3.1.2
Key Lines
Act 1, Scene 1: Key Lines
Act 1, Scene 1: Key Lines
As is typical of a Shakespearean comedy, a period of peace and harmony is established early in the play. However the conventions of comedy dictate that this harmony will soon be disrupted.
Key lines
Key lines
- LEONATO: How many gentlemen have you lost in this action?
- MESSENGER: But few of any sort and none of name
Typical peace
Typical peace
- Much Ado About Nothing is set against the backdrop of a recently resolved conflict between Don Pedro and his illegitimate brother, Don John the bastard.
- The Messenger’s response to Leonato’s question establishes the fact that the fighting is over, establishing a period of peace and harmony, typical of the opening of a Shakespearean comedy.
Conventions of comedy
Conventions of comedy
- Nevertheless, the conventions of comedy dictate that this harmony will soon be disrupted; whilst he appears to be reconciled to his brother in Act 1, Scene 1, Don John will soon reveal his villainous intentions in Act 1, Scene 3.
- An audience may question just how long this fragile peace between the warring brothers will last.
Significance of status
Significance of status
- Leonato’s use of the noun “gentleman” also illustrates the important role of men within the play.
- This is developed further with the Messenger’s response.
- “None of name” implies that no-one important has died in the conflict, although a “few” soldiers have.
- Thus, Shakespeare subtly reveals the significance of status and reputation at the very start of the play.
Misogyny
Misogyny
- Structurally and thematically, the significance of status is an idea that is ever-present throughout the play and partly accounts for the misogynistic treatment of Hero by Claudio, Don Pedro and Leonato at her wedding to Claudio.
Beatrice and Benedick
Beatrice and Benedick
The early “skirmish of wits” shows how well suited Beatrice and Benedick are, while also illustrating the complex feelings both have for the other.
Key lines
Key lines
- BEATRICE: I pray you is Signor Montanto return’d from the wars or no?
- BEATRICE: I wonder you still be talking Signor Benedick. Nobody marks you.
- BENEDICK: What, my dear Lady Disdain. Are you yet living?
Gender imbalance
Gender imbalance
- Beatrice’s first line in the play establishes her as an outspoken and - in a modern context - feminist character.
- “Montanto” is an insulting term, alluding to the fact that Benedick has had several sexual partners.
- This highlights the imbalance in society’s attitude at the time: if the same were true for a woman of a similar class, she is denounced as a prostitute, just as Hero is later in the play.
Formality
Formality
- Significantly, when Benedick arrives with the others, Beatrice refers to him in a more formal manner, with his title “Signor Benedick” whilst he is able to insult her with the derogatory address term “Lady Disdain.”
- The rules of society are shown to be different for men and women.
Rules of society
Rules of society
- The rules of society are shown to be different for men and women: it is perfectly acceptable for Benedick as a man to insult Beatrice to her face, whereas Beatrice - whilst still mocking Benedick as “nobody marks you” illustrates - is not able to do so on equal terms; she can only adopt the exact same method as Benedick when he is not present.
Structure
Structure
- The structure of Benedick and Beatrice’s opening barbs (insults) towards each other.
- Both initially begin cordially (politely): “Signor Benedick” / “my dear Lady” before adding the insult “nobody marks you” / “Disdain (scorn). Are you yet living?”.
Juxtaposition
Juxtaposition
- The juxtaposition illustrates the complex feelings both have for the other whilst also again relating to the prominent theme of noting - not all is as it may first appear between Benedick and Beatrice.
- Again, the fact that their language is so similar to one another’s is an early indication from Shakespeare to his audience of how well matched these two characters are.
1Key Terminology
1.1Key Terminology
2Structure & Form
3Act 1: Plot Summary
3.2Act 1, Scene 2
3.3Act 1, Scene 3
4Act 2: Plot Summary
4.1Act 2, Scene 1
4.2Act 2, Scene 2
5Act 3: Plot Summary
5.1Act 3, Scene 1
5.2Act 3, Scene 2
5.3Act 3, Scene 3
5.4Act 3, Scene 4
5.5Act 3, Scene 5
6Act 4: Plot Summary
6.1Act 4, Scene 1 (Part 1)
6.2Act 4, Scene 1 (Part 2)
6.3Act 4, Scene 2
7Act 5: Plot Summary
7.1Act 5, Scene 1
7.2Act 5, Scene 2
7.3Act 5, Scene 3
7.4Act 5, Scene 4
Jump to other topics
1Key Terminology
1.1Key Terminology
2Structure & Form
3Act 1: Plot Summary
3.2Act 1, Scene 2
3.3Act 1, Scene 3
4Act 2: Plot Summary
4.1Act 2, Scene 1
4.2Act 2, Scene 2
5Act 3: Plot Summary
5.1Act 3, Scene 1
5.2Act 3, Scene 2
5.3Act 3, Scene 3
5.4Act 3, Scene 4
5.5Act 3, Scene 5
6Act 4: Plot Summary
6.1Act 4, Scene 1 (Part 1)
6.2Act 4, Scene 1 (Part 2)
6.3Act 4, Scene 2
7Act 5: Plot Summary
7.1Act 5, Scene 1
7.2Act 5, Scene 2
7.3Act 5, Scene 3
7.4Act 5, Scene 4
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