ACT I. Scene I.

An orchard before Leonato's house.

[Enter Leonato (Governor of Messina), Hero (his Daughter), and
Beatrice (his Niece), with a Messenger.]

Leon.
I learn in this letter that Don Pedro of Arragon comes this
night to Messina.

Mess.
He is very near by this. He was not three leagues off when I left
him.

Leon.
How many gentlemen have you lost in this action?

Mess.
But few of any sort, and none of name.

Leon.
A victory is twice itself when the achiever brings home full
numbers. I find here that Don Pedro hath bestowed much honour on
a young Florentine called Claudio.

Mess.
Much deserv'd on his part, and equally rememb'red by Don Pedro.
He hath borne himself beyond the promise of his age, doing in the
figure of a lamb the feats of a lion. He hath indeed better
bett'red expectation than you must expect of me to tell you how.

Leon.
He hath an uncle here in Messina will be very much glad of it.

Mess.
I have already delivered him letters, and there appears much joy
in him; even so much that joy could not show itself modest enough
without a badge of bitterness.

Leon.
Did he break out into tears?

Mess.
In great measure.

Leon.
A kind overflow of kindness. There are no faces truer than those
that are so wash'd. How much better is it to weep at joy than to
joy at weeping!

Beat.
I pray you, is Signior Mountanto return'd from the wars or no?

Mess.
I know none of that name, lady. There was none such in the army
of any sort.

Leon.
What is he that you ask for, niece?

Hero.
My cousin means Signior Benedick of Padua.

Mess.
O, he's return'd, and as pleasant as ever he was.

Beat.
He set up his bills here in Messina and challeng'd Cupid at the
flight, and my uncle's fool, reading the challenge, subscrib'd
for Cupid and challeng'd him at the burbolt. I pray you, how many
hath he kill'd and eaten in these wars? But how many hath he
kill'd? For indeed I promised to eat all of his killing.

Leon.
Faith, niece, you tax Signior Benedick too much; but he'll be
meet with you, I doubt it not.

Mess.
He hath done good service, lady, in these wars.

Beat.
You had musty victual, and he hath holp to eat it. He is a very
valiant trencherman; he hath an excellent stomach.

Mess.
And a good soldier too, lady.

Beat.
And a good soldier to a lady; but what is he to a lord?

Mess.
A lord to a lord, a man to a man; stuff'd with all honourable
virtues.

Beat.
It is so indeed. He is no less than a stuff'd man; but for the
stuffing--well, we are all mortal.

Leon.
You must not, sir, mistake my niece. There is a kind of merry war
betwixt Signior Benedick and her. They never meet but there's a
skirmish of wit between them.

Beat.
Alas, he gets nothing by that! In our last conflict four of his
five wits went halting off, and now is the whole man govern'd
with one; so that if he have wit enough to keep himself warm, let
him bear it for a difference between himself and his horse; for
it is all the wealth that he hath left to be known a reasonable
creature. Who is his companion now? He hath every month a new
sworn brother.

Mess.
Is't possible?

Beat.
Very easily possible. He wears his faith but as the fashion of
his hat; it ever changes with the next block.

Mess.
I see, lady, the gentleman is not in your books.

Beat.
No. An he were, I would burn my study. But I pray you, who is his
companion? Is there no young squarer now that will make a voyage
with him to the devil?

Mess.
He is most in the company of the right noble Claudio.

Beat.
O Lord, he will hang upon him like a disease! He is sooner caught
than the pestilence, and the taker runs presently mad.  God help
the noble Claudio! If he have caught the Benedick, it will cost
him a thousand pound ere 'a be cured.

Mess.
I will hold friends with you, lady.

Beat.
Do, good friend.

Leon.
You will never run mad, niece.

Beat.
No, not till a hot January.

Mess.
Don Pedro is approach'd.

[Enter Don Pedro, Claudio, Benedick, Balthasar, and John the
Bastard.]

 Pedro.
Good Signior Leonato, are you come to meet your trouble?  The
fashion of the world is to avoid cost, and you encounter it.

Leon.
Never came trouble to my house in the likeness of your Grace; for
trouble being gone, comfort should remain; but when you depart
from me, sorrow abides and happiness takes his leave.

Pedro.
You embrace your charge too willingly. I think this is your
daughter.

Leon.
Her mother hath many times told me so.

Bene.
Were you in doubt, sir, that you ask'd her?

Leon.
Signior Benedick, no; for then were you a child.

Pedro.
You have it full, Benedick. We may guess by this what you are,
being a man. Truly the lady fathers herself. Be happy, lady; for
you are like an honourable father.

Bene.
If Signior Leonato be her father, she would not have his head on
her shoulders for all Messina, as like him as she is.

Beat.
I wonder that you will still be talking, Signior Benedick.
Nobody marks you.

Bene.
What, my dear Lady Disdain! are you yet living?

Beat.
Is it possible Disdain should die while she hath such meet food
to feed it as Signior Benedick? Courtesy itself must convert to
disdain if you come in her presence.

Bene.
Then is courtesy a turncoat. But it is certain I am loved of all
ladies, only you excepted; and I would I could find in my heart
that I had not a hard heart, for truly I love none.

Beat.
A dear happiness to women! They would else have been troubled
with a pernicious suitor. I thank God and my cold blood, I am of
your humour for that. I had rather hear my dog bark at a crow
than a man swear he loves me.

Bene.
God keep your ladyship still in that mind! So some gentleman or
other shall scape a predestinate scratch'd face.

Beat.
Scratching could not make it worse an 'twere such a face as yours
were.

Bene.
Well, you are a rare parrot-teacher.

Beat.
A bird of my tongue is better than a beast of yours.

Bene.
I would my horse had the speed of your tongue, and so good a
continuer. But keep your way, a God's name! I have done.

Beat.
You always end with a jade's trick. I know you of old.

Pedro.
That is the sum of all, Leonato. Signior Claudio and Signior
Benedick, my dear friend Leonato hath invited you all. I tell him
we shall stay here at the least a month, and he heartly prays
some occasion may detain us longer. I dare swear he is no
hypocrite, but prays from his heart.

Leon.
If you swear, my lord, you shall not be forsworn. [To Don John]
Let me bid you welcome, my lord. Being reconciled to the Prince
your brother, I owe you all duty.

John.
I thank you. I am not of many words, but I thank you.

Leon.
Please it your Grace lead on?

Pedro.
Your hand, Leonato. We will go together.

[Exeunt. Manent Benedick and Claudio.]

Claud.
Benedick, didst thou note the daughter of Signior Leonato?

Bene.
I noted her not, but I look'd on her.

Claud.
Is she not a modest young lady?

Bene.
Do you question me, as an honest man should do, for my simple
true judgment? or would you have me speak after my custom, as
being a professed tyrant to their sex?

Claud.
No. I pray thee speak in sober judgment.

Bene.
Why, i' faith, methinks she's too low for a high praise, too
brown for a fair praise, and too little for a great praise.  Only
this commendation I can afford her, that were she other   than
she is, she were unhandsome, and being no other but as she is, I
do not like her.

Claud.
Thou thinkest I am in sport. I pray thee tell me truly how thou
lik'st her.

Bene.
Would you buy her, that you enquire after her?

Claud.
Can the world buy such a jewel?

Bene.
Yea, and a case to put it into. But speak you this with a sad
brow? or do you play the flouting Jack, to tell us Cupid is a
good hare-finder and Vulcan a rare carpenter? Come, in what key
shall a man take you to go in the song?

Claud.
In mine eye she is the sweetest lady that ever I look'd on.

Bene.
I can see yet without spectacles, and I see no such matter.
There's her cousin, an she were not possess'd with a fury,exceeds
her as much in beauty as the first of May doth the last of
December. But I hope you have no intent to turn husband, have
you?

Claud.
I would scarce trust myself, though I had sworn the contrary, if
Hero would be my wife.

Bene.
Is't come to this? In faith, hath not the world one man but he
will wear his cap with suspicion? Shall I never see a bachelor of
threescore again? Go to, i' faith! An thou wilt
needs thrust thy neck into a yoke, wear the print of it and sigh
away  Sundays.

[Enter Don Pedro.]

Look! Don Pedro is returned to seek you.

Pedro.
What secret hath held you here, that you followed not to
Leonato's?

Bene.
I would your Grace would constrain me to tell.

Pedro.
I charge thee on thy allegiance.

Bene.
You hear, Count Claudio. I can be secret as a dumb man, I would
have you think so; but, on my allegiance--mark you this-on my
allegiance! he is in love. With who? Now that is your Grace's
part. Mark how short his answer is: With Hero, Leonato's short
daughter.

Claud.
If this were so, so were it utt'red.

Bene.
Like the old tale, my lord: 'It is not so, nor 'twas not so; but
indeed, God forbid it should be so!'

Claud.
If my passion change not shortly, God forbid it should be
otherwise.

Pedro.
Amen, if you love her; for the lady is very well worthy.

Claud.
You speak this to fetch me in, my lord.

Pedro.
By my troth, I speak my thought.

Claud.
And, in faith, my lord, I spoke mine.

Bene.
And, by my two faiths and troths, my lord, I spoke mine.

Claud.
That I love her, I feel.

Pedro.
That she is worthy, I know.

Bene.
That I neither feel how she should be loved, nor know how she
should be worthy, is the opinion that fire cannot melt out of me.

I will die in it at the stake.

Pedro.
Thou wast ever an obstinate heretic in the despite of beauty.

Claud.
And never could maintain his part but in the force of his will.

Bene.
That a woman conceived me, I thank her; that she brought me up, I
likewise give her most humble thanks; but that I will have a
rechate winded in my forehead, or hang my bugle in an invisible
baldrick, all women shall pardon me. Because I will not do them
the wrong to mistrust any, I will do myself the right to trust
none; and the fine is (for the which I may go the finer), I will
live a bachelor.

Pedro.
I shall see thee, ere I die, look pale with love.

Bene.
With anger, with sickness, or with hunger, my lord; not with
love. Prove that ever I lose more blood with love than I will get
again with drinking, pick out mine eyes with a ballad-maker's pen
and hang me up at the door of a brothel house for the sign of
blind Cupid.

Pedro.
Well, if ever thou dost fall from this faith, thou wilt prove a
notable argument.

Bene.
If I do, hang me in a bottle like a cat and shoot at me; and he
that hits me, let him be clapp'd on the shoulder and call'd Adam.

Pedro.
Well, as time shall try.  'In time the savage bull doth bear the
yoke.'

Bene.
The savage bull may; but if ever the sensible Benedick bear it,
pluck off the bull's horns and set them in my forehead, and let
me be vilely painted, and in such great letters as they
write 'Here is good horse to hire,' let them signify under my
sign 'Here you may see Benedick the married man.'

Claud.
If this should ever happen, thou wouldst be horn-mad.

Pedro.
Nay, if Cupid have not spent all his quiver in Venice, thou wilt
quake for this shortly.

Bene.
I look for an earthquake too then.

Pedro.
Well, you will temporize with the hours. In the meantime, good
Signior Benedick, repair to Leonato's, commend me to him and tell
him I will not fail him at supper; for indeed he hath made great
preparation.

Bene.
I have almost matter enough in me for such an embassage; and so I
commit you--

Claud.
To the tuition of God. From my house--if I had it--

Pedro.
The sixth of July. Your loving friend, Benedick.

Bene.
Nay, mock not, mock not. The body of your discourse is sometime
guarded with fragments, and the guards are but slightly basted on
neither. Ere you flout old ends any further, examine your
conscience. And so I leave you.                  [Exit.]

Claud.
My liege, your Highness now may do me good.

Pedro.
My love is thine to teach. Teach it but how,
    And thou shalt see how apt it is to learn
    Any hard lesson that may do thee good.

Claud.
Hath Leonato any son, my lord?

Pedro.
No child but Hero; she's his only heir.
    Dost thou affect her, Claudio?

Claud.
O my lord,
When you went onward on this ended action,
I look'd upon her with a soldier's eye,
That lik'd, but had a rougher task in hand
Than to drive liking to the name of love;
But now I am return'd and that war-thoughts
Have left their places vacant, in their rooms
Come thronging soft and delicate desires,
All prompting me how fair young Hero is,
Saying I lik'd her ere I went to wars.

Pedro.
Thou wilt be like a lover presently
And tire the hearer with a book of words.
If thou dost love fair Hero, cherish it,
And I will break with her and with her father,
And thou shalt have her. Wast not to this end
That thou began'st to twist so fine a story?

Claud.
How sweetly you do minister to love,
That know love's grief by his complexion!
But lest my liking might too sudden seem,
I would have salv'd it with a longer treatise.

Pedro.
What need the bridge much broader than the flood?
The fairest grant is the necessity.
Look, what will serve is fit. 'Tis once, thou lovest,
And I will fit thee with the remedy.
I know we shall have revelling to-night.
I will assume thy part in some disguise
And tell fair Hero I am Claudio,
And in her bosom I'll unclasp my heart
And take her hearing prisoner with the force
And strong encounter of my amorous tale.
Then after to her father will I break,
And the conclusion is, she shall be thine.
In practice let us put it presently.                 [Exeunt.]

A messenger arrives in Messina and informs Leonato, the governor, that Don Pedro will be coming to the town with his army. Leonato asks how the war campaign went and learns that no men of high rank lost their lives, and that a man named Claudio received many honors for his valor in battle. Beatrice, the niece of Leonato, asks the messenger if Benedick of Padua has returned from the wars as well. The messenger informs her that he is with Don Pedro's army and has befriended Claudio. Beatrice sarcastically compares Benedick to a disease that men catch and says a great deal of negative things about Benedick. Don Pedro arrives accompanied by Claudio, Benedick, Balthasar, and Don John. He greets Leonato and speaks with him while Beatrice and Benedick converse together. Beatrice is caustic and tells Benedick it is a good thing that he does not love any of the ladies because then they would have to put up with him far more than they do now. Benedick is unable to compete with her wit and they finally break off conversation. Don Pedro announces to his men that Leonato has generously allowed them to stay for a month. Leonato turns to Don John and tells him he is glad that Don John and Don Pedro are reconciled. Don John says, "I am not a man of many words, but I thank you". Everyone leaves except Claudio and Benedick. Claudio turns to Benedick and asks him, "didst thou note the daughter of Signor Leonato. Benedick tells him, "I noted her not, but I looked on her" and makes fun of Hero's complexion and height. Claudio tells him he is serious about her and wants to know what Benedick really thinks. Don Pedro enters and asks Benedick to tell him what is going on. Benedick reveals that Claudio is in love with Hero. Don Pedro agrees that Hero would be a good match for Claudio. He then turns to Benedick and asks him why he mocks Claudio. Benedick tells him he wishes to remain a bachelor for the rest of his life and that he will never flush with love for a woman. Don Pedro tells him that he will see Benedick in love before he dies. He then sends Benedick away to Leonato. Claudio asks Don Pedro is Leonato has any sons and learns that Hero alone is his heir. Don Pedro promises to speak with Leonato about arranging a match between them, but Claudio is afraid to speak to Hero and tell her he loves her. Don Pedro informs him that there will be a masked ball that night and that he will pretend to be Claudio and woo Hero in Claudio's name

Much Ado About Nothing opens in a liminal situation with a war that has just ended. The men enter a "golden world" in Messina where the women are already located. In this situation, people fail to take things seriously, causing the war of the wombs to soon turn into a war of words. Benedick and Beatrice are the main examples of male/female rivalry that converts into belligerent wordplay. The first act portrays all the characters as being very careful to observe social norms, especially those of civilian obligations to the military. This creates a mask of politeness that slowly dissipates throughout the play until by the end there is nothing but directness of speech left. However, the first exchange between Leonato and Don Pedro is a model of politeness, with each man dismissing the problems of having guests for a month as being meaningless. Don Pedro further catalyzes the entire plot by carefully maneuvering the conversation towards Hero, Leonato's daughter. Don Pedro: "Good Signor Leonato, are you come to meet your trouble? The fashion of the world is to avoid cost, and you encounter it. Leonato: "Never came trouble to my house in the likeness of your grace; for trouble being gone, comfort should remain, but when you depart from me, sorrow abides and happiness takes his leave. Don Pedro: "You embrace your charge too willingly. I think this is your daughter. Leonato: Her mother hath many times told me so" Much Ado About Nothing is primarily a play about gossip.Indeed, what does the title mean? It indicates a big fuss about a trifle, and by the end this is exactly what happens. All of Claudio's accusations will come to nothing, causing the play to end the same way as if they never occurred at all. Shakespeare brilliantly plays on the meanings of nothing throughout this play. The word "nothing" would actually have been pronounced "noting" in his time. It can mean worthless, a person of little worth, or also mean everything, in the sense that much ado is made about everything. Alternatively "nothing" is a word that means female genitalia, Hero's "nothing", an interpretation of the word that is evidenced by how ashamed Hero is of sexual desire. The pronunciation of "nothing" plays on "noting" as well. To note is to observe or mark carefully, something everyone in the play fails to do. It can also mean to stigmatize or point out, exactly what Claudio does to Hero in the church. Indeed, Claudio's first comment about Hero is whether anyone else noted her, "didst thou note the daughter of Signor Leonato?" . Benedick tells him, "I noted her not, but I looked on her" , at which point he proceeds to stigmatize her. Benedick jokes about her complexion and height, thereby "noting" Hero in his own way. Silence is something that Shakespeare always views with suspicion, and this play is no different. Silence is actually worse than talking because it leads to plotting and conniving. As Don John says, "I am not a man of many words" , thereby marking him as a man who instead will plot against the others. Indeed, it is soon obvious that silence is worse than talking too much, something that Beatrice and Benedick do. The danger of silence also affects the relationship between Hero and Claudio. Since they fail to talk with one another, they never resolve questions relating to the other's motives. Indeed, a crucial first mistake for Claudio is when he allows Don Pedro to speak to Hero for him, thereby creating confusion about Don Pedro's true motives. Don John is the evil bastard brother in the play. He is only recently reconciled with Don Pedro and he plays the role of a schemer, a discontent and a machiavel. In reality, Don John is merely the excluded character, a man who cannot fit into the society he is unwillingly a part of. When Conrad tries to tell him he should act happy around Don Pedro, he states, "I had rather be a canker in a hedge than a rose in his grace" . Don John thus ignores the family network, fails to observe the proper code of conduct, misses the dinner party thrown by Leonato, and rebels against the compulsory set of social rules. The melancholy of Don John is noted by Conrad who says, "why are you thus out of measure sad?" . Don John represents the sadness that is a recurring theme in Shakespeare's comedies. Shylock and Antonio in Merchant of Venice and Egeus in The Comedy of Errors who is condemned to die are other characters who are melancholy. There is no reason for this sadness, and it breeds on itself.

A messenger delivers a letter to Leonato, governor of Messina, announcing that Don Pedro, Prince of Aragon, will arrive shortly. Don Pedro and his followers have emerged victorious and almost unscathed after halting a rebellion by his own brother, Don John. The messenger reports that Claudio, a young lord of Florence, has carried himself especially well and is much honored by Don Pedro. Leonato's niece Beatrice asks the messenger about the fate of another of Don Pedro's men: Benedick of Padua. Apparently, she does not think well of him, as indicated by her scathing remarks about him. The messenger reports that Benedick also acquitted himself well in the battle and is now a companion of Claudio's. Don Pedro soon arrives with Claudio and Benedick, as well as Don John and other soldiers. Leonato graciously receives the visitors and invites them to stay for at least a month. Left to themselves, Beatrice and Benedick exchange taunts and insults, symptomatic of their "merry war." Later, alone with Benedick, Claudio confides that he wants to marry Hero, Leonato's daughter. He ignores Benedick's heckling about marriage and his disparagement of Hero. Don Pedro reenters and is told about Claudio's intent to seek Hero for his wife. Don Pedro encourages Claudio and promises to approach Hero and her father on Claudio's behalf during the evening's masked celebrations.

The battle between the forces of Don Pedro and his rebellious brother Don John is alluded to quite briefly in references to the few casualties suffered and the valor of both Claudio and Benedick. The audience gets a first clue about the discord between Don John and Don Pedro when the stage direction refers to "Don John the Bastard," and a second clue when Leonato refers to John as being "reconciled to the Prince your brother." Not until Act I, Scene 3, does the audience learn how his defeat and his submissive position in his brother's circle humiliates Don John and electrifies his desire to create trouble in the household, especially for Claudio, who was instrumental in his defeat. In this first scene, all four "romantic" young people who will remain at the center of the play's action are introduced: Hero represents a young woman in tune with the traditions of the time -- seen but seldom heard, deferential to her father, awaiting an appropriate suitor to take formal steps to court her. In keeping with her modest demeanor, Hero has only one brief line during this scene, but she is the subject of conversation as soon as she leaves the stage. By contrast, Beatrice tends to take charge of every conversation, not reluctant to state her own views on a subject regardless of whom she addresses. Her wit and sarcasm are wasted on the messenger, who doesn't know what to make of her. Her uncle, Leonato, acknowledges her ongoing "merry war" with Benedick. Finally, she engages Benedick himself, who can give back as good as he gets. Before he appears, Claudio is reported to be much honored by his commanding officer, Don Pedro. Like Hero, he is quiet when Don Pedro and his men are welcomed by Leonato. But when everyone leaves, Claudio immediately begins talking about his love for Hero in a very traditional manner, prompting Benedick to rant against women in general and Hero in particular. Claudio readily accepts Don Pedro's offer to speak both to Hero and to her father for him. During this planning, Claudio determines that Hero is Leonato's only heir. Benedick too is mentioned before he appears, but only by Beatrice, who is clearly bitter toward him, apparently as the result of previous experience with him. In his battle of words with Beatrice, Benedick puts up a noble fight, finally putting her on the defensive, but while Benedick has the last word this time, Beatrice ends the conversation with an aside, spoken for the benefit of the audience, revealing that she and Benedick have known each other personally in the past and that this war of words is not something new. Regarding his attitudes about women, Benedick admits that he is a "professed tyrant to their sex." This one scene literally sets the stage for all the main events to follow: the courtship and anticipated marriage of Hero and Claudio, the thorny relationship between Beatrice and Benedick, and the disruptive mischief of Don John. The first instance of wordplay on "noting/nothing" appears in this scene: Claudio: Benedick, didst thou note the daughter of SignorLeonato?Benedick: I noted her not, but I looked on her. This dialogue introduces two meanings of the word "note": observe and study. The groundwork for the play's first deception is soon laid: Not only will Don Pedro speak to Hero on Claudio's behalf, but he will be wearing a mask and pretending to be Claudio. The next two scenes will reveal that the conversation between Claudio and Don Pedro has been overheard  by at least two others: by Antonio's "man" and by Borachio, one of Don John's followers. The conversation is misunderstood by Antonio's man, leading to some confusion, but correctly reported by Borachio to Don John, leading to a first deception to be set up by Don John.

Don Pedro, the prince of Aragon, is returning home from a battle where he was able to suppress the mutiny against him initiated by his bastard brother, Don John. On the way, he and his two companions, Claudio and Benedick, stop to visit Leonato, Don Pedro's friend and the governor of Messina. Leonato's daughter, Hero, and his niece, Beatrice, are present as the warriors are announced and praised for their feats in battle. Beatrice makes particular inquiries about Benedick, though she claims not to care for him and even pokes fun at him. She claims to detest any show of affection from a man, particularly Benedick. It is obvious, however, that she has some feelings for him. Leonato tells the others that his niece Beatrice and the noble young Benedick have always bantered and bickered with one another. Claudio, who is exalted for his valor, meets Hero and falls in love with her instantly. He confides his feelings to his dear friend, Don Pedro, who promises at once to help Claudio court her at the masquerade ball that evening. Benedick expresses his admiration for women in general, but swears to always remain a bachelor. As is customary when the two of them are together, Beatrice and Benedick exchange insults and clever sayings about men and women.

Notes As with many of Shakespeare's plays, Much Ado About Nothing opens with talk of battle. This particular battle involves a war between Don Pedro and his illegitimate brother Don John, another common scenario in Shakespeare. Don Pedro emerges as the victor and is traveling with his heroic companions when he stops to visit an old friend with a lovely daughter and a clever niece. This history becomes the backdrop for the entire action of the play. In Messina, the couples who will form the basis of the romantic comedy are introduced. Claudio is not only a gallant soldier; he is also a romantic. He falls in love with Hero at first sight. While Claudio instantly falls in love with Hero, Benedick is set in contrast, constantly escaping from Cupid's arrow. Like Beatrice, Benedick makes witty speeches and swears his bachelorhood, all but confirming that he will fall in love by the end of the play. These situations are at the heart of the action of the play. Matchmaking is set in place to bring the two couples together. Don Pedro will help Claudio win the hand of his beloved Hero. And together the two of them will plot and conspire to bring Benedick and Beatrice together, despite Benedick's resolution. This act also serves to illustrate and reveal the characters of the many of the main characters. For example, a comparison between the ladies reveals that Beatrice is bold and talkative whereas Hero is reticent and meek. Verbally, Hero is described as "Leonato's short daughter". Beatrice is clever and scornful of men. The male characters are also revealed more fully. For example, Claudio is described as brave and noble, but he is also impulsive. He falls in love at first sight. The scene also highlights Claudio's constant and persistent ideas about appealing to socially acceptable standards. He asks Benedick for his approval of Hero, which sets the tone for the events that follow. Benedick, for his part, is Claudio's total opposite. He is jaded, cynical. His view of women is not clouded by his appreciation of their finer attributes. Claudio and Hero make up the perfect "romantic couple"-she is demure and meek, he is brave and romantic. Beatrice and Benedick, on the other hand, make up the perfect passionate couple-both have fiery wills, clever minds, and bold hearts.

Leonato, the governor of Messina, his daughter Hero and his niece Beatrice introduce the scene. Leonato tells the ladies that Don Pedro of Arragon will be arriving that night in Messina. Apparently, a war has been raging and peace is a recent status quo, so many soldiers are returning home after a long interim period. The group also learns that Don Pedro favors a young warrior named Claudio and that another soldier named Don Peter has distinguished himself. The Lady Beatrice asks if Signior Benedick of Padua has also returned from battle. Beatrice has enjoyed a merry war of wits between herself and Benedick; both manifest emotions of disgust for the other. While her companions jovially extol Benedick's virtues, Beatrice calls him a fool. At this point, Leonato's nephew Don Pedro and Benedick arrive. Benedick and Beatrice engage in a war of words. Don Pedro interrupts to tell everyone that Leonato has agreed to let Benedick and Claudio stay in his home for at least a month. After some more chitchat, everyone goes inside except Benedick and Claudio. Claudio has fallen in love at first sight with Hero and asks for his friend's opinion of her. Benedick replies that she is indeed fair and compassionate, but he also compares marriage to eternal bondage. Don Pedro reenters and Benedick informs him of this new amorous development. The three quarrel about women and marriage, with Benedick stoutly refusing to ever fall for feminine wiles and instead remain a bachelor. Don Pedro in turn swears to see the day when Benedick will be married. Benedick then leaves the room in a huff. Claudio tells Don Pedro that he does not know how to profess his love to Hero; Pedro replies that he will disguise himself as Claudio and woo Hero. Thus, Claudio will secure her hand in marriage without having to embarrass himself in front of her.


Scene II.

A room in Leonato's house.

[Enter [at one door] Leonato and [at another door, Antonio] an
old man, brother to Leonato.]

Leon.
How now, brother? Where is my cousin your son? Hath he provided
this music?

Ant.
He is very busy about it. But, brother, I can tell you strange
news that you yet dreamt not of.

Leon.
Are they good?

Ant.
As the event stamps them; but they have a good cover, they show
well outward. The Prince and Count Claudio, walking in a
thick-pleached alley in mine orchard, were thus much overheard by
a man of mine: the Prince discovered to Claudio that he loved my

  niece your daughter and meant to acknowledge it this night in a
dance, and if he found her accordant, he meant to take the
present time by the top and instantly break with you of it.

Leon.
Hath the fellow any wit that told you this?

Ant.
A good sharp fellow. I will send for him, and question him
yourself.

Leon.
No, no. We will hold it as a dream till it appear itself; but I
will acquaint my daughter withal, that she may be the better
prepared for an answer, if peradventure this be true. Go you and
tell her of it.                              [Exit Antonio.]

[Enter Antonio's Son with a Musician, and others.]

[To the Son] Cousin, you know what you have to do.

 --[To the Musician] O, I cry you mercy, friend. Go you with me,
and I will use your skill.--Good cousin, have a care this busy
time.                                                [Exeunt.]

Leonato and Antonio, his elder brother, meet and discuss Leonato's guests. Antonio informs Leonato that a servant of his overheard Don Pedro and Claudio speaking together in his peach orchard. The man reported that Don Pedro told Claudio he loved Hero and would acknowledge it that night at the dance, intending to go to Leonato if he found Hero consenting. Leonato is excited by this news, but tells Antonio to keep it a secret until Don Pedro actually comes to him. He only decides to tell Hero so that she may prepare an answer

In this very short scene, Antonio erroneously reports to his brother Leonato that Don Pedro is in love with Hero and will approach both her and Leonato at the coming dance. Leonato asks Antonio to tell Hero about it.

Here is the result of the first incident of overhearing or noting. Antonio's man who overheard the final conversation of the first scene -- between Don Pedro and Claudio -- did not understand that Don Pedro would be speaking to Hero and her father on behalf of Claudio rather than for himself. Thus, the stage is set for a misunderstanding: Don Pedro's masked wooing of Hero is likely to be misinterpreted by Hero because Antonio will have told her that Don Pedro desires her for himself. Borachio overheard the same conversation and will report it to his master, Don John, in the next scene. Although the first line of this scene refers to Antonio's son, Hero is later declared to be the sole heir of both Antonio and Leonato . The present version of the play is the product of several revisions by Shakespeare as well as by his first editors and publishers. In one version, Antonio's son appeared in this scene with a musician. He was edited out of the scene but is still referred to incidentally here, although later he doesn't exist at all.

Leonato and his brother Antonio plan the masquerade ball for this evening. One of Antonio's servants has overheard and misinterpreted the conversation between Don Pedro and Claudio about courting Hero. The servant wrongly concludes that Don Pedro wants to woo Hero for himself. Leonato decides to prepare his daughter for this proposal.

Notes One of Antonio's servants has overheard a conversation between Don Pedro and Claudio and has wrongly concluded that Don Pedro wishes to woo and win Hero as a wife for himself. However, the fact is that Don Pedro is going to woo Hero on behalf of Claudio and win her as a wife for Claudio. As will happen many times in the course of this play, characters observe scenes and misinterpret the meanings of these scenes. The plot is now firmly laid: Claudio wishes to marry Hero with Leonato's permission. This scene is rather odd, in that the misunderstanding is never fully used or effective. However, the scene does provide the basis for an upcoming plot against the romantic couple and also reinforces some characterization. Though Leonato questions the servant's sharpness, he should have double-checked the veracity of his information before proceeding to act upon it. This incident forewarns the readers of his Leonato's gullible nature, and also of Antonio's credibility. Otherwise, it is not an important scene.

Leonato and his brother Antonio converse in a room. Antonio reveals that he has just learned from a messenger that Don Pedro and Claudio were discussing Hero and how best to woo her. The brothers believe this turn of events to be uncalled-for good fortune. Antonio sends for the messenger that overheard the conversation and Leonato prepares to break the news to Hero.


Scene III.

Another room in Leonato's house.

[Enter Sir John the Bastard and Conrade, his companion.]

Con.
What the goodyear, my lord! Why are you thus out of measure sad?

John.
There is no measure in the occasion that breeds; therefore the
sadness is without limit.

Con.
You should hear reason.

John.
And when I have heard it, what blessings brings it?

Con.
If not a present remedy, at least a patient sufferance.

John.
I wonder that thou (being, as thou say'st thou art, born under
Saturn) goest about to apply a moral medicine to a mortifying
mischief. I cannot hide what I am: I must be sad when I have
cause, and smile at no man's jests; eat when I have stomach, and
wait for no man's leisure; sleep when I am drowsy, and tend on no
man's business; laugh when I am merry, and claw no man in his
humour.

Con.
Yea, but you must not make the full show of this till you may do
it without controlment. You have of late stood out against your
brother, and he hath ta'en you newly into his grace, where it is
impossible you should take true root but by the fair weather that
you make yourself. It is needful that you frame the season for
your own harvest.

John.
I had rather be a canker in a hedge than a rose in his grace, and
it better fits my blood to be disdain'd of all than to fashion a
carriage to rob love from any. In this, though I cannot   be said
to be a flattering honest man, it must not be denied but I am a
plain-dealing villain. I am trusted with a muzzle and
enfranchis'd with a clog; therefore I have decreed not to
sing in my cage. If I had my mouth, I would bite; if I had my
liberty, I would do my liking. In the meantime let me be that I
am, and seek not to alter me.

Con.
Can you make no use of your discontent?

John.
I make all use of it, for I use it only.

[Enter Borachio.]

Who comes here? What news, Borachio?

Bora.
I came yonder from a great supper. The Prince your brother is
royally entertain'd by Leonato, and I can give you intelligence
of an intended marriage.

John.
Will it serve for any model to build mischief on?  What is he for
a fool that betroths himself to unquietness?

Bora.
Marry, it is your brother's right hand.

John.
Who? the most exquisite Claudio?

Bora.
Even he.

John.
A proper squire! And who? and who? which way looks he?

Bora.
Marry, on Hero, the daughter and heir of Leonato.

John.
A very forward March-chick! How came you to this?

Bora.
Being entertain'd for a perfumer, as I was smoking a musty room,
comes me the Prince and Claudio, hand in hand in sad conference.
I whipt me behind the arras and there heard it agreed upon that
the Prince should woo Hero for himself, and having obtain'd her,
give her to Count Claudio.

John.
Come, come, let us thither. This may prove food to my
displeasure. That young start-up hath all the glory of my
overthrow. If I can cross him any way, I bless myself every way.
You are both sure, and will assist me?

Con.
To the death, my lord.

John.
Let us to the great supper. Their cheer is the greater that I am
subdued. Would the cook were o' my mind! Shall we go prove what's
to be done?

Bora.
We'll wait upon your lordship.
                                [Exeunt.]

Conrad approaches Don John and asks him why he is so sad looking. Don John tells him that there is not reason, merely that he prefers to be the way he is. When Conrad points out that since Don John only recently was reconciled with Don Pedro, he should try to seem happy, Don John exclaims, "I had rather be a canker in a hedge than a rose in his grace". Borachio, another friend of Don John, arrives and informs Don John that he has overheard his brother and Claudio plotting a marriage with Hero. He hid behind a wall hanging and listened to them discuss how Don Pedro would woo Hero and then give her to Claudio. Don John tells them to come with him so that he can figure out a way to thwart Claudio

Don John complains to his companion Conrade about his position in life: He is Don Pedro's bastard brother, recently defeated, without pretenses or mannerly habits, facing his dishonorable status daily while enduring his brother's hospitality. All in all, he displays a generally disagreeable attitude and seems determined to make the most of it. His second companion, Borachio, enters to report having overheard the conversation between Don Pedro and Claudio wherein "the Prince should woo Hero for himself and, having obtained her, give her to Count Claudio." Don John immediately sees this plan as an opportunity to do mischief both to Claudio -- honored for his actions against Don John -- and to Don Pedro. Don John and his men head out for the celebratory supper, Don John expressing regret that the cook is not on his side and ready to dispatch the assembled household and guests with poison.

Although the audience was introduced to an apparently submissive Don John in Scene 1, in this scene in no way is he subdued. In fact, he feels compelled to create trouble for the two men who are responsible for his recent defeat -- Don Pedro and Claudio. When Borachio reports having hidden behind a tapestry to overhear the conversation about Claudio's intentions toward Hero, Don John is cheered by the idea that he can use this situation as "food to my displeasure." This scene includes the second reported incident of overhearing/noting. Borachio has eavesdropped on the same conversation that someone reported incorrectly to Antonio -- but Borachio gets it right. The character developed as Don John is sometimes criticized because he does not have any real motive for disrupting the marriage of Hero and Claudio. Rather, this scene provides a clear motive for getting back at Claudio: That young start-up  hath all the glory of my overthrow. If I can cross him any way, I bless myself every way. Because Don Pedro is supportive of Claudio, any action against Claudio will also be an insult to his brother -- his ultimate target for trouble. The audience does not have to assume any innate or unexplainable streak of evil in Don John. The man does, however, seem to relish his villainy.

This scene presents the villain, Don John, and reveals his low character. A self-confessed rascal, he declares that he would like to remain a person with low standing rather than seek his brother's help in rising to power. He is with a friend, Conrade. Borachio, Don John's drunken accomplice, reveals that Don Pedro intends to woo Hero for Claudio. He explains that he learned this by eavesdropping. Don John expresses his strong dislike for the heroic Claudio who defeated him in battle, and says he would like to thwart the warrior's future happiness. The three men continue to plot their misdeeds.

Notes Don John has managed to perceive the reality of the situation, but uses Antonio's misconception to plot the conspiracy. This scene sows the seeds of the intrigue soon to be hatched by Borachio against Claudio and Hero, and also makes the preceding scene a little more important, in that it provides at least a basis for action. It is interesting to note that two sets of characters have interpreted the same information in a completely contrasting manner. The conspirators, Don John, Borachio, and Conrade have hit upon the actual facts about the wooing of Hero, whereas Antonio has misinterpreted the situation completely, thinking he knows the secret truth. These complicated machinations only illustrate how the same piece of news is twisted to suit each man's purpose. It also shows how an innocent girl is made the means to secure revenge. Don John is an uncomplicated villain; he has no redeeming or challenging attributes. He is a rogue, pure and simple. He confesses his attitude bluntly, saying, "I am a plain dealing villain." Given the right degree of power, Don John would destroy everyone in his path. This scene highlights his especial antipathy toward heroic Claudio, who defeated him in battle. At this juncture the culmination of evil forces threaten to mar the spirit of romantic comedy. Don John is jealous of Claudio and hates him. He will stop at nothing in the process of preventing the happiness of his enemy. These two scenes  can be viewed as contrasts in theme. They emphasize the theme of 'noting.' The same information is interpreted in two different ways. While the villainous group has managed to hit upon the accurate facts, the favored party  has misinterpreted the news entirely. This pattern will be repeated again and again in the play, culminating in the most troublesome and also the happiest moments of the play.

Don John, who is Don Pedro's illegitimate brother, walks with his companion Conrade. Although Don John is infamous for his lechery and violence, Don Pedro welcomed him as a companion anyway to give him a second chance. Don John, however, is not prepared to fawn and grovel his way into society's graces; he has returned to his old ways. Don John's henchman Borachio enters and tells him about the impending Hero-Claudio marriage. With this information, Don John devises a method of simultaneously wreaking havoc and getting his revenge on Claudio and Don Pedro. The trio leaves to further plot their scheme.


ACT II. Scene I.

A hall in Leonato's house.

[Enter Leonato, [Antonio] his Brother, Hero his Daughter, and
Beatrice his Niece, and a Kinsman; [also Margaret and Ursula.]

Leon.
Was not Count John here at supper?

Ant.
I saw him not.

Beat.
How tartly that gentleman looks! I never can see him but I am
heart-burn'd an hour after.

Hero.
He is of a very melancholy disposition.

Beat.
He were an excellent man that were made just in the midway
between him and Benedick. The one is too like an image and says
nothing, and the other too like my lady's eldest son,
evermore tattling.

Leon.
Then half Signior Benedick's tongue in Count John's mouth, and
half Count John's melancholy in Signior Benedick's face--

Beat.
With a good leg and a good foot, uncle, and money enough in his
purse, such a man would win any woman in the world--if 'a could
get her good will.

Leon.
By my troth, niece, thou wilt never get thee a husband if thou be
so shrewd of thy tongue.

Ant.
In faith, she's too curst.

Beat.
Too curst is more than curst. I shall lessen God's sending that
way, for it is said, 'God sends a curst cow short horns,' but to
a cow too curst he sends none.

Leon.
So, by being too curst, God will send you no horns.

Beat.
Just, if he send me no husband; for the which blessing I am at
him upon my knees every morning and evening. Lord, I could not
endure a husband with a beard on his face. I had rather lie in
the woollen!

Leon.
You may light on a husband that hath no beard.

Beat.
What should I do with him? dress him in my apparel and make him
my waiting gentlewoman? He that hath a beard is more than a
youth, and he that hath no beard is less than a man; and he that
is more than a youth is not for me; and he that is less than a
man, I am not for him. Therefore I will even take sixpence in
earnest of the berrord and lead his apes into hell.

Leon.
Well then, go you into hell?

Beat.
No; but to the gate, and there will the devil meet me like an old
cuckold with horns on his head, and say 'Get you to heaven,
Beatrice, get you to heaven. Here's no place for you maids.'  So
deliver I up my apes, and away to Saint Peter--for the heavens.
He shows me where the bachelors sit, and there live we as merry
as the day is long.

Ant.
[to Hero] Well, niece, I trust you will be rul'd by your father.

Beat.
Yes faith. It is my cousin's duty to make cursy and say, 'Father,
as it please you.' But yet for all that, cousin, let him be a
handsome fellow, or else make another cursy, and say,
'Father, as it please me.'

Leon.
Well, niece, I hope to see you one day fitted with a husband.

Beat.
Not till God make men of some other metal than earth.  Would it
not grieve a woman to be overmaster'd with a piece of valiant
dust? to make an account of her life to a clod of wayward marl?
No, uncle, I'll none. Adam's sons are my brethren, and truly I
hold it a sin to match in my kinred.

Leon.
Daughter, remember what I told you. If the Prince do solicit you
in that kind, you know your answer.

Beat.
The fault will be in the music, cousin, if you be not wooed in
good time. If the Prince be too important, tell him there is
measure in everything, and so dance out the answer. For, hear me,
Hero: wooing, wedding, and repenting is as a Scotch jig, a
measure, and a cinque-pace: the first suit is hot and hasty like
a Scotch jig--and full as fantastical; the wedding, mannerly
modest, as a measure, full of state and ancientry; and then comes
Repentance and with his bad legs falls into the cinque-pace
faster and faster, till he sink into his grave.

Leon.
Cousin, you apprehend passing shrewdly.

Beat.
I have a good eye, uncle; I can see a church by daylight.

Leon.
The revellers are ent'ring, brother. Make good room.

                                             [Exit Antonio.]

[Enter, [masked,] Don Pedro, Claudio, Benedick, and Balthasar.
   With them enter Antonio, also masked. After them enter
   Don John [and Borachio (without masks), who stand aside
             and look on during the dance.]

Pedro.
Lady, will you walk a bout with your friend?

Hero.
So you walk softly and look sweetly and say nothing, I am yours
for the walk; and especially when I walk away.

Pedro.
With me in your company?

Hero.
I may say so when I please.

Pedro.
And when please you to say so?

Hero.
When I like your favour, for God defend the lute should be like
the case!

Pedro.
My visor is Philemon's roof; within the house is Jove.

Hero.
Why then, your visor should be thatch'd.

Pedro.
Speak low if you speak love.         [Takes her aside.]

Balth.
Well, I would you did like me.

Marg.
So would not I for your own sake, for I have many ill qualities.

Balth.
Which is one?

Marg.
I say my prayers aloud.

Balth.
I love you the better. The hearers may cry Amen.

Marg.
God match me with a good dancer!

Balth.
Amen.

Marg.
And God keep him out of my sight when the dance is done!
Answer, clerk.

Balth.
No more words. The clerk is answered.

                                          [Takes her aside.]

Urs.
I know you well enough. You are Signior Antonio.

Ant.
At a word, I am not.

Urs.
I know you by the waggling of your head.

Ant.
 To tell you true, I counterfeit him.

Urs.
You could never do him so ill-well unless you were the very man.
Here's his dry hand up and down. You are he, you are he!

Ant.
At a word, I am not.

Urs.
Come, come, do you think I do not know you by your excellent wit?
Can virtue hide itself? Go to, mum you are he. Graces will
appear, and there's an end.   [ They step aside.]

Beat.
Will you not tell me who told you so?

Bene.
No, you shall pardon me.

Beat.
Nor will you not tell me who you are?

Bene.
Not now.

Beat.
That I was disdainful, and that I had my good wit out of the
'Hundred Merry Tales.' Well, this was Signior Benedick that said
so.

Bene.
What's he?

Beat.
I am sure you know him well enough.

Bene.
Not I, believe me.

Beat.
Did he never make you laugh?

Bene.
I pray you, what is he?

Beat.
Why, he is the Prince's jester, a very dull fool. Only his gift
is in devising impossible slanders. None but libertines delight
in him; and the commendation is not in his wit, but
in his villany; for he both pleases men and angers them, and then
they laugh at him and beat him. I am sure he is in the fleet.  I
would he had boarded me.

Bene.
When I know the gentleman, I'll tell him what you say.

Beat.
Do, do. He'll but break a comparison or two on me; which
peradventure, not marked or not laugh'd at, strikes him into
melancholy; and then there's a partridge wing saved, for the
fool will eat no supper that night.
                                                    [Music.]
We must follow the leaders.

Bene.
In every good thing.

Beat.
Nay, if they lead to any ill, I will leave them at the next
turning.

    [Dance. Exeunt (all but Don John, Borachio, and Claudio].

John.
Sure my brother is amorous on Hero and hath withdrawn her father
to break with him about it. The ladies follow her and but one
visor remains.

Bora.
And that is Claudio. I know him by his bearing.

John.
Are you not Signior Benedick?

Claud.
You know me well. I am he.

John.
Signior, you are very near my brother in his love. He is
enamour'd on Hero. I pray you dissuade him from her; she is no
equal for his birth. You may do the part of an honest man in it.

Claud.
How know you he loves her?

John.
I heard him swear his affection.

Bora.
So did I too, and he swore he would marry her tonight.

John.
Come, let us to the banquet.

                                      [Exeunt. Manet Claudio.]

Claud.
Thus answer I in name of Benedick
But hear these ill news with the ears of Claudio.
                                                  [Unmasks.]
'Tis certain so. The Prince wooes for himself.
Friendship is constant in all other things
Save in the office and affairs of love.
Therefore all hearts in love use their own tongues;
Let every eye negotiate for itself
And trust no agent; for beauty is a witch
Against whose charms faith melteth into blood.
This is an accident of hourly proof,
Which I mistrusted not. Farewell therefore Hero!
              [Enter Benedick [unmasked]].

Bene.
Count Claudio?

Claud.
Yea, the same.

Bene.
Come, will you go with me?

Claud.
Whither?

Bene.
Even to the next willow, about your own business, County.  What
fashion will you wear the garland of? about your neck, like an
usurer's chain? or under your arm, like a lieutenant's scarf?
You must wear it one way, for the Prince hath got your Hero.

Claud.
I wish him joy of her.

Bene.
Why, that's spoken like an honest drovier. So they sell bullocks.
But did you think the Prince would have served you thus?

Claud.
I pray you leave me.

Bene.
Ho! now you strike like the blind man! 'Twas the boy that stole
your meat, and you'll beat the post.

Claud.
If it will not be, I'll leave you.
               [Exit.]

Bene.
Alas, poor hurt fowl! now will he creep into sedges. But, that my
Lady Beatrice should know me, and not know me! The Prince's fool!
Ha! it may be I go under that title because I am merry. Yea, but
so I am apt to do myself wrong. I am not so reputed. It is the
base (though bitter) disposition of Beatrice that puts the world
into her person and so gives me out.  Well, I'll be revenged as I
may.

                         [Enter Don Pedro.]

Pedro.
Now, signior, where's the Count? Did you see him?

Bene.
Troth, my lord, I have played the part of Lady Fame, I found him
here as melancholy as a lodge in a warren. I told him, and I
think I told him true, that your Grace had got the good will of
this young lady, and I off'red him my company to a willow tree,
either to make him a garland, as being forsaken, or to bind him
up a rod, as being worthy to be whipt.

Pedro.
To be whipt? What's his fault?

Bene.
The flat transgression of a schoolboy who, being overjoyed with
finding a bird's nest, shows it his companion, and he steals it.

Pedro.
Wilt thou make a trust a transgression? The transgression is in
the stealer.

Bene.
Yet it had not been amiss the rod had been made, and the garland
too; for the garland he might have worn himself, and the rod he
might have bestowed on you, who, as I take it, have stol'n his
bird's nest.

Pedro.
I will but teach them to sing and restore them to the owner.

Bene.
If their singing answer your saying, by my faith you say
honestly.

Pedro.
The Lady Beatrice hath a quarrel to you. The gentleman that
danc'd with her told her she is much wrong'd by you.

Bene.
O, she misus'd me past the endurance of a block! An oak but with
one green leaf on it would have answered her; my very visor began
to assume life and scold with her. She told me, not thinking I
had been myself, that I was the Prince's jester, that I was
duller than a great thaw; huddling jest upon jest with such
impossible conveyance upon me that I stood like a man at a mark,
with a whole army shooting at me. She speaks poniards, and every

  word stabs. If her breath were as terrible as her terminations,
there were no living near her; she would infect to the North
Star. I would not marry her though she were endowed with all that
Adam had left him before he transgress'd. She would have made
Hercules have turn'd spit, yea, and have cleft his club to make
the fire too. Come, talk not of her. You shall find her the
infernal Ate in good apparel. I would to God some scholar would
conjure her, for certainly, while she is here, a man may live as
quiet in hell as in a sanctuary; and people sin upon purpose,
because they would go thither; so indeed all disquiet, horror,
and perturbation follows her.

                    [Enter Claudio and Beatrice, Leonato, Hero.]

Pedro.
Look, here she comes.

Bene.
Will your Grace command me any service to the world's end? I will
go on the slightest errand now to the Antipodes that you can
devise to send me on; I will fetch you a toothpicker now from the
furthest inch of Asia; bring you the length of Prester John's
foot; fetch you a hair off the great Cham's beard; do you any
embassage to the Pygmies--rather than hold three words'
conference with this harpy. You have no employment for me?

Pedro.
None, but to desire your good company.

Bene.
O God, sir, here's a dish I love not! I cannot endure my Lady
Tongue.
[Exit.]

Pedro.
Come, lady, come; you have lost the heart of Signior Benedick.

Beat.
Indeed, my lord, he lent it me awhile, and I gave him use for
it--a double heart for his single one. Marry, once before he won
it of me with false dice; therefore your Grace may well say I
have lost it.

Pedro.
You have put him down, lady; you have put him down.

Beat.
So I would not he should do me, my lord, lest I should prove the
mother of fools. I have brought Count Claudio, whom you sent me
to seek.

Pedro.
Why, how now, Count? Wherefore are you sad?

Claud.
Not sad, my lord.

Pedro.
How then? sick?

Claud.
Neither, my lord.

Beat.
The Count is neither sad, nor sick, nor merry, nor well; but
civil count--civil as an orange, and something of that jealous
complexion.

Pedro.
I' faith, lady, I think your blazon to be true; though I'll be
sworn, if he be so, his conceit is false. Here, Claudio, I have
wooed in thy name, and fair Hero is won. I have broke with    her
father, and his good will obtained. Name the day of marriage, and
God give thee joy!

Leon.
Count, take of me my daughter, and with her my fortunes.  His
Grace hath made the match, and all grace say Amen to it!

Beat.
Speak, Count, 'tis your cue.

Claud.
Silence is the perfectest herald of joy. I were but little happy
if I could say how much. Lady, as you are mine, I am yours.  I
give away myself for you and dote upon the exchange.

Beat.
Speak, cousin; or, if you cannot, stop his mouth with a kiss and
let not him speak neither.

Pedro.
In faith, lady, you have a merry heart.

Beat.
Yea, my lord; I thank it, poor fool, it keeps on the windy side
of care. My cousin tells him in his ear that he is in her heart.

Claud.
And so she doth, cousin.

Beat.
Good Lord, for alliance! Thus goes every one to the world but I,
and I am sunburnt. I may sit in a corner and cry 'Heigh-ho for a
husband!'

Pedro.
Lady Beatrice, I will get you one.

Beat.
I would rather have one of your father's getting. Hath your Grace
ne'er a brother like you? Your father got excellent husbands, if
a maid could come by them.

Pedro.
Will you have me, lady?

Beat.
No, my lord, unless I might have another for working days: your
Grace is too costly to wear every day. But I beseech your Grace
pardon me. I was born to speak all mirth and no matter.

Pedro.
Your silence most offends me, and to be merry best becomes you,
for out o' question you were born in a merry hour.

Beat.
No, sure, my lord, my mother cried; but then there was a star
danc'd, and under that was I born. Cousins, God give you joy!

Leon.
Niece, will you look to those things I told you of?

Beat.
I cry you mercy, uncle, By your Grace's pardon.
            [Exit.]

Pedro.
By my troth, a pleasant-spirited lady.

Leon.
There's little of the melancholy element in her, my lord.  She is
never sad but when she sleeps, and not ever sad then; for I have
heard my daughter say she hath often dreamt of
unhappiness and wak'd herself with laughing.

Pedro.
She cannot endure to hear tell of a husband.

Leon.
O, by no means! She mocks all her wooers out of suit.

Pedro.
She were an excellent wife for Benedick.

Leon.
O Lord, my lord! if they were but a week married, they would talk
themselves mad.

Pedro.
County Claudio, when mean you to go to church?

Claud.
To-morrow, my lord. Time goes on crutches till love have all his
rites.

Leon.
Not till Monday, my dear son, which is hence a just sevennight;
and a time too brief too, to have all things answer my mind.

Pedro.
Come, you shake the head at so long a breathing; but I warrant
thee, Claudio, the time shall not go dully by us.  I will in the
interim undertake one of Hercules' labours,
which is, to bring Signior Benedick and the Lady Beatrice into a
mountain of affection th' one with th' other. I would fain have
it a match, and I doubt not but to fashion it if you three will
but minister such assistance as I shall give you direction.

Leon.
My lord, I am for you, though it cost me ten nights' watchings.

Claud.
And I, my lord.

Pedro.
And you too, gentle Hero?

Hero.
I will do any modest office, my lord, to help my cousin to a good
husband.

Pedro.
And Benedick is not the unhopefullest husband that I know.  Thus
far can I praise him: he is of a noble strain, of approved
valour, and confirm'd honesty. I will teach you how to humour
your cousin, that she shall fall in love with Benedick; and I,
[to Leonato and Claudio] with your two helps, will so practise on
Benedick that, in despite of his quick wit and his queasy
stomach, he shall fall in love with Beatrice. If we can do this,
Cupid is no longer an archer; his glory shall be ours, for we are
the only love-gods. Go in with me, and I will tell you my drift.

                                      [Exeunt.]

Leonato has noticed that Don John did not attend the dinner, but Hero tells them he is melancholic. Beatrice says that a combination between Don John and Benedick would create the perfect man, one who spoke just enough. Leonato tells Beatrice she will never get a husband if she continues to make such "shrewd" remarks. Beatrice acknowledges that she is happy without a husband and plans to die a spinster. Antonio turns to Hero and tells her he hopes she will obey her father, but Beatrice interrupts him and mocks his expectation that Hero will curtsy to her father's every demand. Ignoring her, Leonato orders Hero to accept the Prince's offer if he comes to her. Beatrice gives Hero some advice about how to accept, telling her how to make the Prince wait for an answer and comparing wooing, wedding and repenting to various dances. Leonato tells Beatrice, "Cousin, you apprehend passing shrewdly". Don Pedro and the other revelers arrive wearing masks. He immediately goes over to Hero and asks her to dance a with him. She agrees, but tells him she hopes the face underneath the mask is far better looking than the mask itself. Meanwhile, Balthasar, the servant to Don Pedro, has approached Margaret, a serving-gentlewoman to Hero, and they flirt briefly. Antonio and Ursula form another couple on the dance floor, and Ursula tells him she recognizes him as Signor Antonio. Antonio tries to deny it, but she refuses to believe him. Benedick meets up with Beatrice and refuses to reveal who he is. She starts to talk about Benedick, calling him, "the Prince's jester, a very dull fool". Benedick assures her he will inform Benedick what she has said about him. Don John and Borachio figure out who Claudio is by his bearing. Don John approaches him and asks him if he is Benedick, and Claudio plays along, claiming he is. Don John tells Claudio that he should separate Don Pedro and Hero because she is not equal to his brother's birth. Borachio chimes in as well, telling Claudio that he heard Don Pedro swear his affection for Hero and plan to marry her that very night. Once Claudio is alone he comments that it must be true since friendship is constant in all things except for love. He remarks, "Farewell, therefore, Hero". Benedick arrives and invites Claudio to go with him, telling him the Prince "that got your Hero". Claudio, depressed by the thought that Don Pedro has stolen Hero from him, leaves. Don Pedro himself arrives and Benedick accuses him of betraying his friendship to Claudio by stealing Hero. Don Pedro denies the charge and says that he was merely doing what he could for the couple. Benedick has been stung by what Beatrice said about him while they danced, and the he tries to tell Don Pedro what she said that hurt him. He is mostly upset because she called him the "Prince's jester", yet he ironically confirms this accusation by comically reenacting the scene for Don Pedro. Beatrice arrives with Hero, Claudio and Leonato. Benedick leaves as soon as he sees her, unable to bear her comments any longer. Don Pedro chastises Beatrice for having been so harsh to Benedick, but she replies that Benedick once won her heart and toyed with her. He then turns to Claudio, who is still jealous of him, and informs Claudio that he wooed Hero successfully and spoke with Leonato who consented to the marriage. Neither Claudio nor Hero are able to speak to one another, and finally Claudio says, "Silence is the perfectest herald of joy". Beatrice remarks that everyone is getting married and leaving home except she herself. Don Pedro gallantly offers to marry her but she refuses, telling him he is "too costly to wear every day". She leaves after Leonato reminds her of some work she needs to take care of. Claudio and Leonato agree to hold the wedding in one week, and in the meantime Don Pedro tells them they will contrive to get Benedick and Beatrice to fall in love. Claudio and Hero agree to participate in the plot

Beatrice is one of the most pleasant characters because of her wit and sharp tongue. However, the audience soon realizes that she is so witty because she is on track to be a true spinster. Leonato tells her "By my troth, niece, thou wilt never get thee a husband if thou be so shrewd of thy tongue" . There is therefore a great deal of ambiguity over whether she will marry or not. Beatrice woefully comments on Hero's engagement, "Thus goes everyone in the world but I, and I am sunburnt" . In spite of her railings against marriage, Beatrice realizes that marriage is a way out of the house and that it represents the only way to escape from Leonato's protection. However, Beatrice is also more than aware that marriage brings many risks with it. "Would it not grieve a woman to be overmastered with a piece of valiant dust?" . Marriage for a woman is to risk her integrity by submitting to a man. A similar fate is seen by Benedick, who views marriage as risk to mens' honor. As a result, he commonly refers to bulls' horns and cuckoldry in the first act. Both Benedick and Beatrice hold a mature awareness of what marriage entails, causing them to shun it. This will show up later in the last act when Benedick remarks, "Thou and I are too wise to woo peaceably" . In fact, it is Beatrice and Benedick alone who pay the most attention to social customs. Ironically they do this while arguing with each other, thereby breaking with social norms. They put on a facade of disregard for social norms, but actually note what is happening around them far more than other people. This is evident when Leonato tells Beatrice, "Cousin, you apprehend passing shrewdly" . The masked ball is one of the more interesting scenes because of the fact that nearly everyone is unmasked before it starts. Leonato and Hero know that Don Pedro will approach her, Beatrice and Benedick, although seemingly unaware of who the other is, could arguably be quite aware of with whom they are speaking, and the other characters all recognize each other as well. Of all the characters present, only the two unmasked people at the ball, namely Borachio and Don John, are actually wearing masks. They pretend not to know Claudio and cause him to think Don Pedro is wooing Hero for himself. Benedick appears to be quite distraught over what Beatrice calls him at the ball, a Prince's jester. In speaking with Don Pedro he gives a wonderful performance in which his mind is wonderfully captured, a piling up of anger and fury but also commingled with his attempts to render the situation comical in order to entertain Don Pedro. This attempt at comedy in spite of his anger ironically confirms Beatrice's charge that he is the Prince's jester: She told me, not thinking I had been myself, that I was the prince's jester, that I was duller than a great thaw; huddling jest upon jest with such impossible conveyance upon me that I stood like a man at a mark, with a whole army shooting at me. She speaks poniards, and every word stabs: if her breath were as terrible as her terminations, there were no living near her; she would infect to the north star. I would not marry her, though she were endowed with all that Adam bad left him before he transgressed: she would have made Hercules have turned spit, yea, and have cleft his club to make the fire too. The quarreling between Benedick and Beatrice has often been marveled at, both within the play itself and by the audience. Many readers of the play try to imagine that they are in fact deeply in love in spite of their quarrels, and Beatrice does indicate that she previously loved Benedick: "Marry, once before he  won it  of me, with false dice" . However, their own words later on belie any sort of deeper love between them, especially in the last scene where they realize they have been tricked into declaring their love for one another. Yet the conspiracy to make them marry is a form of social pressure that they cannot overcome. Benedick, having overheard Leonato say Beatrice loves him, is afraid of being censured: "I hear how I am censured" . He later admits that, "The world must be peopled" . Their constant fight against the pressures of society fail in the end, and we are left thinking that marriage is itself a conspiracy. The specter of silence crops up again in this act, this time between Claudio and Hero. The silence between them will become more dangerous later when Claudio thinks Hero has committed infidelity. In this act he surprisingly cannot speak even once he realizes that she will marry him. He says, "Silence is the perfectest herald of joy" . The irony of course is that silence is no herald at all, but rather implies complete lack of emotion from either Hero or Claudio towards the other person. Language is a significant part of the play and the plot. Much Ado About Nothing has more prose than almost any other Shakespearian play, and it is significant to see how Shakespeare uses this prose. Benedick remarks on the change in Claudio by noting his change in language: "He was wont to speak plain and to the purpose, like an honest man and a soldier, and now is he turned orthography" . This shows the transition from uncluttered military language to stylistic prose, and it is indicative of some of the confusion in the play, specifically, people do not speak plainly. A common theme throughout Shakespearian drama is the role of gardens. Gardens are dangerous places to be because they harbor serpents trying to seduce the senses. Much Ado About Nothing has many garden scenes, all of which are involved in plotting against or confusing other characters. For instance, Don Pedro spread his rumors about Beatrice loving Benedick in the garden where Benedick is hiding. In the first scene Claudio and Don Pedro are overheard in the garden, causing Leonato to think Don Pedro wants to wed Hero. Beatrice will likewise overhear Hero and Ursula in the garden, causing her to think Benedick loves her. Shakespeare was acutely aware of the similarity between the words note, noting, and nothing: Don Pedro:Do it in notes. Balthasar: Note this before my notes: There's not a note of mine that's worth the noting. Don Pedro: Why, these are very crotchets  that he speaks - Note notes, forsooth, and nothing!" The song that Balthasar sings is a song about infidelity. However, the men listening all fail to note this song. Indeed, the song actually foreshadows what will be mis-noted in the near future when Hero is accused of infidelity. The use of the word fashion is deftly invoked by Shakespeare both as a noun and a verb. It represents the social system that all the characters are involved in, and is used to draw a parallel between the evil plots of Don John and the more mild ones of Don Pedro. "I would fain have it a match, and I doubt not but to fashion it" . This comment by Don Pedro is immediately followed by Don John who allows Borachio to fashion his plot as well: "I will so fashion the matter that Hero shall be absent" . The parallel between the two brothers makes their plots actually seem identical in a sense; they both corrupt the social system to achieve their own ends. The fact that society will condemn Don John but not Don Pedro is merely because we as a society think that marriage is not a crime whereas infidelity is. In many ways, the audience becomes guilty of Don Pedro's corruption of the truth while hypocritically condemning Don John's.

The celebration and dance scene includes several short encounters among many of the characters. Most participants are masked, adding to the confusion. First, Leonato, Antonio, Hero, and Beatrice appear, commenting on Don John's sad and sour appearance. Beatrice uses the occasion as another opportunity to berate Benedick. Leonato and Antonio warn her she is heading for spinsterhood if she continues her attitudes about Benedick in particular and about men and marriage in general. As usual, Hero says very little. To Beatrice's amusement, Hero is cautioned by both her uncle and her father to be attentive and receptive to Don Pedro when he approaches her this evening. As guests arrive, Leonato signals everyone to get masks and to mix with the guests. Soon everyone except for Don John and Borachio is masked. With sweet words, Don Pedro asks Hero to dance with him. Then the musician Balthasar and Margaret are overheard in a flirtatious exchange, followed by a similar flirtation by Antonio with Ursula. When the masked Beatrice and Benedick have a brief encounter, she does not seem to know him with his mask and tells this stranger how upset she is with Benedick. Borachio points out the masked Claudio to Don John. Pretending that Claudio is Benedick, Don John tells him that Don Pedro has sworn his affection for Hero and swears to marry her. He asks Claudio-as-Benedick to talk Don Pedro out of marriage since Hero is "no equal for his birth." Don John and Borachio leave Claudio lamenting the deception by his Prince. Benedick appears and tries to joke about Claudio's apparent loss of Hero, but Claudio walks away in distress. Don Pedro appears, and Benedick tells him of Claudio's heartache at the prince's winning of Hero. Surprised, Don Pedro says he has always intended to court Hero only for Claudio. When Beatrice appears with Claudio, Benedick hurriedly leaves. Claudio returns and Don Pedro makes it clear to him that, just as planned, he has spoken to Hero only for Claudio. He signals for Leonato and Hero to join them. Hero is shy when Claudio expresses his renewed joy, and Beatrice chides her. When Don Pedro jokes with Beatrice about finding her a husband now, even himself, Beatrice quickly leaves. After a date is set for the wedding of Claudio and Hero, Don Pedro proposes a scheme to bring Beatrice and Benedick together. Leonato, Claudio, and Hero all agree to help in the plan.

This long scene may be confusing, because events significant to the forward movement of the story are intermixed with insignificant events. Furthermore, everyone except the villains -- Don John and his cohorts -- are masked. To make the scene even more confusing, two unrelated plots are hatched -- Don John's first plot and Don Pedro's plot for bringing Beatrice and Benedick together. And the scene has many sub-scenes: the opening conversation about Don John and about Beatrice's future; the dance that includes several short conversations; the deception of Claudio by Don John; the clarification by Don Pedro; the blessing of Claudio and Hero for their marriage; and finally Don Pedro's plot for Beatrice and Benedick. When the dancing starts, it may help readers to imagine couples moving in a large circle around the stage, pausing briefly so the audience overhears parts of their conversations: Don Pedro and Hero, Balthasar and Margaret, Antonio and Ursula, and Beatrice and Benedick. The brief appearances of these characters reveal much about their personalities: Leonato and his family perceive a dark side to Don John; Claudio is immature and quite suggestible and his emotions are very fragile -- important to keep in mind for later; Hero continues to be submissive and shy; Beatrice, who recognizes her own contrariness and directness and their effects on others, especially men, has been hurt by Benedick sometime in the past; Benedick is vulnerable to Beatrice's barbs ; Don Pedro likes to play the role of a prince, manipulating the lives of others: his nearly misfired wooing of Hero for Claudio; his lighthearted offer of himself as a husband to Beatrice, fully aware she would not accept him; his scheme to bring Beatrice and Benedick together; Margaret is a flirt; and Ursula is sensitive to the feelings of others .

This scene begins with a discussion between Beatrice and Hero, and Leonato and Antonio. Beatrice discusses the ideal suitor, claiming he should be somewhere between the two extremes of the melancholy Don John and the verbose Benedick. As if to reiterate her opposition to marriage, she states that heaven is a place where she will cavort with all the bachelors, and each of them will be "merry as the day is long." Next, the scene shifts to the masquerade ball in the evening. In this part of the scene, the couples arrive on stage in succession and greet one another, exchanging conversation and trying to guess identities. First, Don Pedro walks with Hero and tenderly courts her on behalf of Claudio. They move along and Borachio, evil Don John's companion, enters with Margaret, Hero's attendant. They flirt lightly with one another and move out of sight. Another attendant, Ursula, enters with Leonato's brother Antonio, and claims to know it is he. Antonio denies it until she persuades him she already knows. The next couple is made up of Beatrice and Benedick. Beatrice asks Benedick to reveal his identity and he will not. Benedick tells Beatrice that someone has called her "disdainful" and she begs to know who the speaker was. In frustration, she guesses the offender to be Benedick, and tells her masked partner that Benedick is "a dull fool". They very nearly come to argument, but move along before a clash of wits might reveal their true identities to one another. Don John and Borachio are contrasted to the others. They wear no masks at the ball, and proceed to wreak their havoc on everyone in plain view. First, they recognize Claudio in his disguise. Then, they pretend to think he is Benedick, a mistaken identity that Claudio confirms in the true spirit of a masquerade. The perpetrators tell Benedick that Don Pedro is courting Hero for himself. Claudio is devastated, believing at once that his friend and his ladylove are about to betray him. Even Benedick is mistaken into thinking that Don Pedro is wooing Hero for himself. The events of this scene could have catastrophic implications, but for the saving announcement at the end of the night. Don Pedro announces that Leonato has consented to give his daughter in marriage to Claudio. Claudio realize their suspicions were in error and are sorry to have doubted Don Pedro and Hero. Hero and Beatrice enter, and Benedick leaves, claiming he cannot bear the presence of Beatrice. The romantic union of Hero and Claudio is overpowering to Beatrice, who also leaves. Those left remark on the peculiar unwillingness of Beatrice and Benedick to marry. A plot is borne to bring the two cynics together. Don Pedro vows on behalf of them all to help Cupid in bringing the two together.

Leonato and Antonio wonder aloud where Don John has gone. Beatrice and Hero comment about their dislike of such a melancholy and disagreeable man. Beatrice jests that a man who is a cross between Benedick and Don John would be perfect, neither too garrulous or reticent. She, like Benedick, extols the virtues of being a bachelor and condemns marriage for those with inferior wit and mental strength. Leonato tells her that he hopes that she will be happily married one day. . Day turns to night and a dance is underway. Since everyone must wear a disguise to the party, there are naturally a few misidentifications. Don Pedro escorts Hero to a secluded spot to speak with her. Balthasar, one of Don Pedro's attendants, flirts with Margaret, Hero's maid. At the same time, the gentlewoman Ursula converses with Antonio. Beatrice and Benedick are in yet another corner of the room. Beatrice cannot figure out who Benedick is under the mask, although he realizes whom he is talking with. He pretends to be someone else and Beatrice launches in a tirade of insults against Benedick, whom she supposes is somewhere else in the party. Benedick hides his hurt and rage against this gratuitous volley of insults and leaves the party. . Now, only Don John, Borachio and Claudio remain in the room. Don John addresses Claudio as Benedick, although he knows his true identity. Claudio, who is unaware of Don John's scheme, innocently plays along and pretends to indeed be Benedick. Don John tells him that Don Pedro is in love with Hero. Don John pretends that as a loving brother he opposes the union. This is, of course, entirely false, but Claudio believes it to be true. After Don John and Borachio leave, Claudio is enraged at his friend's supposed treachery. The real Benedick reenters and tells Claudio that Don Pedro has successfully persuaded Hero to marriage. Claudio erroneously believes that Benedick is talking about Don Pedro and Hero's marriage, when the opposite is true. . Don Pedro reenters and asks Benedick about Claudio's whereabouts. Benedick tells him about the count's strange reaction to the happy news. Don Pedro vows to set Claudio straight about whom Hero will marry. Benedick then complains about Beatrice to Don Pedro. Beatrice, Claudio, Hero and Leonato join the group. Benedick, in fear of Beatrice's sharp tongue, quickly exits. Don Pedro tells Claudio the truth about Hero and Claudio is overwhelmed with joy that he will soon marry his love. Beatrice jokingly complains about want of a husband for herself, when Don Pedro promptly proposes to her. She refuses, but neither takes the situation too seriously. She leaves the room shortly after this banter. . Leonato tells everyone else that the wedding will take place in one week. In order to amuse himself for the duration of the next week, Don Pedro decides to play matchmaker between Benedick and Beatrice. Leonato, Hero and Claudio agree to help him out.


Scene II.

A hall in Leonato's house.

[Enter [Don] John and Borachio.]

John.
It is so. The Count Claudio shall marry the daughter of Leonato.

Bora.
Yea, my lord; but I can cross it.

John.
Any bar, any cross, any impediment will be med'cinable to me.  I
am sick in displeasure to him, and whatsoever comes athwart his
affection ranges evenly with mine. How canst thou cross this
marriage?

Bora.
Not honestly, my lord, but so covertly that no dishonesty shall
appear in me.

John.
Show me briefly how.

Bora.
I think I told your lordship, a year since, how much I am in the
favour of Margaret, the waiting gentlewoman to Hero.

John.
I remember.

Bora.
I can, at any unseasonable instant of the night, appoint her to
look out at her lady's chamber window.

John.
What life is in that to be the death of this marriage?

Bora.
The poison of that lies in you to temper. Go you to the Prince
your brother; spare not to tell him that he hath wronged his
honour in marrying the renowned Claudio (whose estimation do you
mightily hold up) to a contaminated stale, such a one as Hero.

John.
What proof shall I make of that?

Bora.
Proof enough to misuse the Prince, to vex Claudio, to undo Hero,
and kill Leonato. Look you for any other issue?

John.
Only to despite them I will endeavour anything.

Bora.
Go then; find me a meet hour to draw Don Pedro and the Count
Claudio alone; tell them that you know that Hero loves me; intend
a kind of zeal both to the Prince and Claudio, as--in love of
your brother's honour, who hath made this match, and his friend's

 reputation, who is thus like to be cozen'd with the semblance of
a maid--that you have discover'd thus. They will scarcely believe
this without trial. Offer them instances; which shall bear no
less likelihood than to see me at her chamber window, hear me
call Margaret Hero, hear Margaret term me Claudio; and bring them
to see this the very night before the intended wedding (for in
the meantime I will so fashion the matter that Hero shall be
absent) and there shall appear such seeming truth of Hero's
disloyalty that jealousy shall be call'd assurance and all the
preparation overthrown.

John.
Grow this to what adverse issue it can, I will put it in
practice. Be cunning in the working this, and thy fee is a
thousand ducats.

Bora.
Be you constant in the accusation, and my cunning shall not shame
me.

John.
I will presently go learn their day of marriage.

                                        [Exeunt.]

Don John is furious over the fact that Claudio is marrying Hero. Borachio, his friend, offers to thwart the marriage. He tells Don John that he is a good friend of Hero's servant-gentlewoman Margaret and that he can get her to look out at Hero's chamber window. Borachio proposes that Don John get Don Pedro and Claudio to watch the chamber window at an appointed time, and he will then meet Margaret in the room, thereby making them think that Hero has another lover. Don John promises Borachio a thousand ducats if the plan succeeds

Don John is disappointed that his first attempt to sabotage Claudio and Don Pedro did not work: Claudio and Hero are still to be married. Borachio assures him he can disrupt the wedding with Don John's help. He suggests that Don John tell Claudio and Don Pedro that Hero is unfaithful. To counter their expected disbelief, Don John will lead them to a place below Hero's window on the night before the wedding. Then Borachio and his friend Margaret will appear at the window, making it look like Hero and another man are in an embrace. Borachio points out that the plot will have a fourfold impact: "to misuse the Prince, to vex Claudio, to undo Hero and kill Leonato." Don John promises to reward Borachio generously for his efforts if the plan works.

The audience has to imagine some of the unreported details of Borachio's plot. Although we accept that Borachio will be able to entice Margaret  to Hero's room and its window, how he will persuade her to act the role of Hero is unclear. Perhaps he will talk her into pretending that they are the happy couple about to be married. Margaret frequently uses words and ideas with sexual overtones, so enticing her into the window scene may not be difficult. Don John will tell the prince and Claudio that Hero loves Borachio, probably so that when they see him in the window, they will recognize him. Presumably, Margaret will be made to resemble Hero, at least at a distance.

This is a short scene in which Don John is disturbed over not being able to thwart Claudio and Hero, despite his best efforts. His follower, Borachio, discloses a scheme to ruin their upcoming marriage. Borachio will stand beneath Hero's window and declare his love for her. Margaret will pretend to be Hero and reply in kind. Claudio will overhear the conversation and think Hero has been unfaithful. Don John agrees to the plan and promises to reward Borachio if his plan succeeds.

Notes The intrigue in the plot is building up. Don John now comes across as a confirmed villain. He is willing to resort to any methods to satisfy his base feelings. Borachio is a thorough scoundrel. He does not hesitate to play with the honor and life of an innocent lady . For the second time in such a short period, the spirit of mirth is clouded over with a sense of impending tragedy.

Don John and Borachio agonize about their foiled plans. Despite everything, Claudio will marry Hero. Suddenly, Borachio has an idea about how to thwart the marriage plans. Borachio tells Don John that he will ask his friend/lover Margaret to dress up in Hero's clothes and make herself visible from the window. Borachio will then openly caress and fondle her in public view. In the dead of the night, Don John will summon Claudio and Don Pedro to catch "Hero" red-handed in her infidelity. In the dim light, Margaret will be mistaken for Hero and the wedding plans will be called off. The two leave to carry out their villainous scheme.