch Borachio woo Margaret. The only way to clear up the confusion inherent in the play is to write everything down. Writing becomes a way of clarifying and clearing up the mistakes. Dogberry says, "get the learned writer to set down our excommunication " . This is the first point in the play where writing appears. It will later be used by Benedick and Beatrice, the Sexton, and Claudio who will write the epitaph to Hero.

Hero and her two attendants, Ursula and Margaret, plan how they will trick Beatrice into hearing that Benedick is in love with her. Margaret goes to tell Beatrice that Hero and Ursula are in the orchard talking about her and to suggest that Beatrice hide herself nearby to hear their conversation. When Beatrice has hidden, Hero and Ursula talk about how Benedick is overcome with love for Beatrice. Hero says that Don Pedro and Claudio want her to tell Beatrice about his passion, but she feels instead that he must keep it hidden for fear of Beatrice's ridicule and disdain. Instead, Hero says that she must convince Benedick to fight against his love. She and Ursula talk about Benedick's many good qualities and his excellent reputation. When Hero and Ursula leave, Beatrice emerges from her hiding place, astonished at what she has overheard. She realizes that she must change her ways: She will return Benedick's love and express kindness instead of contempt and pride.

Beatrice seems surprised that she has such a strong reputation for pride and disdain, and for being self-centered and unapproachable. Just as Benedick did in the last scene, she completely reverses her negative view of marriage. And just as with Benedick, she was always much closer to loving him than she would ever acknowledge. Now she is pleased with the prospect of marrying Benedick, revealing how her deeper feelings differ from the way she appears to others. She admits to herself that she has known Benedick's good qualities all along, in spite of what she has said to him and to others about him, which parallels Benedick's sudden realization that Beatrice possesses the very qualities he insisted a future wife should have. Quiet, traditional Hero apparently finds pleasure here in criticizing her cousin within her hearing, probably in a rare opportunity to tease her. She may not have the courage to criticize her face to face. They have been best friends and indeed bedmates until now. Hero may wonder how Beatrice will get along without her once Hero is married .

Hero has lain a similar trap for Beatrice, assisted by her maid, Ursula. Beatrice overhears a conversation wherein Hero and Ursula reveal that Benedick is in love with Beatrice and is even pining for her. Beatrice regrets her previous attitude towards him and decides to reciprocate his feelings.

Notes The ironic comedy played on Benedick in the previous scene is repeated here on Beatrice. Shakespeare ensures audience participation in the plot enacted by Hero and Ursula, while Beatrice is unaware of it. By indulging in the pretense that Beatrice is too scornful to accept Benedick, who is presented as both wise and noble, they produce the intended reverse effect. Beatrice decides she is in love with Benedick. Appearance and reality are constantly juggled to produce the desired effect. This appears to be the stock theme in most of Shakespeare's comedies.

Hero asks her maid Margaret to summon Beatrice to the garden. Hero is planning to do her fair share of matchmaking now that Benedick has been fooled. With her gentlewoman Ursula, Hero talks about Benedick's undying love for Beatrice. Beatrice overhears the conversation and stealthily follows the pair to hear more. Hero bemoans Beatrice's sour and spiteful nature for injuring a good man like Benedick. Both lady and servant praise Benedick endlessly, cursing Beatrice for being blind to his love. They leave and Beatrice is left bewildered and contrite. She decides to renounce her life as a bachelor for Benedick's sake.


Scene II.

A room in Leonato's house.

[Enter Don Pedro, Claudio, Benedick, and Leonato.]

Pedro.
I do but stay till your marriage be consummate, and then go I
toward Arragon.

Claud.
I'll bring you thither, my lord, if you'll vouchsafe me.

Pedro.
Nay, that would be as great a soil in the new gloss of your
marriage as to show a child his new coat and forbid him to wear
it. I will only be bold with Benedick for his company; for,
from the crown of his head to the sole of his foot, he is all
mirth.  He hath twice or thrice cut Cupid's bowstring, and the
little hangman dare not shoot at him. He hath a heart as sound as
a bell; and his tongue is the clapper, for what his heart thinks,
his tongue speaks.

Bene.
Gallants, I am not as I have been.

Leon.
So say I. Methinks you are sadder.

Claud.
I hope he be in love.

Pedro.
Hang him, truant! There's no true drop of blood in him to be
truly touch'd with love. If he be sad, he wants money.

Bene.
I have the toothache.

Pedro.
Draw it.

Bene.
Hang it!

Claud.
You must hang it first and draw it afterwards.

Pedro.
What? sigh for the toothache?

Leon.
Where is but a humour or a worm.

Bene.
Well, every one can master a grief but he that has it.

Claud.
Yet say I he is in love.

Pedro.
There is no appearance of fancy in him, unless it be a fancy that
he hath to strange disguises; as to be a Dutchman to-day, a
Frenchman to-morrow; or in the shape of two countries at once, as
a German from the waist downward, all slops, and a Spaniard from
the hip upward, no doublet. Unless he have a fancy to this
foolery, as it appears he hath, he is no fool for fancy, as you
would have it appear he is.

Claud.
If he be not in love with some woman, there is no believing old
signs. 'A brushes his hat o' mornings. What should that bode?

Pedro.
Hath any man seen him at the barber's?

Claud.
No, but the barber's man hath been seen with him, and the old
ornament of his cheek hath already stuff'd tennis balls.

Leon.
Indeed he looks younger than he did, by the loss of a beard.

Pedro.
Nay, 'a rubs himself with civet. Can you smell him out by that?

Claud.
That's as much as to say, the sweet youth's in love.

Pedro.
The greatest note of it is his melancholy.

Claud.
And when was he wont to wash his face?

Pedro.
Yea, or to paint himself? for the which I hear what they say of
him.

Claud.
Nay, but his jesting spirit, which is new-crept into a
lutestring, and now govern'd by stops.

Pedro.
Indeed that tells a heavy tale for him. Conclude, conclude, he is
in love.

Claud.
Nay, but I know who loves him.

Pedro.
That would I know too. I warrant, one that knows him not.

Claud.
Yes, and his ill conditions; and in despite of all, dies for him.

Pedro.
She shall be buried with her face upwards.

Bene.
Yet is this no charm for the toothache. Old signior, walk aside
with me. I have studied eight or nine wise words to speak to you,
which these hobby-horses must not hear.

                              [Exeunt Benedick and Leonato.]

Pedro.
For my life, to break with him about Beatrice!

Claud.
'Tis even so. Hero and Margaret have by this played their parts
with Beatrice, and then the two bears will not bite one another
when they meet.

             [Enter John the Bastard.]

John.
My lord and brother, God save you.

Pedro.
Good den, brother.

John.
If your leisure serv'd, I would speak with you.

Pedro.
In private?

John.
If it please you. Yet Count Claudio may hear, for what I would
speak of concerns him.

Pedro.
What's the matter?

John.
[to Claudio] Means your lordship to be married tomorrow?

Pedro.
You know he does.

John.
I know not that, when he knows what I know.

Claud.
If there be any impediment, I pray you discover it.

John.
You may think I love you not. Let that appear hereafter, and aim
better at me by that I now will manifest. For my brother, I think
he holds you well and in dearness of heart hath help to effect
your ensuing marriage--surely suit ill spent and labour ill
bestowed!

Pedro.
Why, what's the matter?

John.
I came hither to tell you, and, circumstances short'ned (for she
has been too long a-talking of), the lady is disloyal.

Claud.
Who? Hero?

John.
Even she--Leonato's Hero, your Hero, every man's Hero.

Claud.
Disloyal?

John.
The word is too good to paint out her wickedness. I could say she
were worse; think you of a worse title, and I will fit her to it.
Wonder not till further warrant. Go but with me to-night, you
shall see her chamber window ent'red, even the night before her
wedding day. If you love her then, to-morrow wed her. But it
would better fit your honour to change your mind.

Claud.
May this be so?

Pedro.
I will not think it.

John.
If you dare not trust that you see, confess not that you know. If
you will follow me, I will show you enough; and when you have
seen more and heard more, proceed accordingly.

Claud.
If I see anything to-night why I should not marry her to-morrow,
in the congregation where I should wed, there will I shame her.

Pedro.
And, as I wooed for thee to obtain her, I will join with thee to
disgrace her.

John.
I will disparage her no farther till you are my witnesses.  Bear
it coldly but till midnight, and let the issue show itself.

Pedro.
O day untowardly turned!

Claud.
O mischief strangely thwarting!

John.
O plague right well prevented!   So will you say when you have
seen the Sequel.

                                                    [Exeunt.]

Claudio, Don Pedro and Leonato find Benedick to be acting sadder than usual, and make fun of him as if he is in love. He does not deny their charge, but finally asks Leonato if he could have a word with him in private. Don Pedro tells Claudio that Benedick must want to discuss Beatrice with Leonato. Don John arrives and informs Claudio and Don Pedro that Hero is unfaithful. He offers to prove it to them, telling them to go with him that night and look into Hero's chamber window. Claudio states that if he sees any reason not to wed Hero that night, he will shame her in the church before the wedding ceremony the next day. Don Pedro supports him and they promise to meet Don John that night

On the day before the wedding, Don Pedro announces to Leonato, Benedick, and Claudio that he will be leaving after the marriage of Hero and Claudio, taking Benedick with him. Benedick admits to the others that he is a changed man, and the other men -- all in on the plot to match him up with Beatrice -- tease him about his sad expression and his newly shaven face, clear signs that he is in love. He asks to speak to Leonato privately, and they leave. Claudio comments to Don Pedro that Beatrice has by now overheard the contrived conversation between Hero and Margaret. Don John enters and asks to speak to his brother, suggesting Claudio will want to hear what he is reporting. He tells them that Hero is "disloyal" to Claudio, letting herself be disgraced by another man. Claudio cannot believe this report, and Don John asks that they meet him at night so he can show them what is taking place in Hero's room, even this night before the wedding. Claudio vows to shame Hero publicly if in fact she is guilty of such misdeeds.

In this scene, Don Pedro's plot to bring Beatrice and Benedick together overlaps with Don John's plot to disrupt the marriage of Claudio and Hero. Benedick has begun to recognize his love for Beatrice and has taken some tangible actions -- like shaving off his beard that Beatrice does not like -- to further the relationship. He may be taking Leonato, as Beatrice's nearest of kin, aside to ask his permission to marry Beatrice. Don John takes the next step in his deception first by accusing Hero of infidelity and then by offering to prove it to Don Pedro and Claudio by letting them "note" her treachery that very night. He uses a cruel sarcasm in his accusation of Hero: "Leonato's Hero, your Hero, every man's Hero." This moment is the second time Claudio has done an about-face on Hero's loyalty based on Don John's information: First, at the dance, he believed that Hero agreed to marry Don Pedro because Don John said so; now he is ready to believe Don John again and, of course, will be convinced when he sees the window scene Don John and Borachio have arranged. Although Don Pedro was invited to remain at Messina for at least a month, he announces that he will leave for Aragon after the wedding of Claudio and Hero. He may feel that he and his men will be in the way of the newlyweds, or perhaps he never intended to stay too long. He suggests that Benedick accompany him since Benedick has no apparent reason to stay -- probably a test of whether his plot to bring Benedick and Beatrice together is having any effect. Benedick immediately shows signs of his change of heart toward Beatrice, but he becomes impatient with the teasing by his friends and leaves to talk with Leonato. Before Claudio even sees what he thinks is a faithless Hero, he threatens a public humiliation of her at the impending wedding. The audience might wonder why he would do so publicly, reflecting poorly on himself in the process -- he is being cuckolded -- as well as on Hero. Why not just walk out or write her a note? But no, a public confrontation is what the immature Claudio chooses -- resulting in a much better story than if he just walked away.

The conversation that Benedick thought he was covertly overhearing has its desired effect on him. In the opening dialogue, Don Pedro targets Benedick for uncharacteristically harsh criticisms, saying that for too long Benedick has dodged Cupid's arrows, so that the tiny god of love will not dare to shoot at him. Don Pedro remarks sarcastically that Benedick's heart is as sound as a bell and his tongue should serve as a clapper for the bell. Hence Benedick's tongue speaks what his heart thinks. Benedick refutes the statement, declaring that he is no longer the kind of man he used to be. Again, Don Pedro provokes him, saying that no true drop of blood in Benedick is truly touched with love. Elsewhere, Don John sows the seeds of his malicious plot by telling Claudio and Don Pedro that Hero is unfaithful. He invites them to join him outside Hero's window to see for himself.

Notes The scene opens on a humorous note and then assumes a serious tone. Benedick is in love, and the changes in him are obvious. His reticence, the change in his manner of dressing, his "toothache" -- all point to the change that has come over him. He dresses like a Dutchman on one day, a Frenchman on the second, a German on the third and a Spaniard on the fourth day. To his friends, this strange behavior is proof enough that he is in love. This lighthearted banter quickly comes to an end when Don John comes into the picture, casting his spell of imminent doom. The scene shows Don John's villainy at its worst. The innocent Hero is dishonored by the suggestion that she has been unfaithful to Hero. Claudio is incensed and proclaims that he will dissolve his marriage if he finds evidence enough to prove Don John's allegation. He agrees to go to Hero's that night to witness her disloyalty. This scene marks the development of the main plot towards the climax. Here, the serious and comic Themes are played out simultaneously. Claudio and Don John derive great pleasure in making Benedick as the butt of their friendly jokes. Ironically they are themselves being gulled by Don John's plotting, which is much darker and evil. Claudio's reaction to this accusation against his loved one is unbelievably accepting. Rather than disbelieve, he threatens punishment if the accusations are true. "...in the congregation, where I should wed, there will I shame her." Claudio had earlier mistrusted Don Pedro's wooing of Hero, and now he has almost immediately lost faith in Hero. Claudio's character is revealed here as flawed. He is not courageous enough to stand by his feelings, nor is he loyal enough to trust his beloved Hero. Don John has achieved his evil goal of exploiting Claudio's weakness.

Don Pedro, Claudio and Benedick reconvene in a room in the house. Don Pedro and Claudio find that Benedick is somewhat melancholy. This is because he is still thinking about Beatrice. The other two tease him that he is finally in love. Benedick and Leonato leave to discuss private matters. Don John then rushes in, bearing the bad news of Hero's supposed infidelity and impurity. Don John promises his brother and Claudio proof of his assertions at midnight.


Scene III.

A street.

[Enter Dogberry and his compartner [Verges], with the Watch.]

Dog.
Are you good men and true?

Verg.
Yea, or else it were pity but they should suffer salvation, body
and soul.

Dog.
Nay, that were a punishment too good for them if they should have
any allegiance in them, being chosen for the Prince's watch.

Verg.
Well, give them their charge, neighbour Dogberry.

Dog.
First, who think you the most desartless man to be constable?

1. Watch.
Hugh Oatcake, sir, or George Seacoal; for they can write and
read.

Dog.
Come hither, neighbour Seacoal. God hath bless'd you with a good
name. To be a well-favoured man is the gift of fortune, but to
write and read comes by nature.

2. Watch.
Both which, Master Constable--

Dog.
You have. I knew it would be your answer. Well, for your favour,
sir, why, give God thanks and make no boast of it; and for your
writing and reading, let that appear when there is no need of
such vanity. You are thought here to be the most senseless and
fit man for the constable of the watch.  Therefore bear you the
lanthorn. This is your charge: you shall comprehend all vagrom
men; you are to bid any man stand, in the Prince's name.

2. Watch.
How if 'a will not stand?

Dog.
Why then, take no note of him, but let him go, and presently call
the rest of the watch together and thank God you are rid of a
knave.

Verg.
If he will not stand when he is bidden, he is none of the
Prince's subjects.

Dog.
True, and they are to meddle with none but the Prince's subjects.
You shall also make no noise in the streets; for the watch to
babble and to talk is most tolerable, and not to be     endured.

2. Watch.
We will rather sleep than talk. We know what belongs to a watch.

Dog.
Why, you speak like an ancient and most quiet watchman, for I
cannot see how sleeping should offend. Only have a care that your
bills be not stol'n. Well, you are to call at all the
alehouses and bid those that are drunk get them to bed.

2. Watch.
How if they will not?

Dog.
Why then, let them alone till they are sober. If they make you
not then the better answer, You may say they are not the men you
took them for.

2. Watch.
Well, sir.

Dog.
If you meet a thief, you may suspect him, by virtue of your
office, to be no true man; and for such kind of men, the less you
meddle or make with them, why, the more your honesty.

2. Watch.
If we know him to be a thief, shall we not lay hands on him?

Dog.
Truly, by your office you may; but I think they that touch pitch
will be defil'd. The most peaceable way for you, if you do take a
thief, is to let him show himself what he is, and
steal out of your company.

Verg.
You have been always called a merciful man, partner.

Dog.
Truly, I would not hang a dog by my will, much more a man who
hath any honesty in him.

Verg.
If you hear a child cry in the night, you must call to the nurse
and bid her still it.

2. Watch.
How if the nurse be asleep and will not hear us?

Dog.
Why then, depart in peace and let the child wake her with crying;
for the ewe that will not hear her lamb when it baes will never
answer a calf when he bleats.

Verg.
'Tis very true.

Dog.
This is the end of the charge: you, constable, are to present the
Prince's own person. If you meet the Prince in the night, you may
stay him.

Verg.
Nay, by'r lady, that I think 'a cannot.

Dog.
Five shillings to one on't with any man that knows the statutes,
he may stay him! Marry, not without the Prince be willing; for
indeed the watch ought to offend no man, and it is
an offence to stay a man against his will.

Verg.
By'r lady, I think it be so.

Dog.
Ha, ah, ha! Well, masters, good night. An there be any matter of
weight chances, call up me. Keep your fellows' counsels and your
own, and good night. Come, neighbour.

2. Watch.
Well, masters, we hear our charge. Let us go sit here upon the
church bench till two, and then all to bed.

Dog.
One word more, honest neighbours. I pray you watch about Signior
Leonato's door; for the wedding being there tomorrow, there is a
great coil to-night. Adieu. Be vigitant, I beseech you.

               [Exeunt Dogberry and Verges.]

                 [Enter Borachio and Conrade.]

Bora.
What, Conrade!

2. Watch.
[aside] Peace! stir not!

Bora.
Conrade, I say!

Con.
Here, man. I am at thy elbow.

Bora.
Mass, and my elbow itch'd! I thought there would a scab follow.

Con.
I will owe thee an answer for that; and now forward with thy
tale.

Bora.
Stand thee close then under this penthouse, for it drizzles rain,
and I will, like a true drunkard, utter all to thee.

2. Watch.
[aside] Some treason, masters. Yet stand close.

Bora.
Therefore know I have earned of Don John a thousand ducats.

Con.
Is it possible that any villany should be so dear?

Bora.
Thou shouldst rather ask if it were possible any villany should
be so rich; for when rich villains have need of poor ones, poor
ones may make what price they will.

Con.
I wonder at it.

Bora.
That shows thou art unconfirm'd. Thou knowest that the fashion of
a doublet, or a hat, or a cloak, is nothing to a man.

Con.
Yes, it is apparel.

Bora.
I mean the fashion.

Con.
Yes, the fashion is the fashion.

Bora.
Tush! I may as well say the fool's the fool. But seest thou not
what a deformed thief this fashion is?

2. Watch.
[aside] I know that Deformed. 'A bas been a vile thief this seven
year; 'a goes up and down like a gentleman. I remember his name.

Bora.
Didst thou not hear somebody?

Con.
No; 'twas the vane on the house.

Bora.
Seest thou not, I say, what a deformed thief this fashion is? how
giddily 'a turns about all the hot-bloods between fourteen and
five-and-thirty? sometimes fashioning them like Pharaoh's
soldiers in the reechy painting, sometime like god Bel's priests
in the old church window, sometime like the shaven Hercules in
the smirch'd worm-eaten tapestry, where his codpiece seems as
massy as his club?

Con.
All this I see; and I see that the fashion wears out more apparel
than the man. But art not thou thyself giddy with the fashion
too, that thou hast shifted out of thy tale into telling    me of
the fashion?

Bora.
Not so neither. But know that I have to-night wooed Margaret, the
Lady Hero's gentlewoman, by the name of Hero. She leans me out at
her mistress' chamber window, bids me a thousand times good
night--I tell this tale vilely; I should first tell thee how the
Prince, Claudio and my master, planted and placed and possessed
by my master Don John, saw afar off in the orchard this amiable
encounter.

Con.
And thought they Margaret was Hero?

Bora.
Two of them did, the Prince and Claudio; but the devil my master
knew she was Margaret; and partly by his oaths, which first
possess'd them, partly by the dark night, which did
deceive them, but chiefly by my villany, which did confirm any
slander that Don John had made, away went Claudio enrag'd; swore
he would meet her, as he was appointed, next morning at the
temple, and there, before the whole congregation, shame her with
what he
saw o'ernight and send her home again without a husband.

2. Watch.
We charge you in the Prince's name stand!

1. Watch.
Call up the right Master Constable. We have here recover'd the
most dangerous piece of lechery that ever was known in the
commonwealth.

2. Watch.
And one Deformed is one of them. I know him; 'a wears a lock.

Con.
Masters, masters--

1. Watch.
You'll be made bring Deformed forth, I warrant you.

Con.
Masters--

2. Watch.
Never speak, we charge you. Let us obey you to go with us.

Bora.
We are like to prove a goodly commodity, being taken up of these
men's bills.

Con.
A commodity in question, I warrant you. Come, we'll obey you.

                                                     [Exeunt.]

Dogberry and Verges, both fools in charge of the watchmen, get one of their men and make him the constable of the watch for the night. He agrees, but asks what he should do if he orders a man to stop and the man refuses. Dogberry tells him to ignore the man, and good riddance of a knave, because they can only stop loyal subjects of the Prince. Verges then orders the man to keep silence throughout the town. They leave the man to his job as constable, and Dogberry orders him to wake him up only if something important comes up. Borachio and Conrad arrive and accidentally stand within hearing distance of the watchman whom Dogberry appointed constable. Borachio tells Conrad that he earned a thousand ducats from Don John that night because he wooed Margaret in Hero's room and called her Hero. Meanwhile, Don John had brought Don Pedro and Claudio to orchard where they watched this whole scene and became convinced that Hero was committing infidelity. One of the night watchmen, having overheard this story, arrests Borachio and Conrad for villainy. They agree to go peacefully and are taken to be judicially interrogated

Dogberry appears with his deputy, Verges, and the men who will take the night watch "the Prince's watch." Dogberry gives his men their charge for the evening and then leaves them to their duty. Borachio and Conrade appear and converse, unknowingly within eavesdropping range of the watchmen. Borachio tells Conrade of his romancing of Margaret dressed as Hero in sight of Claudio and Don Pedro and of the considerable reward Don John has promised him for this deception. The watchmen arrest the two men.

In Shakespeare's time, officials such as Dogberry and his watch were often depicted as incompetent, and Dogberry is surely one of the most incompetent. Dogberry often thinks of one word but says another, suggesting he uses words beyond his true vocabulary in an effort to sound authoritative and educated. As a result, he sometimes says the opposite of what he means. For example, in his charge to the watch he says, "who think you the most desartless man to be constable?" but he means "deserving" not "desartless" . And he compliments Seacoal as "the most senseless and fit man for the constable of the watch" -- "sensible"? The watch "shall comprehend all vagrom men" -- certainly he means "apprehend all vagrant men." Verges occasionally does the same thing: In his first comment, he suggests as a punishment "they should suffer salvation body and soul" -- surely meaning "suffer damnation."  Dogberry expresses a unique philosophy of maintaining security: Let sleeping drunks lie, don't make noise, don't meddle with thieves, don't awaken nurses to quiet crying children, offend no one, sleep when you can. In the 1993 film of the play, Michael Keaton portrays Dogberry as an object of ridicule, entering and exiting with Verges as if they were riding horses. And yet, is Dogberry really as incompetent and fuzzy-headed as he appears on first sight and hearing? Some of his lines have an undercurrent of good sense and wry humor shining through his loose tongue -- for example, in his comments on the possible vanity associated with Seacoal's ability to read and write; in the avoidance of argument and violence; and in the metaphor of the ewe, its lamb, and a calf. Perhaps Dogberry is more sly than inept. The play's audience gets only Borachio's brief description of the crucial love scene in Hero's window. Margaret, who seems quite fond of her mistress, probably does not know what she was participating in, but why does she dress in Hero's clothes and let Borachio call her Hero?  In Act II, Scene 1, the wedding was set for exactly a week  after Claudio proposed to Hero. This present scene takes place the night before the wedding. The intervening days have certainly flown by, most of them apparently uneventful except for the eavesdropping scenes. Shakespeare does not indicate how Beatrice and Benedick behave publicly in each other's presence after their eavesdropping episodes, nor if there are any other efforts to bring Beatrice and Benedick together.

This is a classic Shakespearean scene of low comedy. The two amusing characters, Constable Dogberry and his assistant Verges, are giving instructions to the watchmen to do 'nothing' at all for their duty. They are hapless, ineffectual, confusing men with no clear sense of purpose or direction-a characteristic that will come to be very significant later in the plot. Borachio has performed his part in the dirty plot against Hero and Claudio by meeting his lover Margaret at Hero's window, and allowing Don Pedro and Claudio to mistake her for Hero. A dismayed and angry Claudio plans to insult Hero the next day by publicly shaming her. Don Pedro soothes him, and Don John acts as if he has had no part in the dirty deed Borachio, in a drunken confession, relates the whole incident to his friend, Conrade, and boasts about the huge sum of money he was given in exchange for his part in this plot. One of Dogberry's watchmen overhears Borachio and, not realizing the full extent of the crime but suspecting foul play, takes him and Conrade into custody.

Notes There is a wonderful mingling of humor and seriousness in this scene, as in the preceding one. Dogberry and Verges, stalwart comic characters in Shakespeare's play, haplessly play a role of great importance in the eventual outcome of the plot. Typical of Shakespeare's low comedy characters, Dogberry and Verges use malapropisms . Some examples from the text are the use of salvation instead of damnation, and desertless for deserving. The fact that the speakers are unaware of their folly amuses the audience and confounds the plot even more. Borachio's villainy is the serious aspect of this scene. The way he fools Don Pedro and Claudio shows how unethical he is, and his incessant boasting shows a total lack of remorse. True to his name Borachio is the drunken confessor who ultimately and inadvertently leads to the resolution of an otherwise possibly tragic plot twist. Again, as in Othello, Shakespeare shows how honest and gallant men play into the hands of unscrupulous elements. He also makes use of the constant and dangerous habit of observing without fully understanding . The characters of this play seem to constantly be noting events and misinterpreting them with the worst possible consequences.

The watchmen Dogberry and Verges patrol the streets of Messina in search of trouble. Borachio and Conrade also walk into the street, but they are unaware that the watchmen are listening to their conversation. Borachio tells Conrade that he was given 1,000 ducats for his services to Don John in the scheme. He tells Conrade about how he pretended to be "Hero's" lover. Apparently, Don Pedro and Claudio believed that the girl really was Hero and decided to publicly humiliate her the next day at the wedding. The two watchmen, enraged at this villainy, arrest them.


Scene IV.

A Room in Leonato's house.

[Enter Hero, and Margaret and Ursula.]

Hero.
Good Ursula, wake my cousin Beatrice and desire her to rise.

Urs.
I will, lady.

Hero.
And bid her come hither.

Urs.
Well.                                             [Exit.]

Marg.
Troth, I think your other rebato were better.

Hero.
No, pray thee, good Meg, I'll wear this.

Marg.
By my troth, 's not so good, and I warrant your cousin will say
so.

Hero.
My cousin's a fool, and thou art another. I'll wear none but
this.

Marg.
I like the new tire within excellently, if the hair were a
thought browner; and your gown's a most rare fashion, i' faith.
I saw the Duchess of Milan's gown that they praise so.

Hero.
O, that exceeds, they say.

Marg.
By my troth, 's but a nightgown in respect of
yours--cloth-o'-gold and cuts, and lac'd with silver, set with
pearls down sleeves, side-sleeves, and skirts, round underborne
with a blush tinsel. But for a fine, quaint, graceful, and
excellent fashion, yours is worth ten on't.

Hero.
God give me joy to wear it! for my heart is exceeding heavy.

Marg.
'Twill be heavier soon by the weight of a man.

Hero.
Fie upon thee! art not ashamed?

Marg.
Of what, lady? of speaking honourably? Is not marriage honourable
in a beggar? Is not your lord honourable without marriage? I
think you would have me say, 'saving your
reverence, a husband.' An bad thinking do not wrest true
speaking, I'll offend nobody. Is there any harm in 'the heavier
for a husband'?  None, I think, an it be the right husband and
the right wife.  Otherwise 'tis light, and not heavy. Ask my Lady
Beatrice else.
Here she comes.

                           [Enter Beatrice.]

Hero.
Good morrow, coz.

Beat.
Good morrow, sweet Hero.

Hero.
Why, how now? Do you speak in the sick tune?

Beat.
I am out of all other tune, methinks.

Marg.
Clap's into 'Light o' love.' That goes without a burden.  Do you
sing it, and I'll dance it.

Beat.
Yea, 'Light o' love' with your heels! then, if your husband have
stables enough, you'll see he shall lack no barnes.

Marg.
O illegitimate construction! I scorn that with my heels.

Beat.
'Tis almost five o'clock, cousin; 'tis time you were ready.
By my troth, I am exceeding ill. Hey-ho!

Marg.
For a hawk, a horse, or a husband?

Beat.
For the letter that begins them all, H.

Marg.
Well, an you be not turn'd Turk, there's no more sailing by the
star.

Beat.
What means the fool, trow?

Marg.
Nothing I; but God send every one their heart's desire!

Hero.
These gloves the Count sent me, they are an excellent perfume.

Beat.
I am stuff'd, cousin; I cannot smell.

Marg.
A maid, and stuff'd! There's goodly catching of cold.

Beat.
O, God help me! God help me! How long have you profess'd
apprehension?

Marg.
Ever since you left it. Doth not my wit become me rarely?

Beat.
It is not seen enough. You should wear it in your cap. By my
troth, I am sick.

Marg.
Get you some of this distill'd carduus benedictus and lay it to
your heart. It is the only thing for a qualm.

Hero.
There thou prick'st her with a thistle.

Beat.
Benedictus? why benedictus? You have some moral in this
'benedictus.'

Marg.
Moral? No, by my troth, I have no moral meaning; I meant plain
holy thistle. You may think perchance that I think you are in
love. Nay, by'r lady, I am not such a fool to think what I list;
nor I list not to think what I can; nor indeed I cannot think, if
I would think my heart out of thinking, that you are in love, or
that you will be in love, or that you can be in
love.  Yet Benedick was such another, and now is he become a man.
He swore he would never marry; and yet now in despite of his
heart he eats his meat without grudging; and how you may be
converted I know not, but methinks you look with your eyes as
other women do.

Beat.
What pace is this that thy tongue keeps?

Marg.
Not a false gallop.

                     [Enter Ursula.]

Urs.
Madam, withdraw. The Prince, the Count, Signior Benedick, Don
John, and all the gallants of the town are come to fetch you to
church.

Hero.
Help to dress me, good coz, good Meg, good Ursula.

                                                   [Exeunt.]

Hero is getting dressed by Margaret for her wedding that day. She sends Ursula to fetch Beatrice, who arrives but has lost her wittiness and has also caught a cold. Margaret makes severally sexually explicit puns before mentioning to Beatrice that Benedick is now in love. Margaret then implies that perhaps Beatrice will someday decide to fall in love much the Benedick has. Ursula interrupts her and informs Hero that the men are all gathered to take her to the church

Early on the wedding morning, Hero and her gentlewomen are preparing Hero for her wedding. Hero sends Ursula to bring Beatrice. Margaret is critical of what Hero has chosen to wear but quickly backs off when Hero scolds her lightly. Margaret also teases Hero about Claudio and his soon-to-be presence in her bed. When Beatrice arrives, she says that she is not feeling well. Margaret teases her that she is sick with love. Ursula returns to tell them that the men have come to take Hero to the church.

Notice the parallels between Beatrice's illness, whatever it is, and Benedick's "tooth-ache" in Act III, Scene 2, and between the teasing of Beatrice by Hero and Margaret here and the teasing of Benedick by his friends in the earlier scene. Both Beatrice and Benedick are suffering through this important change in their mindsets. Remember that Margaret has participated in the love scene in Hero's window the night before, dressed in Hero's clothes. Perhaps this makes her edgy, so that she argues a bit with Hero about the choice of wedding clothes. Her conversation with Hero has sexual connotations , and her conversation with Beatrice has uncharacteristic bite to it as she teases Beatrice about Benedick. Her words and actions suggest that she is unaware that her encounter with Borachio was designed to destroy Hero's reputation -- even unaware that they were observed. Carduus benedictus was the Latin name for Holy Thistle, a popular general remedy of the day, especially for problems associated with the heart. As Margaret intended, the Latin name reminds Beatrice about Benedick: "Benedictus, why benedictus? You have some moral in this benedictus." Though Margaret denies the connection, she goes on to talk about Beatrice being in love. This line is a good example of Shakespeare's use of language and ideas of the time, which is likely to be partly missed by today's readers or playgoers unfamiliar with carduus benedictus and its use.

The plot does not move much in this scene. Hero is dressing up for the wedding. Margaret seems innocent of the evil that the audience knows she has participated in, armed with a sharp wit and a friendly disposition. She says that Hero's heart will be heavier by the weight of a man-a veiled reference to marital union. She also teases Beatrice by pointing at the change in her, suggesting that she, too, needs to marry.

Notes Margaret's reference to a "heavy heart" is ironic as Hero's heart is going to be burdened with the events to come. This scene shows Margaret in a better light than what Borachio has made of her in the intrigue. Perhaps, as will be claimed later, Margaret is an unwitting accomplice in the deeds against Hero. This scene also gives the audience a clear reinforcement of the idea that Beatrice has been transformed. The three women are experiencing distinct states of mind. Beatrice is going through her new found emotion of love, which is completely unlike what she has ever been through. Margaret is thrilled with the approaching wedding, which is evident from her constant forthright babble. Hero's heart is heavy, possibly apprehensive of the sudden change that will transform her life. This is a charming scene that depicts something that every woman experiences at some stage in her life. Shakespeare has brought in all these feelings within a single moment in time.

It is the wedding day and Hero is busy with preparations for the event. Beatrice enters and seems to be out of spirits. Margaret and Beatrice playfully exchange taunts. Then, Margaret tells Beatrice that she doesn't know why Benedick is suddenly so forlorn and subdued. Much to Beatrice's horror, she wonders aloud if the two are in love.


Scene V.

The hall in Leonato's house.

[Enter Leonato and the Constable [Dogberry] and the
Headborough[verges.]

Leon.
What would you with me, honest neighbour?

Dog.
Marry, sir, I would have some confidence with you that decerns
you nearly.

Leon.
Brief, I pray you; for you see it is a busy time with me.

Dog.
Marry, this it is, sir.

Verg.
Yes, in truth it is, sir.

Leon.
What is it, my good friends?

Dog.
Goodman Verges, sir, speaks a little off the matter--an old man,
sir, and his wits are not so blunt as, God help, I would desire
they were; but, in faith, honest as the skin between his
brows.

Verg.
Yes, I thank God I am as honest as any man living that is an old
man and no honester than I.

Dog.
Comparisons are odorous. Palabras, neighbour Verges.

Leon.
Neighbours, you are tedious.

Dog.
It pleases your worship to say so, but we are the poor Duke's
officers; but truly, for mine own part, if I were as tedious as a
king, I could find in my heart to bestow it all of your
worship.

Leon.
All thy tediousness on me, ah?

Dog.
Yea, in 'twere a thousand pound more than 'tis; for I hear as
good exclamation on your worship as of any man in the city; and
though I be but a poor man, I am glad to hear it.

Verg.
And so am I.

Leon.
I would fain know what you have to say.

Verg.
Marry, sir, our watch to-night, excepting your worship's
presence, ha' ta'en a couple of as arrant knaves as any in
Messina.

Dog.
A good old man, sir; he will be talking. As they say, 'When the
age is in, the wit is out.' God help us! it is a world to see!
Well said, i' faith, neighbour Verges. Well, God's a
good man. An two men ride of a horse, one must ride behind. An
honest soul, i' faith, sir, by my troth he is, as ever broke
bread; but God is to be worshipp'd; all men are not alike, alas,
good neighbour!

Leon.
Indeed, neighbour, he comes too short of you.

Dog.
Gifts that God gives.

Leon.
I must leave you.

Dog.
One word, sir. Our watch, sir, have indeed comprehended two
aspicious persons, and we would have them this morning examined
before your worship.

Leon.
Take their examination yourself and bring it me. I am now in
great haste, as it may appear unto you.

Dog.
It shall be suffigance.

Leon.
Drink some wine ere you go. Fare you well.

                  [Enter a Messenger.]

Mess.
My lord, they stay for you to give your daughter to her husband.

Leon.
I'll wait upon them. I am ready.

                             [Exeunt Leonato and Messenger.]

Dog.
Go, good partner, go get you to Francis Seacoal; bid him bring
his pen and inkhorn to the jail. We are now to examination these
men.

Verg.
And we must do it wisely.

Dog.
We will spare for no wit, I warrant you. Here's that shall drive
some of them to a non-come. Only get the learned writer to set
down our excommunication, and meet me at the jail.

                                                   [Exeunt.]

Dogberry has gone to Leonato to inform him that two suspicious men were arrested the night before. He asks Leonato to examine the men, but since the wedding is that day, Leonato refuses and orders Dogberry to conduct the examination himself. Dogberry orders Verges to bring one of his men who knows how to write so that they can write down the entire examination and bring it to Leonato

Dogberry and Verges stop Leonato on his way to the wedding. They want to tell him about the two men they have arrested -- Borachio and Conrade -- and ask him to hold a hearing for their testimony. Dogberry is so long-winded that Leonato becomes impatient and tells them to take statements from the prisoners and bring them to him after the wedding. Dogberry and Verges prepare to question the prisoners at the jail.

Dogberry's belabored, convoluted way of speaking serves a dramatic purpose by so confusing Leonato that relating the information that Dogberry's men have -- that a fraud has been carried out in the window scene -- is postponed, allowing Don John's plot to go ahead. Consider what might have happened if Leonato, on his way to the wedding, had taken time to hear the testimony about the plot to dishonor Hero. Notice again some of the clever  expressions used by Dogberry: a play on the word "marry," use of the Spanish word "palabras," and the philosophical digression beginning with "A good old man, sir." One of the most outrageous "Dogberryisms" of this scene relates to Leonato's impatient comment that Dogberry and Verges are being "tedious," which Dogberry interprets as a great compliment and then graciously returns the compliment, enhanced. Another gem of Dogberryism is his report of his men's proud action: They have comprehended two auspicious persons!

Dogberry and Verges inform Leonato that two suspicious men have been arrested. In their own bumbling, malapropistic way, they try to inform Leonato of the nature of the incident, but he is preoccupied with his daughter's upcoming nuptials. He tells Dogberry to investigate the two men and let him get to his daughter's wedding.

Notes Chance has an important part to play here. If Dogberry and Verges had been able to elucidate their concerns clearly enough, the unhappiness of the next few scenes could have been averted. If Leonato had simply been more perceptive, or even wiser, he would have known his watchmen were rather foolish and he might have listened to them more carefully. If he had been wise and patient enough to investigate he would have known the truth about the conspiracy and spared Hero the sorrow and insult of the church incident. This tragically ironic circumstance paves the way for the climactic moments of the play, when the evil deeds of Don John and Borachio temporarily mar the happiness of the good characters. The suspense of the near miss-the possibility that tragedy might have been averted-is tantalizing to the audience.

The watchmen Dogberry and Verges approach Leonato to try and tell him what treachery has happened. Unfortunately, by their own idiocy and bumbling conversation, Leonato becomes frustrated in even talking to them and promises to return after the wedding. In the meantime, the watchmen decide to get written confessions from their prisoners.