5.1.2

Key Lines

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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 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.
Jump to other topics
1

Key Terminology

1.1

Key Terminology

1.1.1Key Terminology1.1.2End of Topic Test - Key Terminology
2

Structure & Form

2.1

Structure

2.1.1Structure2.1.2Acts 1 - 32.1.3Acts 4 - 5
2.2

Form

2.2.1Tragicomedy2.2.2End of Topic Test - Structure & Form
3

Act 1: Plot Summary

3.1

Act 1, Scene 1

3.1.1Summary3.1.2Key Lines3.1.3Key Lines 23.1.4End of Topic Test - Act 1, Scene 1
3.2

Act 1, Scene 2

3.2.1Summary3.2.2Key Lines
3.3

Act 1, Scene 3

3.3.1Summary3.3.2Key Lines3.3.3End of Topic Test - Act 1, Scenes 2-3
4

Act 2: Plot Summary

4.1

Act 2, Scene 1

4.1.1Summary4.1.2Key Lines4.1.3Key Lines 24.1.4Key Lines 34.1.5End of Topic Test - Act 2, Scene 1
4.2

Act 2, Scene 2

4.2.1Summary
4.3

Act 2, Scene 3

4.3.1Summary4.3.2Key Lines4.3.3Key Lines 24.3.4End of Topic Test - Act 2, Scenes 2-3
5

Act 3: Plot Summary

5.1

Act 3, Scene 1

5.1.1Summary5.1.2Key Lines
5.2

Act 3, Scene 2

5.2.1Summary5.2.2Key Lines
5.3

Act 3, Scene 3

5.3.1Summary
5.4

Act 3, Scene 4

5.4.1Summary
5.5

Act 3, Scene 5

5.5.1Summary5.5.2End of Topic Test - Act 3
6

Act 4: Plot Summary

6.1

Act 4, Scene 1 (Part 1)

6.1.1Summary6.1.2Key Lines6.1.3Key Lines 2
6.2

Act 4, Scene 1 (Part 2)

6.2.1Summary6.2.2Key Lines6.2.3Key Lines 2
6.3

Act 4, Scene 2

6.3.1Summary6.3.2End of Topic Test - Act 4
7

Act 5: Plot Summary

7.1

Act 5, Scene 1

7.1.1Summary
7.2

Act 5, Scene 2

7.2.1Summary7.2.2Key Lines
7.3

Act 5, Scene 3

7.3.1Summary
7.4

Act 5, Scene 4

7.4.1Summary7.4.2End of Topic Test - Act 5
8

Key Themes

8.1

Key Themes

8.1.1Love & Marriage8.1.2Deception, Appearances & Noting8.1.3Gender8.1.4Reputation8.1.5End of Topic Test - Key Themes
9

Recap: Main Quotes

9.1

Characters Quotes

9.1.1Beatrice9.1.2Beatrice 29.1.3Benedick 19.1.4Benedick 29.1.5Benedick 39.1.6Benedick 49.1.7Benedick 59.1.8Beatrice & Benedick9.1.9Beatrice & Benedick 29.1.10Beatrice & Benedick 39.1.11Claudio9.1.12Claudio 29.1.13Claudio & Benedick9.1.14Don John9.1.15Don John 29.1.16Don Pedro9.1.17Hero9.1.18Leonato9.1.19Leonato & Messanger
9.2

Text Structure - Quotes

9.2.1Deception, Appearances & Noting9.2.2Gender9.2.3Reputation

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Summary

Summary