Summary

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Act 1, Scene 1

The audience are introduced to the main characters and the relationships between them.

Relationships

The audience are introduced to the main characters and the relationships between them:
- Claudio loves Hero.
- Benedick and Beatrice continue their merry war of words.
- Leonato hopes to secure a good marriage for Hero.
- Don John pretends to be reconciled to his half-brother, Don Pedro.

Act 1, Scene 1

Having defeated his brother, Don John the bastard, in war, Don Pedro (Prince of Aragon) is on his way to Messina.
He is accompanied by Claudio, a young Florentine (from Florence) and Benedick of Padua.
Claudio is described as “performing the feats of a lion in the figure of a lamb", establishing one of the key ideas of play: appearances are not always what they seem.

Benedick and Beatrice

Shakespeare introduces Beatrice’s outspoken character in her opening line to the messenger “I pray you is Signor Montanto returned from the wars, or no?”
"Montanto" is a fencing term for an upward thrust and is used here as a sexual innuendo (a suggestive hint) towards the way Benedick treats women.
However, it is also a subtle way of Beatrice discovering Benedick’s fate in the war - an early suggestion of her deeper feelings towards him.

Arrival and atmosphere

Don Pedro arrives and is warmly greeted by Leonato.
He extends his welcome to Don John, too, furthering the pleasant atmosphere at the start of the play.
However, Beatrice then insults Benedick, telling him “nobody marks you” (no-one is listening to you) and the pair begin their “skirmish of wits”.

“Skirmish of Wits”

Benedick and Beatrice use repartee (quick-witted replies) in their “skirmish of wits” and the audience can see how well-matched they are.

Repartee

Benedick insults Beatrice by calling her “Lady Disdain”, prompting a sequence of quick fire insults between them.
Both characters use repartee (quick-witted replies) and the audience can see how well-matched they are.
The replies and retorts become quicker, shorter and arguably more personal (and childish) as they both desperately try to outdo the other.

The remarks

Beatrice tells Benedick that he has an ugly face “scratching could not make it worse if it were such a face as yours were”.
Benedick calls Beatrice “a rare parrot teacher”, suggesting she simply repeats herself over and over.
However, again, the use of the adjective “rare” may highlight how he regards Beatrice as being special or unique.

Benedick wins

This round of the war of words is ‘won’ by Benedick.
Beatrice alludes to their past history as she states “you always end with a jade’s (horse’s) trick; I know you of old.”

Claudio and Hero

Don Pedro offers to woo Hero on Claudio’s behalf at a masked ball that will be held later, reinforcing the central themes of deception and appearances.

Hero

Claudio and Benedick are left on stage and Claudio asks Benedick his opinion of Hero, whom he refers to as a “jewel”.
Benedick is less than complimentary, suggesting his preference for Beatrice (another hint at his true feelings?) if she “were not possessed of a fury”.

Claudio's love

Don Pedro returns.
Benedick explains to him that Claudio is in love with Hero (“Leonato’s short daughter").
Benedick reiterates his desire to remain a bachelor and then leaves.

Prose to verse

With Claudio and Don Pedro left on stage, the dialogue shifts from prose to traditional blank verse and iambic pentameter as the two friends discuss the serious subject of courtly love and Claudio’s feelings towards Hero.

Deception

Don Pedro offers to woo Hero on Claudio’s behalf at a masked ball that will be held later.
His plan to tell Hero that he is Claudio highlights again the themes of deception and appearances that are central to the play’s narrative.

1Key Terminology

1.1Key Terminology

1.1.1Key Terminology

1.1.2End of Topic Test - Key Terminology

2Structure & Form

2.1Structure

2.1.1Structure

2.1.2Acts 1 - 3

2.1.3Acts 4 - 5

2.2Form

2.2.1Tragicomedy

2.2.2End of Topic Test - Structure & Form

3Act 1: Plot Summary

3.1Act 1, Scene 1

3.1.1Summary

3.1.2Key Lines

3.1.3Key Lines 2

3.1.4End of Topic Test - Act 1, Scene 1

3.2Act 1, Scene 2

3.2.1Summary

3.2.2Key Lines

3.3Act 1, Scene 3

3.3.1Summary

3.3.2Key Lines

3.3.3End of Topic Test - Act 1, Scenes 2-3

4Act 2: Plot Summary

4.1Act 2, Scene 1

4.1.1Summary

4.1.2Key Lines

4.1.3Key Lines 2

4.1.4Key Lines 3

4.1.5End of Topic Test - Act 2, Scene 1

4.2Act 2, Scene 2

4.2.1Summary

4.3Act 2, Scene 3

4.3.1Summary

4.3.2Key Lines

4.3.3Key Lines 2

4.3.4End of Topic Test - Act 2, Scenes 2-3

5Act 3: Plot Summary

5.1Act 3, Scene 1

5.1.1Summary

5.1.2Key Lines

5.2Act 3, Scene 2

5.2.1Summary

5.2.2Key Lines

5.3Act 3, Scene 3

5.3.1Summary

5.4Act 3, Scene 4

5.4.1Summary

5.5Act 3, Scene 5

5.5.1Summary

5.5.2End of Topic Test - Act 3

6Act 4: Plot Summary

6.1Act 4, Scene 1 (Part 1)

6.1.1Summary

6.1.2Key Lines

6.1.3Key Lines 2

6.2Act 4, Scene 1 (Part 2)

6.2.1Summary

6.2.2Key Lines

6.2.3Key Lines 2

6.3Act 4, Scene 2

6.3.1Summary

6.3.2End of Topic Test - Act 4

7Act 5: Plot Summary

7.1Act 5, Scene 1

7.1.1Summary

7.2Act 5, Scene 2

7.2.1Summary

7.2.2Key Lines

7.3Act 5, Scene 3

7.3.1Summary

7.4Act 5, Scene 4

7.4.1Summary

7.4.2End of Topic Test - Act 5

8Key Themes

8.1Key Themes

8.1.1Love & Marriage

8.1.2Deception, Appearances & Noting

8.1.3Gender

8.1.4Reputation

8.1.5End of Topic Test - Key Themes

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