5.1.2
Key Lines
Hero
Hero
In this scene a more confident side of Hero is revealed, as is the true depth of her affection for Claudio.
Key line
Key line
- HERO: Now, Ursula, when Beatrice doth come, as we do trace this alley up and down, our talk must only be of Benedick.
Confidence
Confidence
- Shakespeare provides the audience with a parallel between Hero and Beatrice in this scene through Hero’s confident tone.
- Her use of the imperative statement “our talk must only be of Benedik” is assertive and the use of “must” illustrates to the audience that Hero, too, can be strong and confident in the right company.
Key line
Key line
- HERO: [Benedick] is the only man of Italy, always excepted my dear Claudio.
True feeling
True feeling
- This provides the audience with a rare insight into how Hero feels towards Claudio, in contrast to her silence from Act 2, Scene 1.
- Whilst it is sometimes problematic for a modern audience to accept that a woman so mistreated as Hero is by Claudio would be willing to forgive, small details such as this illustrate the love she has for him.
“Dear”
“Dear”
- “Dear” is an affectionate term and could be viewed as more complimentary than the way Claudio speaks of Hero, which often focuses on her physical appearance.
Beatrice
Beatrice
Beatrice is quick to accept the ‘truth’ of Benedick's ‘love’ for her.
Key line
Key line
- BEATRICE: Contempt, farewell! And maiden pride, adieu!
Length of scene
Length of scene
- Due to being a shorter scene than Act 2, Scene 3, Beatrice is arguably even quicker than Benedick to accept the ‘truth’ of his ‘love’ for her.
Complexity
Complexity
- There is a double-complexity to this aspect of the trick as the audience know even more than Ursula and Hero and that, by this point, Benedick is indeed “horribly” in love with Beatrice.
Saving face
Saving face
- Beatrice is presented as far less concerned with saving face than Benedick was.
- She simply bids “farewell” to her perceived spiteful character (“contempt”).
Interpretations
Interpretations
- A modern feminist audience may struggle more to accept Beatrice’s dismissal of her pride.
- However, a Shakespearean audience may associate this abstract noun with the Seven Deadly Sins (Pride, Greed, Gluttony, Wrath, Envy, Sloth and Lust) and view Beatrice’s instant conversion favourably.
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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