act 1 scene 1
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.]



gradesaver
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.
cliffnotes
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.
pinkmonkey
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.
novelguide
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.