MUCH ADO ABOUT NOTHING

by Shakespeare · Cluster: Appearance vs Reality · Beauty · Eyes and Sight

Abstract

A romantic comedy of two courtships: the witty ‘merry war’ between Beatrice and Benedick, and the slandered Hero, nearly destroyed by Don John’s deception; it turns on noting/eavesdropping, false report, and the recovery of honour.

Capitoli / Chapters

• Act I, Scene 1
• Act I, Scene 2
• Act I, Scene 3
• Act II, Scene 1
• Act II, Scene 2
• Act II, Scene 3
• Act III, Scene 1
• Act III, Scene 2
• Act III, Scene 3
• Act III, Scene 4
• Act III, Scene 5
• Act IV, Scene 1
• Act IV, Scene 2
• Act V, Scene 1
• Act V, Scene 2
• Act V, Scene 3
• Act V, Scene 4

Connections

Topoi: Combat Strife Archetypes: Villain, Lover, Fool Motifs: Concealment Hidden Identity, Eyes and Sight, Love Themes & Concepts: Romantic Love, Deception, Appearance vs Reality, Honour, Marriage and Fidelity, Jealousy Forms & Genres: Comedy, Verse Drama Settings: Italy, Europe Characters: Benedick, Beatrice, Claudio, Hero (2), Don Pedro, Don John, Dogberry, Leonato

Testo integrale / Full text

MUCH ADO ABOUT NOTHING Much Ado About Nothing is not mentioned in the list of plays by Shakespeare given by Francis Meres in his Palladis Tamia, published in the autumn of 1598. Certain speech-prefixes of the first edition, published in 1600, suggest that as Shakespeare wrote he had in mind for the role of Dogberry the comic actor Will Kemp, who is believed to have left the Lord Chamberlain’s Men during 1599. Probably Shakespeare wrote the play between summer 1598 and spring 1599. The action is set in Sicily, where Don Pedro, Prince of Aragon, has recently defeated his half-brother, the bastard Don John, in a military engagement. Apparently reconciled, they return to the capital, Messina, as guests of the Governor, Leonato. There Count Claudio, a young nobleman serving in Don Pedro’s army, falls in love with Hero, Leonato’s daughter, whom Don Pedro woos on his behalf. The play’s central plot, written mainly in verse, shows how Don John maliciously deceives Claudio into believing that Hero has taken a lover on the eve of her marriage, causing Claudio to repudiate her publicly, at the altar. This is a variation on an old tale that existed in many versions; it had been told in Italian verse by Ariosto, in his Orlando Furioso (1516, translated into English verse by Sir John Harington, 1591), in Italian prose by Matteo Bandello in his Novelle (1554, adapted into French by P. de Belleforest, 1569), in English prose by George Whetstone (The Rock of Regard, 1576), in English verse by Edmund Spenser (The Faerie Queene, Book 2, canto 4, 1590), and in a number of plays including Luigi Pasqualigo’s II Fedele (1579), adapted into English—perhaps by Anthony Munday—as Fedele and Fortunio (published in 1583). Shakespeare, whose plot is an independent reworking of the traditional story, seems to owe most to Ariosto and Bandello, perhaps indirectly. Don John’s deception, with its tragicomical resolution, is offset by a parallel plot written mainly in prose, portraying another, more light-hearted deception, by which Hero’s cousin, Beatrice, and Benedick—friend of Don Pedro and Claudio—are tricked into acknowledging, first to themselves and then to each other, that they are in love. This part of the play seems to be of Shakespeare’s invention: the juxtaposition of this clever, sophisticated, apparently unillusioned pair with the more naive Claudio and Hero recalls Shakespeare’s earlier contrast of romantic and antiromantic attitudes to love and marriage in The Taming of the Shrew. The play’s third main strand is provided by Constable Dogberry, his partner Verges, and the Watchmen, clearly English rather than Sicilian in origin. Although Benedick and Beatrice are, technically, subordinate characters, they have dominated the imagination of both readers and playgoers.

THE PERSONS OF THE PLAY

Much Ado About Nothing

Atto 1, Scena 1

Chi parla	Battuta
(didascalia)	Enter Leonato, governor of Messina, Hero his daughter, and Beatrice his niece, with a Messenger
LEONATO	I learn in this letter that Don Pedro of Aragon comes this night to Messina.
MESSENGER	He is very near by this. He was not three leagues off when I left him.
LEONATO	How many gentlemen have you lost in this action?
MESSENGER	But few of any sort, and none of name.
LEONATO	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.
MESSENGER	Much deserved on his part, and equally remembered 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 bettered expectation than you must expect of me to tell you how.
LEONATO	He hath an uncle here in Messina will be very much glad of it.
MESSENGER	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.
LEONATO	Did he break out into tears?
MESSENGER	In great measure.
LEONATO	A kind overflow of kindness, there are no faces truer than those that are so washed. How much better is it to weep at joy than to joy at weeping!
BEATRICE	I pray you, is Signor Montanto returned from the wars, or no?
MESSENGER	I know none of that name, lady. There was none such in the army, of any sort.
LEONATO	What is he that you ask for, niece?
HERO	My cousin means Signor Benedick of Padua.
MESSENGER	O, he’s returned, and as pleasant as ever he was.
BEATRICE	He set up his bills here in Messina, and challenged Cupid at the flight; and my uncle’s fool, reading the challenge, subscribed for Cupid and challenged him at the bird-bolt. I pray you, how many hath he killed and eaten in these wars? But how many hath he killed? For indeed I promised to eat all of his killing.
LEONATO	Faith, niece, you tax Signor Benedick too much. But he’ll be meet with you, I doubt it not.
MESSENGER	He hath done good service, lady, in these wars.
BEATRICE	You had musty victual, and he hath holp to eat it. He is a very valiant trencherman, he hath an excellent stomach.
MESSENGER	And a good soldier too, lady.
BEATRICE	And a good soldier to a lady, but what is he to a lord?
MESSENGER	A lord to a lord, a man to a man, stuffed with all honourable virtues.
BEATRICE	It is so, indeed. He is no less than a stuffed man. But for the stuffing—well, we are all mortal.
LEONATO	You must not, sir, mistake my niece. There is a kind of merry war betwixt Signor Benedick and her. They never meet but there’s a skirmish of wit between them. 61
BEATRICE	Alas, he gets nothing by that. In our last conflict four of his five wits went halting off, and now is the whole man governed 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.
MESSENGER	Is’t possible?
BEATRICE	Very easily possible. He wears his faith but as the fashion of his hat, it ever changes with the next block.
MESSENGER	I see, lady, the gentleman is not in your books.
BEATRICE	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?
MESSENGER	He is most in the company of the right noble Claudio.
BEATRICE	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.
MESSENGER	I will hold friends with you, lady.
BEATRICE	Do, good friend.
LEONATO	You will never run mad, niece.
BEATRICE	No, not till a hot January.
MESSENGER	Don Pedro is approached.
(didascalia)	Enter Don Pedro, Claudio, Benedick, Balthasar, and Don John the bastard
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.
BENEDICK	Were you in doubt, sir, that you asked her?
LEONATO	Signor Benedick, no, for then were you a child.
DON 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.
BENEDICK	If Signor Leonato be her father, she would not have his head on her shoulders for all Messina, as like him as she is.
BEATRICE	I wonder that you will still be talking, Signor Benedick. Nobody marks you.
BENEDICK	What, my dear Lady Disdain! Are you yet living?
BEATRICE	Is it possible disdain should die while she hath such meet food to feed it as Signor Benedick? Courtesy itself must convert to disdain if you come in her presence.
BENEDICK	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.
BEATRICE	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.
BENEDICK	God keep your ladyship still in that mind. So some gentleman or other shall scape a predestinate scratched face.
BEATRICE	Scratching could not make it worse an ’twere such a face as yours were. BENEDICK Well, you are a rare parrot-teacher.
BEATRICE	A bird of my tongue is better than a beast of yours.
BENEDICK	I would my horse had the speed of your tongue, and so good a continuer. But keep your way, o’ God’s name. I have done.
BEATRICE	You always end with a jade’s trick. I know you of old.
DON PEDRO	That is the sum of all, Leonato. Signor Claudio and Signor Benedick, my dear friend Leonato hath invited you all. I tell him we shall stay here at the least a month, and he heartily prays some occasion may detain us longer. I dare swear he is no hypocrite, but prays from his heart.
LEONATO	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.
DON JOHN	I thank you. I am not of many words, but I thank you.
LEONATO	(to Don Pedro) Please it your grace lead on?
DON PEDRO	Your hand, Leonato. We will go together. Exeunt all but Benedick and Claudio
CLAUDIO	Benedick, didst thou note the daughter of Signor Leonato?
BENEDICK	I noted her not, but I looked on her.
CLAUDIO	Is she not a modest young lady?
BENEDICK	Do you question me as an honest man should do, for my simple true judgement, or would you have me speak after my custom, as being a professed tyrant to their sex?
CLAUDIO	No, I pray thee speak in sober judgement.
BENEDICK	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.
CLAUDIO	Thou thinkest I am in sport. I pray thee tell me truly how thou likest her.
BENEDICK	Would you buy her, that you enquire after her?
CLAUDIO	Can the world buy such a jewel?
BENEDICK	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?
CLAUDIO	In mine eye she is the sweetest lady that ever I looked on.
BENEDICK	I can see yet without spectacles, and I see no such matter. There’s her cousin, an she were not possessed 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?
CLAUDIO	I would scarce trust myself though I had sworn the contrary, if Hero would be my wife.
BENEDICK	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 three-score again? Go to, i’faith, an thou wilt needs thrust thy neck into a yoke, wear the print of it, and sigh away Sundays. Look, Don Pedro is returned to seek you. Enter Don Pedro
DON PEDRO	What secret hath held you here that you followed not to Leonato’s?
BENEDICK	I would your grace would constrain me to tell.
DON PEDRO	I charge thee on thy allegiance.
BENEDICK	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.
CLAUDIO	If this were so, so were it uttered.
BENEDICK	Like the old tale, my lord—it is not so, nor ’twas not so, but indeed, God forbid it should be so.
CLAUDIO	If my passion change not shortly, God forbid it should be otherwise.
DON PEDRO	Amen, if you love her, for the lady is very well worthy.
CLAUDIO	You speak this to fetch me in, my lord.
DON PEDRO	By my troth, I speak my thought.
CLAUDIO	And in faith, my lord, I spoke mine.
BENEDICK	And by my two faiths and troths, my lord, I spoke mine.
CLAUDIO	That I love her, I feel.
DON PEDRO	That she is worthy, I know.
BENEDICK	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.
DON PEDRO	Thou wast ever an obstinate heretic in the despite of beauty.
CLAUDIO	And never could maintain his part but in the force of his will.
BENEDICK	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 recheat winded in my forehead, or hang my bugle in an invisible baldric, 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.
DON PEDRO	I shall see thee ere I die look pale with love.
BENEDICK	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.
DON PEDRO	Well, if ever thou dost fall from this faith thou wilt prove a notable argument.
BENEDICK	If I do, hang me in a bottle like a cat, and shoot at me, and he that hits me, let him be clapped on the shoulder and called Adam.
DON PEDRO	Well, as time shall try. ‘In time the savage bull doth bear the yoke.’
BENEDICK	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’.
CLAUDIO	If this should ever happen thou wouldst be horn-mad.
DON PEDRO	Nay, if Cupid have not spent all his quiver in Venice thou wilt quake for this shortly.
BENEDICK	I look for an earthquake too, then.
DON PEDRO	Well, you will temporize with the hours. In the mean time, good Signor 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.
BENEDICK	I have almost matter enough in me for such an embassage. And so I commit you—
CLAUDIO	To the tuition of God, from my house if I had it—
DON PEDRO	The sixth of July, Your loving friend, Benedick.
BENEDICK	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
CLAUDIO	My liege, your highness now may do me good.
DON 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.
CLAUDIO	Hath Leonato any son, my lord?
DON PEDRO	No child but Hero. She’s his only heir. Dost thou affect her, Claudio?
CLAUDIO	O my lord, When you went onward on this ended action I looked upon her with a soldier’s eye, That liked, but had a rougher task in hand Than to drive liking to the name of love. But now I am returned, 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 liked her ere I went to wars.
DON 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. Was’t not to this end That thou began’st to twist so fine a story?
CLAUDIO	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 salved it with a longer treatise.
DON 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 tonight. 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

Atto 1, Scena 2

Chi parla	Battuta
(didascalia)	Enter Leonato and Antonio, an old man brother to Leonato, severally
LEONATO	How now, brother, where is my cousin, your son? Hath he provided this music? ANTONIO, He is very busy about it. But brother, I can tell you strange news that you yet dreamt not of.
LEONATO	Are they good? ANTONIO, As the event stamps them. But they have a good cover, they show well outward. The Prince and Count Claudio, walking in a thick-pleached alley in mine orchard, were thus much overheard by a man of mine: the Prince discovered to Claudio that he loved my niece, your daughter, and meant to acknowledge it this night in a dance, and if he found her accordant he meant to take the present time by the top and instantly break with you of it.
LEONATO	Hath the fellow any wit that told you this?
ANTONIO	A good sharp fellow. I will send for him, and question him yourself.
(didascalia)	LEONATO No, no. We will hold it as a dream till it appear itself. But I will acquaint my daughter withal, that she may be the better prepared for an answer if peradventure this be true. Go you and tell her of it. Enter attendants Cousins, you know what you have to do. O, I cry you mercy, friend. Go you with me and I will use your skill.—Good cousin, have a care this busy time. Exeunt

Atto 1, Scena 3

Chi parla	Battuta
(didascalia)	Enter Don John the bastard and Conrad, his companion
CONRAD	What the goodyear, my lord, why are you thus out of measure sad?
DON JOHN	There is no measure in the occasion that breeds it, therefore the sadness is without limit.
CONRAD	You should hear reason. DON JOHN And when I have heard it, what blessing brings it?
CONRAD	If not a present remedy, at least a patient sufferance.
DON JOHN	I wonder that thou—being, as thou sayst thou art, born under Saturn—goest about to apply a moral medicine to a mortifying mischief. I cannot hide what I am. I must be sad when I have cause, and smile at no man’s jests; eat when I have stomach, and wait for no man’s leisure; sleep when I am drowsy, and tend on no man’s business; laugh when I am merry, and claw no man in his humour.
CONRAD	Yea, but you must not make the full show of this till you may do it without controlment. You have of late stood out against your brother, and he hath ta’en you newly into his grace, where it is impossible you should take true root but by the fair weather that you make yourself. It is needful that you frame the season for your own harvest.
DON JOHN	I had rather be a canker in a hedge than a rose in his grace, and it better fits my blood to be disdained of all than to fashion a carriage to rob love from any. In this, though I cannot be said to be a flattering honest man, it must not be denied but I am a plain-dealing villain. I am trusted with a muzzle, and enfranchised with a clog. Therefore I have decreed not to sing in my cage. If I had my mouth I would bite. If I had my liberty I would do my liking. In the mean time, let me be that I am, and seek not to alter me.
CONRAD	Can you make no use of your discontent?
DON JOHN	I make all use of it, for I use it only. Who comes here?
(didascalia)	Enter Borachio
DON JOHN	What news, Borachio?
BORACHIO	I came yonder from a great supper. The Prince your brother is royally entertained by Leonato, and I can give you intelligence of an intended marriage.
DON JOHN	Will it serve for any model to build mischief on? What is he for a fool that betroths himself to unquietness?
BORACHIO	Marry, it is your brother’s right hand.
DON JOHN	Who, the most exquisite Claudio?
BORACHIO	Even he.
DON JOHN	A proper squire. And who, and who? Which way looks he?
BORACHIO	Marry, on Hero, the daughter and heir of Leonato.
DON JOHN	A very forward March chick. How came you to this?
BORACHIO	Being entertained for a perfumer, as I was smoking a musty room comes me the Prince and Claudio hand in hand, in sad conference. I whipped me behind the arras, and there heard it agreed upon that the Prince should woo Hero for himself and, having obtained her, give her to Count Claudio.
DON JOHN	Come, come, let us thither. This may prove food to my displeasure. That young start-up hath all the glory of my overthrow. If I can cross him any way I bless myself every way. You are both sure, and will assist me?
CONRAD	To the death, my lord.
DON JOHN	Let us to the great supper. Their cheer is the greater that I am subdued. Would the cook were o’ my mind. Shall we go prove what’s to be done?
BORACHIO	We’ll wait upon your lordship.
(didascalia)	Exeunt

Atto 2, Scena 1

Chi parla	Battuta
(didascalia)	Enter Leonato, Antonio his brother, Hero his daughter, Beatrice his niece, Margaret, and Ursula
LEONATO	Was not Count John here at supper?
ANTONIO	I saw him not.
BEATRICE	How tartly that gentleman looks. I never can see him but I am heartburned an hour after.
HERO	He is of a very melancholy disposition.
BEATRICE	He were an excellent man that were made just in the midway between him and Benedick. The one is too like an image and says nothing, and the other too like my lady’s eldest son, evermore tattling.
LEONATO	Then half Signor Benedick’s tongue in Count John’s mouth, and half Count John’s melancholy in Signor Benedick’s face—
BEATRICE	With a good leg and a good foot, uncle, and money enough in his purse—such a man would win any woman in the world, if a could get her good will.
LEONATO	By my troth, niece, thou wilt never get thee a husband if thou be so shrewd of thy tongue.
ANTONIO	In faith, she’s too curst.
BEATRICE	Too curst is more than curst. I shall lessen God’s sending that way, for it is said God sends a curst cow short horns, but to a cow too curst he sends none.
LEONATO	So, by being too curst, God will send you no horns.
BEATRICE	just, if he send me no husband, for the which blessing I am at him upon my knees every morning and evening. Lord, I could not endure a husband with a beard on his face. I had rather lie in the woollen.
LEONATO	You may light on a husband that hath no beard.
BEATRICE	What should I do with him—dress him in my apparel and make him my waiting gentlewoman? He that hath a beard is more than a youth, and he that hath no beard is less than a man; and he that is more than a youth is not for me, and he that is less than a man, I am not for him. Therefore I will even take sixpence in earnest of the bearherd and lead his apes into hell.
LEONATO	Well then, go you into hell?
BEATRICE	No, but to the gate, and there will the devil meet me like an old cuckold with horns on his head, and say, ‘Get you to heaven, Beatrice, get you to heaven. Here’s no place for you maids.’ So deliver I up my apes and away to Saint Peter fore the heavens. He shows me where the bachelors sit, and there live we as merry as the day is long.
ANTONIO	(to Hero) Well, niece, I trust you will be ruled by your father.
BEATRICE	Yes, faith, it is my cousin’s duty to make curtsy and say, ‘Father, as it please you.’ But yet for all that, cousin, let him be a handsome fellow, or else make another curtsy and say, ‘Father, as it please me.’
LEONATO	Well, niece, I hope to see you one day fitted with a husband.
BEATRICE	Not till God make men of some other mettle than earth. Would it not grieve a woman to be overmastered with a piece of valiant dust?—to make an account of her life to a clod of wayward marl? No, uncle, I’ll none. Adam’s sons are my brethren, and truly I hold it a sin to match in my kindred.
LEONATO	(to Hero) Daughter, remember what I told you. If the Prince do solicit you in that kind, you know your answer.
BEATRICE	The fault will be in the music, cousin, if you be not wooed in good time. If the Prince be too important, tell him there is measure in everything, and so dance out the answer. For hear me, Hero, wooing, wedding, and repenting is as a Scotch jig, a measure, and a cinquepace. The first suit is hot and hasty, like a Scotch jig—and full as fantastical; the wedding mannerly modest, as a measure, full of state and ancientry. And then comes repentance, and with his bad legs falls into the cinquepace faster and faster till he sink into his grave.
LEONATO	Cousin, you apprehend passing shrewdly.
BEATRICE	I have a good eye, uncle. I can see a church by daylight.
LEONATO	The revellers are entering, brother. Make good room.
(didascalia)	Enter Don Pedro, Claudio, Benedick, and Balthasar, all masked, Don John, and Borachio, with a drummer
DON PEDRO	(to Hero) Lady, will you walk a bout with your friend?
HERO	So you walk softly, and look sweetly, and say nothing, I am yours for the walk; and especially when I walk away.
DON PEDRO	With me in your company?
HERO	I may say so when I please.
DON PEDRO	And when please you to say so?
HERO	When I like your favour; for God defend the lute should be like the case.
DON PEDRO	My visor is Philemon’s roof. Within the house is Jove.
HERO	Why, then, your visor should be thatched.
DON PEDRO	Speak low if you speak love. They move aside
(didascalia)	BALTHASAR (to Margaret) Well, I would you did like me.
MARGARET	So would not I, for your own sake, for I have many ill qualities.
(didascalia)	BALTHASAR Which is one?
MARGARET	I say my prayers aloud.
(didascalia)	BALTHASAR I love you the better—the hearers may cry amen.
MARGARET	God match me with a good dancer.
BALTHASAR	Amen.
MARGARET	And God keep him. out of my sight when the dance is done. Answer, clerk.
BALTHASAR	No more words. The clerk is answered. They move aside
URSULA	(to Antonio) I know you well enough, you are Signor Antonio.
ANTONIO	At a word, I am not.
URSULA	I know you by the waggling of your head.
ANTONIO	To tell you true, I counterfeit him.
URSULA	You could never do him so ill-well unless you were the very man. Here’s his dry hand up and down. You are he, you are he.
ANTONIO	At a word, I am not.
URSULA	Come, come, do you think I do not know you by your excellent wit? Can virtue hide itself? Go to, mum, you are he. Graces will appear, and there’s an end. They move aside
BEATRICE	(to Benedick) Will you not tell me who told you so? 115 BENEDICK No, you shall pardon me.
BEATRICE	Nor will you not tell me who you are?
BENEDICK	Not now.
BEATRICE	That I was disdainful, and that I had my good wit out of the Hundred Merry Tales—well, this was Signor Benedick that said so. BENEDICK What’s he?
BEATRICE	I am sure you know him well enough.
BENEDICK	Not I, believe me.
BEATRICE	Did he never make you laugh?
BENEDICK	I pray you, what is he?
BEATRICE	Why, he is the Prince’s jester, a very dull fool. Only his gift is in devising impossible slanders. None but libertines delight in him, and the commendation is not in his wit but in his villainy, for he both pleases men and angers them, and then they laugh at him, and beat him. I am sure he is in the fleet. I would he had boarded me.
BENEDICK	When I know the gentleman, I’ll tell him what you say.
BEATRICE	Do, do. He’ll but break a comparison or two on me, which peradventure not marked, or not laughed at, strikes him into melancholy, and then there’s a partridge wing saved, for the fool will eat no supper that night.
(didascalia)	Music
BEATRICE	We must follow the leaders.
BENEDICK	In every good thing.
BEATRICE	Nay, if they lead to any ill I will leave them at the next turning. Dance. Exeunt all but Don John, Borachio, and Claudio
DON JOHN	(aside to Borachio) Sure my brother is amorous on Hero, and hath withdrawn her father to break with him about it. The ladies follow her, and but one visor remains.
BORACHIO	(aside to Don John) And that is Claudio. I know him by his bearing.
DON JOHN	Are not you Signor Benedick?
CLAUDIO	You know me well. I am he.
DON JOHN	Signor, you are very near my brother in his love. He is enamoured on Hero. I pray you dissuade him from her. She is no equal for his birth. You may do the part of an honest man in it.
CLAUDIO	How know you he loves her?
DON JOHN	I heard him swear his affection.
BORACHIO	So did I, too, and he swore he would marry her tonight.
DON JOHN	Come, let us to the banquet. Exeunt all but Claudio
CLAUDIO	Thus answer I in name of Benedick, But hear these ill news with the ears of Claudio. ’Tis certain so, the Prince woos for himself. Friendship is constant in all other things Save in the office and affairs of love. Therefore all hearts in love use their own tongues. Let every eye negotiate for itself, And trust no agent; for beauty is a witch Against whose charms faith melteth into blood. This is an accident of hourly proof, Which I mistrusted not. Farewell, therefore, Hero.
(didascalia)	Enter Benedick
BENEDICK	Count Claudio?
CLAUDIO	Yea, the same.
BENEDICK	Come, will you go with me?
CLAUDIO	Whither?
BENEDICK	Even to the next willow, about your own business, County. What fashion will you wear the garland of? About your neck, like an usurer’s chain? Or under your arm, like a lieutenant’s scarf? You must wear it one way, for the Prince hath got your Hero.
CLAUDIO	I wish him joy of her.
BENEDICK	Why, that’s spoken like an honest drover; so they sell bullocks. But did you think the Prince would have served you thus?
CLAUDIO	I pray you leave me.
BENEDICK	Ho, now you strike like the blind man—’twas the boy that stole your meat, and you’ll beat the post.
CLAUDIO	If it will not be, I’ll leave you. Exit
BENEDICK	Alas, poor hurt fowl, now will he creep into sedges. But that my Lady Beatrice should know me, and not know me! The Prince’s fool! Ha, it may be I go under that title because I am merry. Yea, but so I am apt to do myself wrong. I am not so reputed. It is the base, though bitter, disposition of Beatrice that puts the world into her person, and so gives me out. Well, I’ll be revenged as I may. Enter Don Pedro the Prince
DON PEDRO	Now, signor, where’s the Count? Did you see him?
BENEDICK	Troth, my lord, I have played the part of Lady Fame. I found him here as melancholy as a lodge in a warren. I told him—and I think I told him true—that your grace had got the good will of this young lady, and I offered him my company to a willow tree, either to make him a garland, as being forsaken, or to bind him up a rod, as being worthy to be whipped.
DON PEDRO	To be whipped—what’s his fault?
BENEDICK	The flat transgression of a schoolboy who, being overjoyed with finding a bird’s nest, shows it his companion, and he steals it.
DON PEDRO	Wilt thou make a trust a transgression? The transgression is in the stealer.
BENEDICK	Yet it had not been amiss the rod had been made, and the garland too, for the garland he might have worn himself, and the rod he might have bestowed on you, who, as I take it, have stolen his bird’s nest.
DON PEDRO	I will but teach them to sing, and restore them to the owner.
BENEDICK	If their singing answer your saying, by my faith you say honestly.
DON PEDRO	The Lady Beatrice hath a quarrel to you. The gentleman that danced with her told her she is much wronged by you.
(didascalia)	BENEDICK O, she misused me past the endurance of a block. An oak but with one green leaf on it would have answered her. My very visor began to assume life and scold with her. She told me—not thinking I had been myself—that I was the Prince’s jester, that I was duller than a great thaw, huddling jest upon jest with such impossible conveyance upon me that I stood like a man at a mark, with a whole army shooting at me. She speaks poniards, and every word stabs. If her breath were as terrible as her terminations, there were no living near her, she would infect to the North Star. I would not marry her though she were endowed with all that Adam had left him before he transgressed. She would have made Hercules have turned spit, yea, and have cleft his club to make the fire, too. Come, talk not of her. You shall find her the infernal Ate in good apparel. I would to God some scholar would conjure her, for certainly, while she is here a man may live as quiet in hell as in a sanctuary, and people sin upon purpose because they would go thither, so indeed all disquiet, horror, and perturbation follows her. Enter Claudio and Beatrice, and Leonato with Hero
DON PEDRO	Look, here she comes.
BENEDICK	Will your grace command me any service to the world’s end? I will go on the slightest errand now to the Antipodes that you can devise to send me on. I will fetch you a tooth-picker now from the furthest inch of Asia, bring you the length of Prester John’s foot, fetch you a hair off the Great Cham’s beard, do you any embassage to the pigmies, rather than hold three words’ conference with this harpy. You have no employment for me?
DON PEDRO	None but to desire your good company.
BENEDICK	O God, sir, here’s a dish I love not. I cannot endure my Lady Tongue. Exit
DON PEDRO	Come, lady, come, you have lost the heart of Signor Benedick.
BEATRICE	Indeed, my lord, he lent it me a while, and I gave him use for it, a double heart for his single one. Marry, once before he won it of me, with false dice. Therefore your grace may well say I have lost it.
DON PEDRO	You have put him down, lady, you have put him down.
BEATRICE	So I would not he should do me, my lord, lest I should prove the mother of fools. I have brought Count Claudio, whom you sent me to seek.
DON PEDRO	Why, how now, Count, wherefore are you sad?
CLAUDIO	Not sad, my lord.
DON PEDRO	How then? Sick?
CLAUDIO	Neither, my lord.
BEATRICE	The Count is neither sad, nor sick, nor merry, nor well, but civil count, civil as an orange, and something of that jealous complexion.
DON PEDRO	I’faith, lady, I think your blazon to be true, though I’ll be sworn, if he be so, his conceit is false. Here, Claudio, I have wooed in thy name, and fair Hero is won. I have broke with her father and his good will obtained. Name the day of marriage, and God give thee joy.
LEONATO	Count, take of me my daughter, and with her my fortunes. His grace hath made the match, and all grace say amen to it.
BEATRICE	Speak, Count, ’tis your cue.
CLAUDIO	Silence is the perfectest herald of joy. I were but little happy if I could say how much. (To Hero) Lady, as you are mine, I am yours. I give away myself for you, and dote upon the exchange.
BEATRICE	(to Hero) Speak, cousin. Or, if you cannot, stop his mouth with a kiss, and let not him speak, neither.
DON PEDRO	In faith, lady, you have a merry heart.
BEATRICE	Yea, my lord, I thank it. Poor fool, it keeps on the windy side of care.—My cousin tells him in his ear that he is in her heart.
CLAUDIO	And so she doth, cousin.
BEATRICE	Good Lord, for alliance! Thus goes everyone to the world but I, and I am sunburnt. I may sit in a corner and cry ‘Heigh-ho for a husband’.
DON PEDRO	Lady Beatrice, I will get you one.
BEATRICE	I would rather have one of your father’s getting. Hath your grace ne’er a brother like you? Your father got excellent husbands if a maid could come by them.
DON PEDRO	Will you have me, lady?
BEATRICE	No, my lord, unless I might have another for working days. Your grace is too costly to wear every day. But I beseech your grace, pardon me. I was born to speak all mirth and no matter.
DON PEDRO	Your silence most offends me, and to be merry best becomes you; for out o’ question, you were born in a merry hour.
BEATRICE	No, sure, my lord, my mother cried. But then there was a star danced, and under that was I born. (To Hero and Claudio) Cousins, God give you joy.
LEONATO	Niece, will you look to those things I told you of?
BEATRICE	I cry you mercy, uncle. (To Don Pedro) By your grace’s pardon. Exit Beatrice
DON PEDRO	By my troth, a pleasant-spirited lady.
LEONATO	There’s little of the melancholy element in her, my lord. She is never sad but when she sleeps, and not ever sad then; for I have heard my daughter say she hath often dreamt of unhappiness and waked herself with laughing.
DON PEDRO	She cannot endure to hear tell of a husband.
LEONATO	O, by no means. She mocks all her wooers out of suit.
DON PEDRO	She were an excellent wife for Benedick.
LEONATO	O Lord, my lord, if they were but a week married they would talk themselves mad.
DON PEDRO	County Claudio, when mean you to go to church?
CLAUDIO	Tomorrow, my lord. Time goes on crutches till love have all his rites.
LEONATO	Not till Monday, my dear son, which is hence a just sevennight, and a time too brief, too, to have all things answer my mind.
DON PEDRO	Come, you shake the head at so long a breathing, but I warrant thee, Claudio, the time shall not go dully by us. I will in the interim undertake one of Hercules’ labours, which is to bring Signor Benedick and the Lady Beatrice into a mountain of affection th‘one with th’other. I would fain have it a match, and I doubt not but to fashion it, if you three will but minister such assistance as I shall give you direction.
LEONATO	My lord, I am for you, though it cost me ten nights’ watchings.
CLAUDIO	And I, my lord.
DON PEDRO	And you too, gentle Hero?
HERO	I will do any modest office, my lord, to help my cousin to a good husband.
DON PEDRO	And Benedick is not the unhopefullest husband that I know. Thus far can I praise him: he is of a noble strain, of approved valour and confirmed honesty. I will teach you how to humour your cousin that she shall fall in love with Benedick, and I, with your two helps, will so practise on Benedick that, in despite of his quick wit and his queasy stomach, he shall fall in love with Beatrice. If we can do this, Cupid is no longer an archer; his glory shall be ours, for we are the only love-gods. Go in with me, and I will tell you my drift. Exeunt

Atto 2, Scena 2

Chi parla	Battuta
(didascalia)	Enter Don John and Borachio
DON JOHN	It is so. The Count Claudio shall marry the daughter of Leonato.
BORACHIO	Yea, my lord, but I can cross it.
DON JOHN	Any bar, any cross, any impediment will be medicinable to me. I am sick in displeasure to him, and whatsoever comes athwart his affection ranges evenly with mine. How canst thou cross this marriage?
BORACHIO	Not honestly, my lord, but so covertly that no dishonesty shall appear in me.
DON JOHN	Show me briefly how.
BORACHIO	I think I told your lordship a year since how much I am in the favour of Margaret, the waiting gentlewoman to Hero.
DON JOHN	I remember.
BORACHIO	I can at any unseasonable instant of the night appoint her to look out at her lady’s chamber window.
DON JOHN	What life is in that to be the death of this marriage?
BORACHIO	The poison of that lies in you to temper. Go you to the Prince your brother. Spare not to tell him that he hath wronged his honour in marrying the renowned Claudio—whose estimation do you mightily hold up—to a contaminated stale, such a one as Hero.
DON JOHN	What proof shall I make of that?
BORACHIO	Proof enough to misuse the Prince, to vex Claudio, to undo Hero, and kill Leonato. Look you for any other issue?
DON JOHN	Only to despite them I will endeavour anything.
BORACHIO	Go then. Find me a meet hour to draw Don Pedro and the Count Claudio alone. Tell them that you know that Hero loves me. Intend a kind of zeal both to the Prince and Claudio as in love of your brother’s honour who hath made this match, and his friend’s reputation who is thus like to be cozened with the semblance of a maid, that you have discovered thus. They will scarcely believe this without trial. Offer them instances, which shall bear no less likelihood than to see me at her chamber window, hear me call Margaret Hero, hear Margaret term me Claudio. And bring them to see this the very night before the intended wedding, for in the mean time I will so fashion the matter that Hero shall be absent, and there shall appear such seeming truth of Hero’s disloyalty that jealousy shall be called assurance, and all the preparation overthrown.
DON JOHN	Grow this to what adverse issue it can, I will put it in practice. Be cunning in the working this, and thy fee is a thousand ducats.
BORACHIO	Be you constant in the accusation, and my cunning shall not shame me.
DON JOHN	I will presently go learn their day of marriage. Exeunt

Atto 2, Scena 3

Chi parla	Battuta
(didascalia)	Enter Benedick
(didascalia)	BENEDICK Boy! Enter Boy
BOY	Signor?
BENEDICK	In my chamber window lies a book. Bring it hither to me in the orchard.
BOY	I am here already, sir.
(didascalia)	BENEDICK I know that, but I would have thee hence and here again. Exit Boy I do much wonder that one man, seeing how much another man is a fool when he dedicates his behaviours to love, will, after he hath laughed at such shallow follies in others, become the argument of his own scorn by falling in love. And such a man is Claudio. I have known when there was no music with him but the drum and the fife, and now had he rather hear the tabor and the pipe. I have known when he would have walked ten mile afoot to see a good armour, and now will he lie ten nights awake carving the fashion of a new doublet. He was wont to speak plain and to the purpose, like an honest man and a soldier, and now is he turned orthography. His words are a very fantastical banquet, just so many strange dishes. May I be so converted, and see with these eyes? I cannot tell. I think not. I will not be sworn but love may transform me to an oyster, but I’ll take my oath on it, till he have made an oyster of me he shall never make me such a fool. One woman is fair, yet I am well. Another is wise, yet I am well. Another virtuous, yet I am well. But till all graces be in one woman, one woman shall not come in my grace. Rich she shall be, that’s certain. Wise, or I’ll none. Virtuous, or I’ll never cheapen her. Fair, or I’ll never look on her. Mild, or come not near me. Noble, or not I for an angel. Of good discourse, an excellent musician, and her hair shall be of what colour it please God. Ha! The Prince and Monsieur Love. I will hide me in the arbour.
BOY	He hides. Enter Don Pedro the Prince, Leonato, and Claudio
DON PEDRO	Come, shall we hear this music?
CLAUDIO	Yea, my good lord. How still the evening is, As hushed on purpose to grace harmony.
DON PEDRO	(aside) See you where Benedick hath hid himself?
CLAUDIO	(aside) O, very well, my lord. The music ended, We’ll fit the hid-fox with a pennyworth.
(didascalia)	Enter Balthasar with music
DON PEDRO	Come, Balthasar, we’ll hear that song again.
BALTHASAR	O good my lord, tax not so bad a voice To slander music any more than once.
DON PEDRO	It is the witness still of excellency To put a strange face on his own perfection. I pray thee sing, and let me woo no more.
BALTHASAR	Because you talk of wooing I will sing, Since many a wooer doth commence his suit To her he thinks not worthy, yet he woos, Yet will he swear he loves.
DON PEDRO	Nay pray thee, come; Or if thou wilt hold longer argument, Do it in notes.
BALTHASAR	Note this before my notes: There’s not a note of mine that’s worth the noting.
DON PEDRO	Why, these are very crotchets that he speaks— Note notes, forsooth, and nothing! The accompaniment begins
BENEDICK	Now, divine air! Now is his soul ravished. Is it not strange that sheep’s guts should hale souls out of men’s bodies? Well, a horn for my money, when all’s done.
BALTHASAR	(sings) Sigh no more, ladies, sigh no more. Men were deceivers ever, One foot in sea, and one on shore, To one thing constant never. Then sigh not so, but let them go, And be you blithe and bonny, Converting all your sounds of woe Into hey nonny, nonny. Sing no more ditties, sing no more Of dumps so dull and heavy. The fraud of men was ever so Since summer first was leafy. Then sigh not so, but let them go, And be you blithe and bonny, Converting all your sounds of woe Into hey nonny, nonny.
DON PEDRO	By my troth, a good song.
BALTHASAR	And an ill singer, my lord.
DON PEDRO	Ha, no, no, faith. Thou singest well enough for a shift.
BENEDICK	(aside) An he had been a dog that should have howled thus, they would have hanged him; and I pray God his bad voice bode no mischief. I had as lief have heard the night-raven, come what plague could have come after it.
DON PEDRO	Yea, marry, dost thou hear, Balthasar? I pray thee get us some excellent music, for tomorrow night we would have it at the Lady Hero’s chamber window.
BALTHASAR	The best I can, my lord.
(didascalia)	Exit
DON PEDRO	Do so. Farewell. Come hither, Leonato. What was it you told me of today, that your niece Beatrice was in love with Signor Benedick?
CLAUDIO	(aside) O, ay, stalk on, stalk on. The fowl sits.—I did never think that lady would have loved any man.
LEONATO	No, nor I neither. But most wonderful that she should so dote on Signor Benedick, whom she hath in all outward behaviours seemed ever to abhor.
BENEDICK	(aside) Is’t possible? Sits the wind in that corner?
LEONATO	By my troth, my lord, I cannot tell what to think of it. But that she loves him with an enraged affection, it is past the infinite of thought.
DON PEDRO	Maybe she doth but counterfeit.
CLAUDIO	Faith, like enough.
LEONATO	O God! Counterfeit? There was never counterfeit of passion came so near the life of passion as she discovers it.
DON PEDRO	Why, what effects of passion shows she?
CLAUDIO	(aside) Bait the hook well. This fish will bite.
LEONATO	What effects, my lord? She will sit you—you heard my daughter tell you how.
CLAUDIO	She did indeed.
DON PEDRO	How, how, I pray you? You amaze me. I would have thought her spirit had been invincible against all assaults of affection.
LEONATO	I would have sworn it had, my lord, especially against Benedick.
BENEDICK	(aside) I should think this a gull, but that the white-bearded fellow speaks it. Knavery cannot, sure, hide himself in such reverence.
CLAUDIO	(aside) He hath ta’en th’infection. Hold it up.
DON PEDRO	Hath she made her affection known to Benedick?
LEONATO	No, and swears she never will. That’s her torment.
CLAUDIO	‘Tis true, indeed, so your daughter says. ‘Shall I,’ says she, ‘that have so oft encountered him with scorn, write to him that I love him?’
LEONATO	This says she now when she is beginning to write to him, for she’ll be up twenty times a night, and there will she sit in her smock till she have writ a sheet of paper. My daughter tells us all.
CLAUDIO	Now you talk of a sheet of paper, I remember a pretty jest your daughter told us of.
LEONATO	O, when she had writ it and was reading it over, she found Benedick and Beatrice between the sheet.
CLAUDIO	That.
LEONATO	O, she tore the letter into a thousand halfpence, railed at herself that she should be so immodest to write to one that she knew would flout her. ‘I measure him,’ says she, ‘by my own spirit, for I should flout him if he writ to me, yea, though I love him I should.’
CLAUDIO	Then down upon her knees she falls, weeps, sobs, beats her heart, tears her hair, prays, curses, ‘O sweet Benedick, God give me patience.’
LEONATO	She doth indeed, my daughter says so, and the ecstasy hath so much overborne her that my daughter is sometime afeard she will do a desperate outrage to herself. It is very true.
DON PEDRO	It were good that Benedick knew of it by some other, if she will not discover it.
CLAUDIO	To what end? He would make but a sport of it and torment the poor lady worse.
DON PEDRO	An he should, it were an alms to hang him. She’s an excellent sweet lady, and, out of all suspicion, she is virtuous.
CLAUDIO	And she is exceeding wise.
DON PEDRO	In everything but in loving Benedick.
LEONATO	O my lord, wisdom and blood combating in so tender a body, we have ten proofs to one that blood hath the victory. I am sorry for her, as I have just cause, being her uncle and her guardian.
DON PEDRO	I would she had bestowed this dotage on me. I would have doffed all other respects and made her half myself. I pray you tell Benedick of it, and hear what a will say.
LEONATO	Were it good, think you?
CLAUDIO	Hero thinks surely she will die, for she says she will die if he love her not, and she will die ere she make her love known, and she will die if he woo her, rather than she will bate one breath of her accustomed crossness.
DON PEDRO	She doth well. If she should make tender of her love ’tis very possible he’ll scorn it, for the man, as you know all, hath a contemptible spirit.
CLAUDIO	He is a very proper man.
DON PEDRO	He hath indeed a good outward happiness.
CLAUDIO	Before God; and in my mind, very wise.
DON PEDRO	He doth indeed show some sparks that are like wit.
CLAUDIO	And I take him to be valiant.
DON PEDRO	As Hector, I assure you; and in the managing of quarrels you may say he is wise, for either he avoids them with great discretion or undertakes them with a most Christianlike fear.
LEONATO	If he do fear God, a must necessarily keep peace. If he break the peace, he ought to enter into a quarrel with fear and trembling.
DON PEDRO	And so will he do, for the man doth fear God, howsoever it seems not in him by some large jests he will make. Well, I am sorry for your niece. Shall we go seek Benedick and tell him of her love?
CLAUDIO	Never tell him, my lord. Let her wear it out with good counsel.
LEONATO	Nay, that’s impossible. She may wear her heart out first.
DON PEDRO	Well, we will hear further of it by your daughter. Let it cool the while. I love Benedick well, and I could wish he would modestly examine himself to see how much he is unworthy so good a lady.
LEONATO	My lord, will you walk? Dinner is ready.
CLAUDIO	(aside) If he do not dote on her upon this, I will never trust my expectation.
DON PEDRO	(aside) Let there be the same net spread for her, and that must your daughter and her gentlewomen carry. The sport will be when they hold one an opinion of another’s dotage, and no such matter. That’s the scene that I would see, which will be merely a dumb show. Let us send her to call him in to dinner. Exeunt Don Pedro, Claudio, and Leonato
BENEDICK	(coming forward) This can be no trick. The conference was sadly borne. They have the truth of this from Hero. They seem to pity the lady. It seems her affections have their full bent. Love me! Why, it must be requited. I hear how I am censured. They say I will bear myself proudly if I perceive the love come from her. They say too that she will rather die than give any sign of affection. I did never think to marry. I must not seem proud. Happy are they that hear their detractions and can put them to mending. They say the lady is fair. ’Tis a truth, I can bear them witness. And virtuous—’tis so, I cannot reprove it. And wise, but for loving me. By my troth, it is no addition to her wit—nor no great argument of her folly, for I will be horribly in love with her. I may chance have some odd quirks and remnants of wit broken on me because I have railed so long against marriage; but doth not the appetite alter? A man loves the meat in his youth that he cannot endure in his age. Shall quips and sentences and these paper bullets of the brain awe a man from the career of his humour? No. The world must be peopled. When I said I would die a bachelor, I did not think I should live till I were married. Here comes Beatrice.
(didascalia)	Enter Beatrice
BENEDICK	By this day, she’s a fair lady. I do spy some marks of love in her.
BEATRICE	Against my will I am sent to bid you come in to dinner.
BENEDICK	Fair Beatrice, I thank you for your pains.
BEATRICE	I took no more pains for those thanks than you take pains to thank me. If it had been painful I would not have come.
BENEDICK	You take pleasure, then, in the message?
BEATRICE	Yea, just so much as you may take upon a knife’s point and choke a daw withal. You have no stomach, signor? Fare you well. Exit
BENEDICK	Ha! ‘Against my will I am sent to bid you come in to dinner.’ There’s a double meaning in that. ‘I took no more pains for those thanks than you took pains to thank me.’ That’s as much as to say ‘Any pains that I take for you is as easy as thanks.’—If I do not take pity of her I am a villain. If I do not love her I am a Jew. I will go get her picture. Exit

Atto 3, Scena 1

Chi parla	Battuta
(didascalia)	Enter Hero and two gentlewomen, Margaret and Ursula
HERO	Good Margaret, run thee to the parlour. There shalt thou find my cousin Beatrice Proposing with the Prince and Claudio. Whisper her ear, and tell her I and Ursula Walk in the orchard, and our whole discourse Is all of her. Say that thou overheard’st us, And bid her steal into the pleachèd bower Where honeysuckles, ripened by the sun, Forbid the sun to enter—like favourites Made proud by princes, that advance their pride Against that power that bred it. There will she hide her To listen our propose. This is thy office. Bear thee well in it, and leave us alone.
MARGARET	I’ll make her come, I warrant you, presently.
(didascalia)	Exit
HERO	Now, Ursula, when Beatrice doth come, As we do trace this alley up and down Our talk must only be of Benedick. When I do name him, let it be thy part To praise him more than ever man did merit. My talk to thee must be how Benedick Is sick in love with Beatrice. Of this matter Is little Cupid’s crafty arrow made, That only wounds by hearsay.
(didascalia)	Enter Beatrice Now begin,
HERO	For look where Beatrice like a lapwing runs Close by the ground to hear our conference.
URSULA	The pleasant’st angling is to see the fish Cut with her golden oars the silver stream And greedily devour the treacherous bait. So angle we for Beatrice, who even now Is couched in the woodbine coverture. Fear you not my part of the dialogue.
HERO	Then go we near her, that her ear lose nothing Of the false-sweet bait that we lay for it.— They approach Beatrice’s hiding-place No, truly, Ursula, she is too disdainful. I know her spirits are as coy and wild As haggards of the rock.
URSULA	But are you sure That Benedick loves Beatrice so entirely?
HERO	So says the Prince and my new trothèd lord.
URSULA	And did they bid you tell her of it, madam?
HERO	They did entreat me to acquaint her of it, But I persuaded them, if they loved Benedick, To wish him wrestle with affection And never to let Beatrice know of it.
URSULA	Why did you so? Doth not the gentleman Deserve as full as fortunate a bed As ever Beatrice shall couch upon?
HERO	O god of love! I know he doth deserve As much as may be yielded to a man. But nature never framed a woman’s heart Of prouder stuff than that of Beatrice. Disdain and scorn ride sparkling in her eyes, Misprising what they look on, and her wit Values itself so highly that to her All matter else seems weak. She cannot love, Nor take no shape nor project of affection, She is so self-endearèd.
URSULA	Sure, I think so. And therefore certainly it were not good She knew his love, lest she’ll make sport at it.
HERO	Why, you speak truth. I never yet saw man, How wise, how noble, young, how rarely featured, But she would spell him backward. If fair-faced, She would swear the gentleman should be her sister. If black, why nature, drawing of an antic, Made a foul blot. If tall, a lance ill headed; If low, an agate very vilely cut; If speaking, why, a vane blown with all winds; If silent, why, a block moved with none. So turns she every man the wrong side out, And never gives to truth and virtue that Which simpleness and merit purchaseth.
URSULA	Sure, sure, such carping is not commendable.
HERO	No, not to be so odd and from all fashions As Beatrice is cannot be commendable. But who dare tell her so? If I should speak She would mock me into air, O, she would laugh me Out of myself, press me to death with wit. Therefore let Benedick, like covered fire, Consume away in sighs, waste inwardly. It were a better death than die with mocks, Which is as bad as die with tickling.
URSULA	Yet tell her of it, hear what she will say.
HERO	No. Rather I will go to Benedick And counsel him to fight against his passion. And truly, I’ll devise some honest slanders To stain my cousin with. One doth not know How much an ill word may empoison liking.
URSULA	O, do not do your cousin such a wrong. She cannot be so much without true judgement, Having so swift and excellent a wit As she is prized to have, as to refuse So rare a gentleman as Signor Benedick.
HERO	He is the only man of Italy, Always excepted my dear Claudio.
URSULA	I pray you be not angry with me, madam, Speaking my fancy. Signor Benedick, For shape, for bearing, argument, and valour Goes foremost in report through Italy.
HERO	Indeed, he hath an excellent good name.
URSULA	His excellence did earn it ere he had it. When are you married, madam?
HERO	Why, every day, tomorrow. Come, go in. I’ll show thee some attires and have thy counsel Which is the best to furnish me tomorrow.
URSULA	(aside) She’s limed, I warrant you. We have caught her, madam.
HERO	(aside) If it prove so, then loving goes by haps. Some Cupid kills with arrows, some with traps.
(didascalia)	Exeunt Hero and Ursula
BEATRICE	(coming forward) What fire is in mine ears? Can this be true? Stand I condemned for pride and scorn so much ? Contempt, farewell; and maiden pride, adieu. No glory lives behind the back of such. And, Benedick, love on. I will requite thee, Taming my wild heart to thy loving hand. If thou dost love, my kindness shall incite thee To bind our loves up in a holy band. For others say thou dost deserve, and I Believe it better than reportingly.
(didascalia)	Exit

Atto 3, Scena 2

Chi parla	Battuta
(didascalia)	Enter Don Pedro the Prince, Claudio, Benedick, and Leonato
DON PEDRO	I do but stay till your marriage be consummate, and then go I toward Aragon.
CLAUDIO	I’ll bring you thither, my lord, if you’ll vouchsafe me.
DON PEDRO	Nay, that would be as great a soil in the new gloss of your marriage as to show a child his new coat and forbid him to wear it. I will only be bold with Benedick for his company, for from the crown of his head to the sole of his foot he is all mirth. He hath twice or thrice cut Cupid’s bow-string, and the little hangman dare not shoot at him. He hath a heart as sound as a bell, and his tongue is the clapper, for what his heart thinks his tongue speaks.
BENEDICK	Gallants, I am not as I have been.
LEONATO	So say I. Methinks you are sadder.
CLAUDIO	I hope he be in love.
DON PEDRO	Hang him, truant! There’s no true drop of blood in him to be truly touched with love. If he be sad, he wants money.
BENEDICK	I have the toothache.
DON PEDRO	Draw it.
BENEDICK	Hang it.
CLAUDIO	You must hang it first and draw it afterwards.
DON PEDRO	What? Sigh for the toothache?
LEONATO	Where is but a humour or a worm.
BENEDICK	Well, everyone can master a grief but he that has it.
CLAUDIO	Yet say I he is in love.
DON PEDRO	There is no appearance of fancy in him, unless it be a fancy that he hath to strange disguises, as to be a Dutchman today, a Frenchman tomorrow, or in the shape of two countries at once, as a German from the waist downward, all slops, and a Spaniard from the hip upward, no doublet. Unless he have a fancy to this foolery, as it appears he hath, he is no fool for fancy, as you would have it appear he is.
CLAUDIO	If he be not in love with some woman there is no believing old signs. A brushes his hat o’ mornings, what should that bode?
DON PEDRO	Hath any man seen him at the barber’s?
CLAUDIO	No, but the barber’s man hath been seen with him, and the old ornament of his cheek hath already stuffed tennis balls.
LEONATO	Indeed, he looks younger than he did by the loss of a beard.
DON PEDRO	Nay, a rubs himself with civet. Can you smell him out by that?
CLAUDIO	That’s as much as to say the sweet youth’s in love.
DON PEDRO	The greatest note of it is his melancholy.
CLAUDIO	And when was he wont to wash his face?
DON PEDRO	Yea, or to paint himself?—for the which I hear what they say of him.
CLAUDIO	Nay, but his jesting spirit, which is now crept into a lute-string, and now governed by stops.
DON PEDRO	Indeed, that tells a heavy tale for him. Conclude, conclude, he is in love.
CLAUDIO	Nay, but I know who loves him.
DON PEDRO	That would I know, too. I warrant, one that knows him not.
CLAUDIO	Yes, and his ill conditions, and in despite of all, dies for him.
DON PEDRO	She shall be buried with her face upwards.
BENEDICK	Yet is this no charm for the toothache. Old signor, walk aside with me. I have studied eight or nine wise words to speak to you which these hobby-horses must not hear. Exeunt Benedick and Leonato
DON PEDRO	For my life, to break with him about Beatrice.
CLAUDIO	’Tis even so. Hero and Margaret have by this played their parts with Beatrice, and then the two bears will not bite one another when they meet.
(didascalia)	Enter Don John the bastard
DON JOHN	My lord, and brother, God save you.
DON PEDRO	Good-e’en, brother.
DON JOHN	If your leisure served I would speak with you.
DON PEDRO	In private?
DON JOHN	If it please you. Yet Count Claudio may hear, for what I would speak of concerns him.
DON PEDRO	What’s the matter?
DON JOHN	(to Claudio) Means your lordship to be married tomorrow ?
DON PEDRO	You know he does.
DON JOHN	I know not that when he knows what I know.
CLAUDIO	If there be any impediment, I pray you discover it.
DON JOHN	You may think I love you not. Let that appear hereafter, and aim better at me by that I now will manifest. For my brother, I think he holds you well and in dearness of heart hath holp to effect your ensuing marriage—surely suit ill spent, and labour ill bestowed.
DON PEDRO	Why, what’s the matter?
DON JOHN	I came hither to tell you, and, circumstances shortened—for she has been too long a-talking of—the lady is disloyal.
CLAUDIO	Who, Hero?
DON JOHN	Even she. Leonato’s Hero, your Hero, every man’s Hero.
CLAUDIO	Disloyal?
DON JOHN	The word is too good to paint out her wickedness. I could say she were worse. Think you of a worse title, and I will fit her to it. Wonder not till further warrant. Go but with me tonight, you shall see her chamber window entered, even the night before her wedding day. If you love her then, tomorrow wed her. But it would better fit your honour to change your mind.
CLAUDIO	May this be so?
DON PEDRO	I will not think it.
DON JOHN	If you dare not trust that you see, confess not that you know. If you will follow me I will show you enough, and when you have seen more and heard more, proceed accordingly.
CLAUDIO	If I see anything tonight why I should not marry her, tomorrow, in the congregation where I should wed, there will I shame her.
DON PEDRO	And as I wooed for thee to obtain her, I will join with thee to disgrace her.
DON JOHN	I will disparage her no farther till you are my witnesses. Bear it coldly but till midnight, and let the issue show itself.
DON PEDRO	O day untowardly turned!
CLAUDIO	O mischief strangely thwarting!
DON JOHN	O plague right well prevented!—So will you say when you have seen the sequel. Exeunt

Atto 3, Scena 3

Chi parla	Battuta
(didascalia)	Enter Dogberry and his compartner Verges, with the Watch
DOGBERRY	Are you good men and true?
VERGES	Yea, or else it were pity but they should suffer salvation, body and soul.
DOGBERRY	Nay, that were a punishment too good for them if they should have any allegiance in them, being chosen for the Prince’s watch.
VERGES	Well, give them their charge, neighbour Dogberry.
DOGBERRY	First, who think you the most desertless man to be constable?
SECOND WATCHMAN	Hugh Oatcake, sir, or George Seacoal, for they can write and read.
DOGBERRY	Come hither, neighbour Seacoal, God hath blest you with a good name. To be a well-favoured man is the gift of fortune, but to write and read comes by nature.
FIRST WATCHMAN	Both which, Master Constable—
DOGBERRY	You have. I knew it would be your answer. Well, for your favour, sir, why, give God thanks, and make no boast of it. And for your writing and reading, let that appear when there is no need of such vanity. You are thought here to be the most senseless and fit man for the constable of the watch, therefore bear you the lantern. This is your charge: you shall comprehend all vagrom men. You are to bid any man stand, in the Prince’s name.
FIRST WATCHMAN	How if a will not stand?
DOGBERRY	Why then take no note of him, but let him go, and presently call the rest of the watch together, and thank God you are rid of a knave.
VERGES	If he will not stand when he is bidden he is none of the Prince’s subjects.
DOGBERRY	True, and they are to meddle with none but the Prince’s subjects.—You shall also make no noise in the streets, for for the watch to babble and to talk is most tolerable and not to be endured. A WATCHMAN We will rather sleep than talk. We know what belongs to a watch.
DOGBERRY	Why, you speak like an ancient and most quiet watchman, for I cannot see how sleeping should offend. Only have a care that your bills be not stolen. Well, you are to call at all the alehouses and bid those that are drunk get them to bed. A WATCHMAN How if they will not?
DOGBERRY	Why then, let them alone till they are sober. If they make you not then the better answer, you may say they are not the men you took them for. A WATCHMAN Well, sir.
DOGBERRY	If you meet a thief you may suspect him, by virtue of your office, to be no true man; and for such kind of men, the less you meddle or make with them why, the more is for your honesty. A WATCHMAN If we know him to be a thief, shall we not lay hands on him?
DOGBERRY	Truly, by your office you may, but I think they that touch pitch will be defiled. The most peaceable way for you if you do take a thief is to let him show himself what he is, and steal out of your company.
VERGES	You have been always called a merciful man, partner.
DOGBERRY	Truly, I would not hang a dog by my will, much more a man who hath any honesty in him.
VERGES	If you hear a child cry in the night you must call to the nurse and bid her still it. A WATCHMAN How if the nurse be asleep and will not hear us?
DOGBERRY	Why then, depart in peace and let the child wake her with crying, for the ewe that will not hear her lamb when it baes will never answer a calf when he bleats.
VERGES	’Tis very true.
DOGBERRY	This is the end of the charge. You, constable, are to present the Prince’s own person. If you meet the Prince in the night you may stay him.
VERGES	Nay, by’r Lady, that I think a cannot.
DOGBERRY	Five shillings to one on’t with any man that knows the statutes he may stay him. Marry, not without the Prince be willing, for indeed the watch ought to offend no man, and it is an offence to stay a man against his will.
VERGES	By’r Lady, I think it be so.
DOGBERRY	Ha ha ha! Well, masters, good night. An there be any matter of weight chances, call up me. Keep your fellows’ counsels, and your own, and good night. Come, neighbour.
(didascalia)	FIRST WATCHMAN Well, masters, we hear our charge. Let us go sit here upon the church bench till two, and then all to bed.
DOGBERRY	One word more, honest neighbours. I pray you watch about Signor Leonato’s door, for the wedding being there tomorrow, there is a great coil tonight. Adieu. Be vigitant, I beseech you.
(didascalia)	Exeunt Dogberry and Verges. The Watch sit
(didascalia)	Enter Borachio and Conrad
BORACHIO	What, Conrad!
(didascalia)	FIRST WATCHMAN (aside) Peace, stir not.
BORACHIO	Conrad, I say.
CONRAD	Here, man, I am at thy elbow.
BORACHIO	Mass, an my elbow itched, I thought there would a scab follow.
CONRAD	I will owe thee an answer for that. And now, forward with thy tale.
BORACHIO	Stand thee close, then, under this penthouse, for it drizzles rain, and I will, like a true drunkard, utter all to thee. A WATCHMAN (aside) Some treason, masters. Yet stand close.
BORACHIO	Therefore, know I have earned of Don John a thousand ducats.
CONRAD	Is it possible that any villainy should be so dear?
BORACHIO	Thou shouldst rather ask if it were possible any villainy should be so rich. For when rich villains have need of poor ones, poor ones may make what price they will.
CONRAD	I wonder at it.
BORACHIO	That shows thou art unconfirmed. Thou knowest that the fashion of a doublet, or a hat, or a cloak is nothing to a man.
CONRAD	Yes, it is apparel.
BORACHIO	I mean the fashion.
CONRAD	Yes, the fashion is the fashion.
BORACHIO	Tush, I may as well say the fool’s the fool. But seest thou not what a deformed thief this fashion is ? A WATCHMAN (aside) I know that Deformed. A has been a vile thief this seven year. A goes up and down like a gentleman. I remember his name.
BORACHIO	Didst thou not hear somebody?
CONRAD	No, ’twas the vane on the house.
BORACHIO	Seest thou not, I say, what a deformed thief this fashion is, how giddily a turns about all the hot-bloods between fourteen and five-and-thirty, sometimes fashioning them like Pharaoh’s soldiers in the reechy painting, sometime like god Bel’s priests in the old church window, sometime like the shaven Hercules in the smirched, worm-eaten tapestry, where his codpiece seems as massy as his club?
CONRAD	All this I see, and I see that the fashion wears out more apparel than the man. But art not thou thyself giddy with the fashion, too, that thou hast shifted out of thy tale into telling me of the fashion?
BORACHIO	Not so, neither. But know that I have tonight wooed Margaret, the Lady Hero’s gentlewoman, by the name of Hero. She leans me out at her mistress’ chamber window, bids me a thousand times good night—I tell this tale vilely, I should first tell thee how the Prince, Claudio, and my master, planted and placed and possessed by my master, Don John, saw afar off in the orchard this amiable encounter.
CONRAD	And thought they Margaret was Hero?
BORACHIO	Two of them did, the Prince and Claudio, but the devil my master knew she was Margaret, and partly by his oaths, which first possessed them, partly by the dark night, which did deceive them, but chiefly by my villainy, which did confirm any slander that Don John had made, away went Claudio enraged, swore he would meet her as he was appointed next morning at the temple, and there, before the whole congregation, shame her with what he saw o’ernight, and send her home again without a husband.
(didascalia)	FIRST WATCHMAN (coming forward) We charge you in the Prince’s name. Stand.
(didascalia)	A WATCHMAN Call up the right Master Constable. We have here recovered the most dangerous piece of lechery that ever was known in the commonwealth.
(didascalia)	FIRST WATCHMAN And one Deformed is one of them. I know him—a wears a lock.
CONRAD	Masters, masters!
(didascalia)	A WATCHMAN You’ll be made bring Deformed forth, I warrant you.
(didascalia)	CONRAD Masters—
(didascalia)	A WATCHMAN Never speak. We charge you. Let us obey you to go with us.
BORACHIO	(to Conrad) We are like to prove a goodly commodity, being taken up of these men’s bills.
CONRAD	A commodity in question, I warrant you. Come, we’ll obey you. Exeunt

Atto 3, Scena 4

Chi parla	Battuta
(didascalia)	Enter Hero, Margaret, and Ursula
HERO	Good Ursula, wake my cousin Beatrice, and desire her to rise.
URSULA	I will, lady.
HERO	And bid her come hither.
URSULA	Well. Exit
MARGARET	Troth, I think your other rebato were better.
HERO	No, pray thee, good Meg, I’ll wear this.
MARGARET	By my troth, ’s not so good, and I warrant your cousin will say so.
HERO	My cousin’s a fool, and thou art another: I’ll wear none but this.
MARGARET	I like the new tire within excellently, if the hair were a thought browner. And your gown’s a most rare fashion, i‘faith. I saw the Duchess of Milan’s gown that they praise so.
HERO	O, that exceeds, they say.
MARGARET	By my troth, ’s but a night-gown in respect of yours—cloth o’ gold, and cuts, and laced with silver, set with pearls, down sleeves, side sleeves, and skirts round underborne with a bluish tinsel. But for a fine, quaint, graceful, and excellent fashion, yours is worth ten on’t.
HERO	God give me joy to wear it, for my heart is exceeding heavy.
MARGARET	’Twill be heavier soon by the weight of a man.
HERO	Fie upon thee, art not ashamed?
MARGARET	Of what, lady? Of speaking honourably ? Is not marriage honourable in a beggar? Is not your lord honourable without marriage? I think you would have me say ‘saving your reverence, a husband’. An bad thinking do not wrest true speaking, I’ll offend nobody. Is there any harm in ‘the heavier for a husband’? None, I think, an it be the right husband and the right wife—otherwise ’tis light and not heavy. Ask my Lady Beatrice else. Here she comes. Enter Beatrice
HERO	Good morrow, coz.
BEATRICE	Good morrow, sweet Hero.
HERO	Why, how now? Do you speak in the sick tune? BEATRICE I am out of all other tune, methinks. MARGARET Clap ’s into ‘Light o’ love’. That goes without a burden. Do you sing it, and I’ll dance it.
BEATRICE	Ye light o’ love with your heels. Then if your husband have stables enough, you’ll see he shall lack no barns.
MARGARET	O illegitimate construction! I scorn that with my heels.
BEATRICE	(to Hero) ‘Tis almost five o’clock, cousin. ’Tis time you were ready. By my troth, I am exceeding ill. Heigh-ho!
MARGARET	For a hawk, a horse, or a husband?
BEATRICE	For the letter that begins them all—h.
MARGARET	Well, an you be not turned Turk, there’s no more sailing by the star.
BEATRICE	What means the fool, trow?
MARGARET	Nothing, I. But God send everyone their heart’s desire.
HERO	These gloves the Count sent me, they are an excellent perfume.
BEATRICE	I am stuffed, cousin. I cannot smell.
MARGARET	A maid, and stuffed! There’s goodly catching of cold.
BEATRICE	O, God help me, God help me. How long have you professed apprehension?
MARGARET	Ever since you left it. Doth not my wit become me rarely?
BEATRICE	It is not seen enough. You should wear it in your cap. By my troth, I am sick.
MARGARET	Get you some of this distilled carduus benedictus, and lay it to your heart. It is the only thing for a qualm.
HERO	There thou prickest her with a thistle.
BEATRICE	Benedictus—why Benedictus? You have some moral in this Benedictus.
MARGARET	Moral? No, by my troth, I have no moral meaning. I meant plain holy-thistle. You may think perchance that I think you are in love. Nay, by’r Lady, I am not such a fool to think what I list, nor I list not to think what I can, nor indeed I cannot think, if I would think my heart out of thinking, that you are in love, or that you will be in love, or that you can be in love. Yet Benedick was such another, and now is he become a man. He swore he would never marry, and yet now in despite of his heart he eats his meat without grudging. And how you may be converted I know not, but methinks you look with your eyes, as other women do.
BEATRICE	What pace is this that thy tongue keeps?
MARGARET	Not a false gallop. Enter Ursula
URSULA	(to Hero) Madam, withdraw. The Prince, the Count, Signor Benedick, Don John, and all the gallants of the town are come to fetch you to church.
HERO	Help to dress me, good coz, good Meg, good Ursula. Exeunt

Atto 3, Scena 5

Chi parla	Battuta
(didascalia)	Enter Leonato, and
(didascalia)	Dogberry the constable, and Verges the headborough
LEONATO	What would you with me, honest neighbour?
DOGBERRY	Marry, sir, I would have some confidence with you that decerns you nearly.
LEONATO	Brief I pray you, for you see it is a busy time with me.
DOGBERRY	Marry, this it is, sir.
VERGES	Yes, in truth it is, sir.
LEONATO	What is it, my good friends?
DOGBERRY	Goodman Verges, sir, speaks a little off the matter—an old man, sir, and his wits are not so blunt as, God help, I would desire they were. But in faith, honest as the skin between his brows.
VERGES	Yes, I thank God, I am as honest as any man living that is an old man and no honester than I.
DOGBERRY	Comparisons are odorous. Palabras, neighbour Verges.
LEONATO	Neighbours, you are tedious.
DOGBERRY	It pleases your worship to say so, but we are the poor Duke’s officers. But truly, for mine own part, if I were as tedious as a king I could find in my heart to bestow it all of your worship.
LEONATO	All thy tediousness on me, ah?
DOGBERRY	Yea, an ’twere a thousand pound more than ’tis, for I hear as good exclamation on your worship as of any man in the city, and though I be but a poor man, I am glad to hear it.
VERGES	And so am I.
LEONATO	I would fain know what you have to say.
VERGES	Marry, sir, our watch tonight, excepting your worship’s presence, ha’ ta’en a couple of as arrant knaves as any in Messina.
DOGBERRY	A good old man, sir. He will be talking. As they say, when the age is in, the wit is out. God help us, it is a world to see. Well said, i‘faith, neighbour Verges. Well, God’s a good man. An two men ride of a horse, one must ride behind. An honest soul, i’faith, sir, by my troth he is, as ever broke bread. But, God is to be worshipped, all men are not alike, alas, good neighbour.
LEONATO	Indeed, neighbour, he comes too short of you.
DOGBERRY	Gifts that God gives!
LEONATO	I must leave you.
DOGBERRY	One word, sir. Our watch, sir, have indeed comprehended two auspicious persons, and we would have them this morning examined before your worship.
LEONATO	Take their examination yourself, and bring it me. I am now in great haste, as it may appear unto you.
DOGBERRY	It shall be suffigance.
LEONATO	Drink some wine ere you go. Fare you well. Enter a Messenger
MESSENGER	My lord, they stay for you to give your daughter to her husband.
LEONATO	I’ll wait upon them, I am ready. Exeunt Leonato and Messenger
DOGBERRY	Go, good partner, go get you to Francis Seacoal, bid him bring his pen and inkhorn to the jail. We are now to examination these men.
VERGES	And we must do it wisely.
DOGBERRY	We will spare for no wit, I warrant you. Here’s that shall drive some of them to a non-com. Only get the learned writer to set down our excommunication, and meet me at the jail. Exeunt

Atto 4, Scena 1

Chi parla	Battuta
(didascalia)	Enter Don Pedro the Prince, Don John the bastard, Leonato, Friar Francis, Claudio, Benedick, Hero, and Beatrice
LEONATO	Come, Friar Francis, be brief. Only to the plain form of marriage, and you shall recount their particular duties afterwards.
FRIAR	(to Claudio) You come hither, my lord, to marry this lady?
CLAUDIO	No.
LEONATO	To be married to her. Friar, you come to marry her.
FRIAR	(to Hero) Lady, you come hither to be married to this count?
HERO	I do.
FRIAR	If either of you know any inward impediment why you should not be conjoined, I charge you on your souls to utter it.
CLAUDIO	Know you any, Hero?
HERO	None, my lord.
FRIAR	Know you any, Count?
LEONATO	I dare make his answer—none.
CLAUDIO	O, what men dare do! What men may do! What men daily do, not knowing what they do!
BENEDICK	How now! Interjections ? Why then, some be of laughing, as ‘ah, ha, he!’
CLAUDIO	Stand thee by, Friar. Father, by your leave, Will you with free and unconstrained soul Give me this maid, your daughter?
LEONATO	As freely, son, as God did give her me.
CLAUDIO	And what have I to give you back whose worth May counterpoise this rich and precious gift?
DON PEDRO	Nothing, unless you render her again.
CLAUDIO	Sweet Prince, you learn me noble thankfulness. There, Leonato, take her back again. Give not this rotten orange to your friend. She’s but the sign and semblance of her honour. Behold how like a maid she blushes here! O, what authority and show of truth Can cunning sin cover itself withal ! Comes not that blood as modest evidence To witness simple virtue? Would you not swear, All you that see her, that she were a maid, By these exterior shows? But she is none. She knows the heat of a luxurious bed. Her blush is guiltiness, not modesty.
LEONATO	What do you mean, my lord?
CLAUDIO	Not to be married, Not to knit my soul to an approved wanton.
LEONATO	Dear my lord, if you in your own proof Have vanquished the resistance of her youth And made defeat of her virginity—
CLAUDIO	I know what you would say. If I have known her, You will say she did embrace me as a husband, And so extenuate the forehand sin. No, Leonato, I never tempted her with word too large, But as a brother to his sister showed Bashful sincerity and comely love.
HERO	And seemed I ever otherwise to you?
CLAUDIO	Out on thee, seeming! I will write against it. You seem to me as Dian in her orb, As chaste as is the bud ere it be blown. But you are more intemperate in your blood Than Venus or those pampered animals That rage in savage sensuality.
HERO	Is my lord well that he doth speak so wide?
LEONATO	Sweet Prince, why speak not you?
DON PEDRO	What should I speak? I stand dishonoured, that have gone about To link my dear friend to a common stale.
LEONATO	Are these things spoken, or do I but dream?
DON JOHN	Sir, they are spoken, and these things are true.
BENEDICK	This looks not like a nuptial.
HERO	‘True’! O God !
CLAUDIO	Leonato, stand I here? Is this the Prince? Is this the Prince’s brother? Is this face Hero’s? Are our eyes our own?
LEONATO	All this is so. But what of this, my lord?
CLAUDIO	Let me but move one question to your daughter, And by that fatherly and kindly power That you have in her, bid her answer truly.
LEONATO	(to Hero) I charge thee do so, as thou art my child.
HERO	O God defend me, how am I beset! What kind of catechizing call you this?
CLAUDIO	To make you answer truly to your name.
HERO	Is it not Hero? Who can blot that name With any just reproach?
CLAUDIO	Marry, that can Hero. Hero itself can blot out Hero’s virtue. What man was he talked with you yesternight Out at your window betwixt twelve and one? Now if you are a maid, answer to this.
HERO	I talked with no man at that hour, my lord.
DON PEDRO	Why, then are you no maiden. Leonato, I am sorry you must hear. Upon mine honour, Myself, my brother, and this grieved Count Did see her, hear her, at that hour last night Talk with a ruffian at her chamber window, Who hath indeed, most like a liberal villain, Confessed the vile encounters they have had A thousand times in secret.
DON JOHN	Fie, fie, they are Not to be named, my lord, not to be spoke of. There is not chastity enough in language Without offence to utter them. Thus, pretty lady, I am sorry for thy much misgovernment.
CLAUDIO	O Hero! What a Hero hadst thou been If half thy outward graces had been placed About thy thoughts and counsels of thy heart! But fare thee well, most foul, most fair, farewell Thou pure impiety and impious purity. For thee I’ll lock up all the gates of love, And on my eyelids shall conjecture hang To turn all beauty into thoughts of harm, And never shall it more be gracious.
LEONATO	Hath no man’s dagger here a point for me? Hero falls to the ground
BEATRICE	Why, how now, cousin, wherefore sink you down?
DON JOHN	Come. Let us go. These things come thus to light Smother her spirits up.
(didascalia)	Exeunt Don Pedro, Don John, and Claudio
BENEDICK	How doth the lady?
BEATRICE	Dead, I think. Help, uncle. Hero, why Hero! Uncle, Signor Benedick, Friar—
LEONATO	O fate, take not away thy heavy hand. Death is the fairest cover for her shame That may be wished for.
BEATRICE	How now, cousin Hero?
FRIAR	(to Hero) Have comfort, lady.
LEONATO	(to Hero) Dost thou look up?
FRIAR	Yea, wherefore should she not?
LEONATO	Wherefore? Why, doth not every earthly thing Cry shame upon her? Could she here deny The story that is printed in her blood? Do not live, Hero, do not ope thine eyes, For did I think thou wouldst not quickly die, Thought I thy spirits were stronger than thy shames, Myself would on the rearward of reproaches Strike at thy life. Grieved I I had but one? Chid I for that at frugal nature’s frame? O one too much by thee! Why had I one? Why ever wast thou lovely in my eyes? Why had I not with charitable hand Took up a beggar’s issue at my gates, Who smirched thus and mired with infamy, I might have said ‘No part of it is mine, This shame derives itself from unknown loins.’ But mine, and mine I loved, and mine I praised, And mine that I was proud on, mine so much That I myself was to myself not mine, Valuing of her—why she, O she is fallen Into a pit of ink, that the wide sea Hath drops too few to wash her clean again, And salt too little which may season give To her foul tainted flesh.
BENEDICK	Sir, sir, be patient. For my part, I am so attired in wonder I know not what to say.
BEATRICE	O, on my soul, my cousin is belied.
BENEDICK	Lady, were you her bedfellow last night?
BEATRICE	No, truly not, although until last night I have this twelvemonth been her bedfellow.
LEONATO	Confirmed, confirmed. O, that is stronger made Which was before barred up with ribs of iron. Would the two princes lie? And Claudio lie, Who loved her so that, speaking of her foulness, Washed it with tears? Hence from her, let her die.
FRIAR	Hear me a little, For I have only been silent so long And given way unto this course of fortune By noting of the lady. I have marked A thousand blushing apparitions To start into her face, a thousand innocent shames In angel whiteness beat away those blushes, And in her eye there hath appeared a fire To burn the errors that these princes hold Against her maiden truth. Call me a fool, Trust not my reading nor my observations, Which with experimental seal doth warrant The tenor of my book. Trust not my age, My reverence, calling, nor divinity, If this sweet lady lie not guiltless here Under some biting error.
LEONATO	Friar, it cannot be. Thou seest that all the grace that she hath left Is that she will not add to her damnation A sin of perjury. She not denies it. Why seek’st thou then to cover with excuse That which appears in proper nakedness?
FRIAR	(to Hero) Lady, what man is he you are accused of?
HERO	They know that do accuse me. I know none. If I know more of any man alive Than that which maiden modesty doth warrant, Let all my sins lack mercy. O my father, Prove you that any man with me conversed At hours unmeet, or that I yesternight Maintained the change of words with any creature, Refuse me, hate me, torture me to death.
FRIAR	There is some strange misprision in the princes.
BENEDICK	Two of them have the very bent of honour, And if their wisdoms be misled in this The practice of it lives in John the bastard, Whose spirits toil in frame of villainies.
LEONATO	I know not. If they speak but truth of her These hands shall tear her. If they wrong her honour The proudest of them shall well hear of it. Time hath not yet so dried this blood of mine, Nor age so eat up my invention, Nor fortune made such havoc of my means, Nor my bad life reft me so much of friends, But they shall find awaked in such a kind Both strength of limb and policy of mind, Ability in means, and choice of friends, To quit me of them throughly.
FRIAR	Pause awhile, And let my counsel sway you in this case. Your daughter here the princes left for dead, Let her a while be secretly kept in, And publish it that she is dead indeed. Maintain a mourning ostentation, And on your family’s old monument Hang mournful epitaphs, and do all rites That appertain unto a burial.
LEONATO	What shall become of this? What will this do?
FRIAR	Marry, this, well carried, shall on her behalf Change slander to remorse. That is some good. But not for that dream I on this strange course, But on this travail look for greater birth. She—dying, as it must be so maintained, Upon the instant that she was accused— Shall be lamented, pitied, and excused Of every hearer. For it so falls out That what we have, we prize not to the worth Whiles we enjoy it, but, being lacked and lost, Why then we rack the value, then we find The virtue that possession would not show us Whiles it was ours. So will it fare with Claudio. When he shall hear she died upon his words, Th’idea of her life shall sweetly creep Into his study of imagination, And every lovely organ of her life Shall come apparelled in more precious habit, More moving-delicate, and full of life, Into the eye and prospect of his soul Than when she lived indeed. Then shall he mourn, If ever love had interest in his liver, And wish he had not so accusèd her, No, though he thought his accusation true. Let this be so, and doubt not but success Will fashion the event in better shape Than I can lay it down in likelihood. But if all aim but this be levelled false, The supposition of the lady’s death Will quench the wonder of her infamy. And if it sort not well, you may conceal her, As best befits her wounded reputation, In some reclusive and religious life, Out of all eyes, tongues, minds, and injuries.
BENEDICK	Signor Leonato, let the Friar advise you. And though you know my inwardness and love Is very much unto the Prince and Claudio, Yet, by mine honour, I will deal in this As secretly and justly as your soul Should with your body.
LEONATO	Being that I flow in grief, The smallest twine may lead me.
FRIAR	’Tis well consented. Presently away, For to strange sores strangely they strain the cure. (To Hero) Come, lady, die to live. This wedding day Perhaps is but prolonged. Have patience, and endure.
(didascalia)	Exeunt all but Beatrice and Benedick
BENEDICK	Lady Beatrice, have you wept all this while?
BEATRICE	Yea, and I will weep a while longer.
BENEDICK	I will not desire that.
BEATRICE	You have no reason, I do it freely.
BENEDICK	Surely I do believe your fair cousin is wronged.
BEATRICE	Ah, how much might the man deserve of me that would right her!
BENEDICK	Is there any way to show such friendship?
BEATRICE	A very even way, but no such friend.
BENEDICK	May a man do it?
BEATRICE	It is a man’s office, but not yours.
BENEDICK	I do love nothing in the world so well as you. Is not that strange?
BEATRICE	As strange as the thing I know not. It were as possible for me to say I loved nothing so well as you, but believe me not, and yet I lie not. I confess nothing nor I deny nothing. I am sorry for my cousin.
BENEDICK	By my sword, Beatrice, thou lovest me.
BEATRICE	Do not swear and eat it.
BENEDICK	I will swear by it that you love me, and I will make him eat it that says I love not you.
BEATRICE	Will you not eat your word?
BENEDICK	With no sauce that can be devised to it. I protest I love thee.
BEATRICE	Why then, God forgive me.
BENEDICK	What offence, sweet Beatrice?
BEATRICE	You have stayed me in a happy hour. I was about to protest I loved you.
BENEDICK	And do it with all thy heart.
BEATRICE	I love you with so much of my heart that none is left to protest.
BENEDICK	Come, bid me do anything for thee.
BEATRICE	Kill Claudio.
BENEDICK	Ha! Not for the wide world.
BEATRICE	You kill me to deny it. Farewell.
BENEDICK	Tarry, sweet Beatrice.
BEATRICE	I am gone though I am here. There is no love in you.—Nay, I pray you, let me go. 295
BENEDICK	Beatrice.
BEATRICE	In faith, I will go.
BENEDICK	We’ll be friends first.
BEATRICE	You dare easier be friends with me than fight with mine enemy.
BENEDICK	Is Claudio thine enemy?
BEATRICE	Is a not approved in the height a villain, that hath slandered, scorned, dishonoured my kinswoman? O that I were a man! What, bear her in hand until they come to take hands, and then with public accusation, uncovered slander, unmitigated rancour—O God that I were a man! I would eat his heart in the market place.
BENEDICK	Hear me, Beatrice.
BEATRICE	Talk with a man out at a window—a proper saying!
BENEDICK	Nay, but Beatrice.
BEATRICE	Sweet Hero, she is wronged, she is slandered, she is undone.
BENEDICK	Beat—
BEATRICE	Princes and counties! Surely a princely testimony, a goodly count, Count Comfit, a sweet gallant, surely. O that I were a man for his sake! Or that I had any friend would be a man for my sake! But manhood is melted into courtesies, valour into compliment, and men are only turned into tongue, and trim ones, too. He is now as valiant as Hercules that only tells a lie and swears it. I cannot be a man with wishing, therefore I will die a woman with grieving. 324
BENEDICK	Tarry, good Beatrice. By this hand, I love thee.
BEATRICE	Use it for my love some other way than swearing by it.
BENEDICK	Think you in your soul the Count Claudio hath wronged Hero?
BEATRICE	Yea, as sure as I have a thought or a soul.
BENEDICK	Enough, I am engaged, I will challenge him. I will kiss your hand, and so I leave you. By this hand, Claudio shall render me a dear account. As you hear of me, so think of me. Go comfort your cousin. I must say she is dead. And so, farewell. Exeunt

Atto 4, Scena 2

Chi parla	Battuta
(didascalia)	Enter Dogberry and Verges the constables, and the Sexton, in gowns, and the Watch, with Conrad and Borachio
DOGBERRY	Is our whole dissembly appeared?
VERGES	O, a stool and a cushion for the Sexton.
(didascalia)	SEXTON sits Which be the malefactors?
DOGBERRY	Marry, that am I, and my partner.
VERGES	Nay, that’s certain, we have the exhibition to examine.
SEXTON	But which are the offenders that are to be examined? Let them come before Master Constable.
DOGBERRY	Yea, marry, let them come before me. What is your name, friend?
BORACHIO	Borachio.
DOGBERRY	(to the Sexton) Pray write down ‘Borachio’. (To Conrad) Yours, sirrah?
CONRAD	I am a gentleman, sir, and my name is Conrad.
DOGBERRY	Write down ‘Master Gentleman Conrad’.—Masters, do you serve God?
CONRAD	and BORACHIO Yea, sir, we hope.
DOGBERRY	Write down that they hope they serve God. And write ‘God’ first, for God defend but God should go before such villains. Masters, it is proved already that you are little better than false knaves, and it will go near to be thought so shortly. How answer you for yourselves?
CONRAD	Marry, sir, we say we are none.
DOGBERRY	A marvellous witty fellow, I assure you, but I will go about with him. Come you hither, sirrah. A word in your ear, sir. I say to you it is thought you are false knaves.
BORACHIO	Sir, I say to you we are none.
DOGBERRY	Well, stand aside. Fore God, they are both in a tale. Have you writ down that they are none?
SEXTON	Master Constable, you go not the way to examine. You must call forth the watch that are their accusers.
DOGBERRY	Yea, marry, that’s the eftest way. Let the watch come forth. Masters, I charge you in the Prince’s name accuse these men.
FIRST WATCHMAN	This man said, sir, that Don John, the Prince’s brother, was a villain.
DOGBERRY	Write down Prince John a villain. Why, this is flat perjury, to call a prince’s brother villain.
BORACHIO	Master Constable.
DOGBERRY	Pray thee, fellow, peace. I do not like thy look, I promise thee.
SEXTON	What heard you him say else?
SECOND WATCHMAN	Marry, that he had received a thousand ducats of Don John for accusing the Lady Hero wrongfully.
DOGBERRY	Flat burglary, as ever was committed.
VERGES	Yea, by mass, that it is.
SEXTON	What else, fellow?
FIRST WATCHMAN	And that Count Claudio did mean upon his words to disgrace Hero before the whole assembly, and not marry her.
DOGBERRY	O villain! Thou wilt be condemned into everlasting redemption for this.
SEXTON	What else?
WATCH	This is all.
SEXTON	And this is more, masters, than you can deny. Prince John is this morning secretly stolen away. Hero was in this manner accused, in this very manner refused, and upon the grief of this suddenly died. Master Constable, let these men be bound and brought to Leonato’s. I will go before and show him their examination. Exit
DOGBERRY	Come, let them be opinioned.
VERGES	Let them be, in the hands—
(didascalia)	CONRAD Off, coxcomb!
DOGBERRY	God’s my life, where’s the Sexton? Let him write down the Prince’s officer coxcomb. Come, bind them. Thou naughty varlet!
CONRAD	Away, you are an ass, you are an ass.
DOGBERRY	Dost thou not suspect my place? Dost thou not suspect my years? O that he were here to write me down an ass! But masters, remember that I am an ass. Though it be not written down, yet forget not that I am an ass. No, thou villain, thou art full of piety, as shall be proved upon thee by good witness. I am a wise fellow, and which is more, an officer, and which is more, a householder, and which is more, as pretty a piece of flesh as any is in Messina, and one that knows the law, go to, and a rich fellow enough, go to, and a fellow that hath had losses, and one that hath two gowns, and everything handsome about him. Bring him away. O that I had been writ down an ass! Exeunt

Atto 5, Scena 1

Chi parla	Battuta
(didascalia)	Enter Leonato and Antonio his brother ANTONIO
(didascalia)	If you go on thus, you will kill yourself, And ’tis not wisdom thus to second grief Against yourself.
LEONATO	I pray thee cease thy counsel, Which falls into mine ears as profitless As water in a sieve. Give not me counsel, Nor let no comforter delight mine ear But such a one whose wrongs do suit with mine. Bring me a father that so loved his child, Whose joy of her is overwhelmed like mine, And bid him speak of patience. Measure his woe the length and breadth of mine, And let it answer every strain for strain, As thus for thus, and such a grief for such, In every lineament, branch, shape, and form. If such a one will smile and stroke his beard, Bid sorrow wag, cry ‘hem’ when he should groan, Patch grief with proverbs, make misfortune drunk With candle-wasters, bring him yet to me, And I of him will gather patience. But there is no such man, for, brother, men Can counsel and speak comfort to that grief Which they themselves not feel, but tasting it Their counsel turns to passion, which before Would give preceptial medicine to rage, Fetter strong madness in a silken thread, Charm ache with air and agony with words. No, no, ’tis all men’s office to speak patience To those that wring under the load of sorrow, But no man’s virtue nor sufficiency To be so moral when he shall endure The like himself. Therefore give me no counsel. My griefs cry louder than advertisement.
ANTONIO	Therein do men from children nothing differ.
LEONATO	I pray thee peace, I will be flesh and blood, For there was never yet philosopher That could endure the toothache patiently, However they have writ the style of gods, And made a pish at chance and sufferance.
ANTONIO	Yet bend not all the harm upon yourself. Make those that do offend you suffer, too.
LEONATO	There thou speak’st reason, nay I will do so. My soul doth tell me Hero is belied, And that shall Claudio know, so shall the Prince, And all of them that thus dishonour her.
(didascalia)	Enter Don Pedro the Prince and Claudio
ANTONIO	Here comes the Prince and Claudio hastily.
DON PEDRO	Good e‘en, good e’en.
CLAUDIO	Good day to both of you.
LEONATO	Hear you, my lords?
DON PEDRO	We have some haste, Leonato.
LEONATO	Some haste, my lord! Well, fare you well, my lord. Are you so hasty now? Well, all is one.
DON PEDRO	Nay, do not quarrel with us, good old man.
ANTONIO	If he could right himself with quarrelling, Some of us would lie low.
CLAUDIO	Who wrongs him?
LEONATO	Marry, thou dost wrong me, thou dissembler, thou. Nay, never lay thy hand upon thy sword, I fear thee not.
CLAUDIO	Marry, beshrew my hand If it should give your age such cause of fear. In faith, my hand meant nothing to my sword.
LEONATO	Tush, tush, man, never fleer and jest at me. I speak not like a dotard nor a fool, As under privilege of age to brag What I have done being young, or what would do Were I not old. Know Claudio to thy head, Thou hast so wronged mine innocent child and me That I am forced to lay my reverence by And with grey hairs and bruise of many days Do challenge thee to trial of a man. I say thou hast belied mine innocent child. Thy slander hath gone through and through her heart, And she lies buried with her ancestors, O, in a tomb where never scandal slept Save this of hers, framed by thy villainy.
CLAUDIO	My villainy?
LEONATO	Thine, Claudio, thine I say.
DON PEDRO	You say not right, old man.
LEONATO	My lord, my lord, I’ll prove it on his body if he dare, Despite his nice fence and his active practice, His May of youth and bloom of lustihood.
CLAUDIO	Away, I will not have to do with you.
LEONATO	Canst thou so doff me? Thou hast killed my child. If thou kill’st me, boy, thou shalt kill a man.
ANTONIO	He shall kill two of us, and men indeed. But that’s no matter, let him kill one first. Win me and wear me. Let him answer me. Come follow me boy, come sir boy, come follow me, Sir boy, I’ll whip you from your foining fence. Nay, as I am a gentleman, I will.
LEONATO	Brother.
ANTONIO	Content yourself. God knows, I loved my niece, And she is dead, slandered to death by villains That dare as well answer a man indeed As I dare take a serpent by the tongue. Boys, apes, braggarts, jacks, milksops!
LEONATO	Brother Antony—
ANTONIO	Hold you content. What, man, I know them, yea And what they weigh, even to the utmost scruple. Scambling, outfacing, fashion-monging boys, That lie, and cog, and flout, deprave, and slander, Go anticly, and show an outward hideousness, And speak off half a dozen dangerous words, How they might hurt their enemies, if they durst, And this is all.
LEONATO	But brother Antony—
ANTONIO	Come, ’tis no matter, Do not you meddle, let me deal in this.
DON PEDRO	Gentlemen both, we will not wake your patience. My heart is sorry for your daughter’s death, But on my honour she was charged with nothing But what was true and very full of proof.
LEONATO	My lord, my lord—
DON PEDRO	I will not hear you.
LEONATO	No? Come brother, away. I will be heard.
ANTONIO	And shall, or some of us will smart for it.
(didascalia)	Exeunt Leonato and Antonio
(didascalia)	Enter Benedick
DON PEDRO	See, see, here comes the man we went to seek.
CLAUDIO	Now signor, what news?
BENEDICK	(to Don Pedro) Good day, my lord.
DON PEDRO	Welcome, signor. You are almost come to part almost a fray.
CLAUDIO	We had liked to have had our two noses snapped off with two old men without teeth.
DON PEDRO	Leonato and his brother. What thinkest thou? Had we fought, I doubt we should have been too young for them.
BENEDICK	In a false quarrel there is no true valour. I came to seek you both.
CLAUDIO	We have been up and down to seek thee, for we are high-proof melancholy and would fain have it beaten away. Wilt thou use thy wit?
BENEDICK	It is in my scabbard. Shall I draw it?
DON PEDRO	Dost thou wear thy wit by thy side?
CLAUDIO	Never any did so, though very many have been beside their wit. I will bid thee draw as we do the minstrels, draw to pleasure us.
DON PEDRO	As I am an honest man he looks pale. Art thou sick, or angry?
CLAUDIO	What, courage, man. What though care killed a cat, thou hast mettle enough in thee to kill care.
BENEDICK	Sir, I shall meet your wit in the career an you charge it against me. I pray you choose another subject.
CLAUDIO	Nay then, give him another staff. This last was broke cross.
DON PEDRO	By this light, he changes more and more. I think he be angry indeed.
CLAUDIO	If he be, he knows how to turn his girdle.
BENEDICK	(aside to Claudio) Shall I speak a word in your ear?
CLAUDIO	God bless me from a challenge.
BENEDICK	You are a villain. I jest not. I will make it good how you dare, with what you dare, and when you dare. Do me right, or I will protest your cowardice. You have killed a sweet lady, and her death shall fall heavy on you. Let me hear from you. 149
CLAUDIO	Well, I will meet you, so I may have good cheer.
DON PEDRO	What, a feast, a feast?
CLAUDIO	I’faith, I thank him, he hath bid me to a calf’s head and a capon, the which if I do not carve most curiously, say my knife’s naught. Shall I not find a woodcock too? 155
BENEDICK	Sir, your wit ambles well, it goes easily.
DON PEDRO	I’ll tell thee how Beatrice praised thy wit the other day. I said thou hadst a fine wit. ‘True,’ said she, ‘a fine little one.’ ‘No,’ said I, ‘a great wit.’‘Right,’ says she, ‘a great gross one.’ ‘Nay,’ said I, ‘a good wit.’ ‘Just,’ said she, ‘it hurts nobody.’ ‘Nay,’ said I, ‘the gentleman is wise.’ ‘Certain,’ said she, ‘a wise gentleman.’ ‘Nay,’ said I, ‘he hath the tongues.‘ ‘That I believe,’ said she, ‘for he swore a thing to me on Monday night which he forswore on Tuesday morning. There’s a double tongue, there’s two tongues.’ Thus did she an hour together trans-shape thy particular virtues, yet at last she concluded with a sigh thou wast the properest man in Italy.
CLAUDIO	For the which she wept heartily and said she cared not.
DON PEDRO	Yea, that she did. But yet for all that, an if she did not hate him deadly she would love him dearly. The old man’s daughter told us all.
CLAUDIO	All, all. And moreover, God saw him when he was hid in the garden.
DON PEDRO	But when shall we set the savage bull’s horns on the sensible Benedick’s head?
CLAUDIO	Yea, and text underneath, ‘Here dwells Benedick the married man’.
BENEDICK	Fare you well, boy, you know my mind. I will leave you now to your gossip-like humour. You break jests as braggarts do their blades which, God be thanked, hurt not. (To Don Pedro) My lord, for your many courtesies I thank you. I must discontinue your company. Your brother the bastard is fled from Messina. You have among you killed a sweet and innocent lady. For my lord Lackbeard there, he and I shall meet, and till then, peace be with him. Exit
DON PEDRO	He is in earnest.
CLAUDIO	In most profound earnest, and, I’ll warrant you, for the love of Beatrice.
DON PEDRO	And hath challenged thee.
CLAUDIO	Most sincerely.
DON PEDRO	What a pretty thing man is when he goes in his doublet and hose and leaves off his wit! 196
(didascalia)	Enter Dogberry and Verges the constables, the Watch, Conrad, and Borachio
CLAUDIO	He is then a giant to an ape. But then is an ape a doctor to such a man.
DON PEDRO	But soft you, let me be. Pluck up, my heart, and be sad. Did he not say my brother was fled?
DOGBERRY	Come you sir, if justice cannot tame you, she shall ne’er weigh more reasons in her balance. Nay, an you be a cursing hypocrite once, you must be looked to.
DON PEDRO	How now, two of my brother’s men bound? Borachio one.
CLAUDIO	Hearken after their offence, my lord.
DON PEDRO	Officers, what offence have these men done?
DOGBERRY	Marry, sir, they have committed false report, moreover they have spoken untruths, secondarily they are slanders, sixth and lastly they have belied a lady, thirdly they have verified unjust things, and to conclude, they are lying knaves.
DON PEDRO	First I ask thee what they have done, thirdly I ask thee what’s their offence, sixth and lastly why they are committed, and to conclude, what you lay to their charge.
CLAUDIO	Rightly reasoned, and in his own division. And by my troth there’s one meaning well suited.
DON PEDRO	(to Conrad and Borachio) Who have you offended, masters, that you are thus bound to your answer? This learned constable is too cunning to be understood. What’s your offence?
BORACHIO	Sweet Prince, let me go no farther to mine answer. Do you hear me, and let this Count kill me. I have deceived even your very eyes. What your wisdoms could not discover, these shallow fools have brought to light, who in the night overheard me confessing to this man how Don John your brother incensed me to slander the Lady Hero, how you were brought into the orchard and saw me court Margaret in Hero’s garments, how you disgraced her when you should marry her. My villainy they have upon record, which I had rather seal with my death than repeat over to my shame. The lady is dead upon mine and my master’s false accusation, and briefly, I desire nothing but the reward of a villain.
DON PEDRO	(to Claudio) Runs not this speech like iron through your blood?
CLAUDIO	I have drunk poison whiles he uttered it.
DON PEDRO	(to Borachio) But did my brother set thee on to this?
BORACHIO	Yea, and paid me richly for the practice of it.
DON PEDRO	He is composed and framed of treachery, And fled he is upon this villainy.
CLAUDIO	Sweet Hero, now thy image doth appear In the rare semblance that I loved it first.
DOGBERRY	Come, bring away the plaintiffs. By this time our Sexton hath reformed Signor Leonato of the matter. And masters, do not forget to specify, when time and place shall serve, that I am an ass.
VERGES	Here, here comes Master Signor Leonato, and the Sexton, too.
(didascalia)	Enter Leonato, Antonio his brother, and the Sexton
LEONATO	Which is the villain? Let me see his eyes, That when I note another man like him I may avoid him. Which of these is he?
BORACHIO	If you would know your wronger, look on me.
LEONATO	Art thou the slave that with thy breath hast killed Mine innocent child?
BORACHIO	Yea, even I alone.
LEONATO	No, not so, villain, thou beliest thyself. Here stand a pair of honourable men. A third is fled that had a hand in it. I thank you, Princes, for my daughter’s death. Record it with your high and worthy deeds. ’Twas bravely done, if you bethink you of it.
CLAUDIO	I know not how to pray your patience, Yet I must speak. Choose your revenge yourself, Impose me to what penance your invention Can lay upon my sin. Yet sinned I not But in mistaking.
DON PEDRO	By my soul, nor I, And yet to satisfy this good old man I would bend under any heavy weight That he’ll enjoin me to.
LEONATO	I cannot bid you bid my daughter live— That were impossible—but I pray you both Possess the people in Messina here How innocent she died, and if your love Can labour aught in sad invention, Hang her an epitaph upon her tomb And sing it to her bones, sing it tonight. Tomorrow morning come you to my house, And since you could not be my son-in-law, Be yet my nephew. My brother hath a daughter, Almost the copy of my child that’s dead, And she alone is heir to both of us. Give her the right you should have giv’n her cousin, And so dies my revenge.
CLAUDIO	O noble sir! Your overkindness doth wring tears from me. I do embrace your offer; and dispose For henceforth of poor Claudio.
LEONATO	Tomorrow then I will expect your coming. Tonight I take my leave. This naughty man Shall face to face be brought to Margaret, Who I believe was packed in all this wrong, Hired to it by your brother.
BORACHIO	No, by my soul, she was not, Nor knew not what she did when she spoke to me, But always hath been just and virtuous In anything that I do know by her.
DOGBERRY	(to Leonato) Moreover, sir, which indeed is not under white and black, this plaintiff here, the offender, did call me ass. I beseech you let it be remembered in his punishment. And also the watch heard them talk of one Deformed. They say he wears a key in his ear and a lock hanging by it, and borrows money in God’s name, the which he hath used so long and never paid that now men grow hard-hearted and will lend nothing for God’s sake. Pray you examine him upon that point.
LEONATO	I thank thee for thy care and honest pains.
DOGBERRY	Your worship speaks like a most thankful and reverend youth, and I praise God for you.
LEONATO	(giving him money) There’s for thy pains.
DOGBERRY	God save the foundation.
LEONATO	Go. I discharge thee of thy prisoner, and I thank thee.
DOGBERRY	I leave an arrant knave with your worship, which I beseech your worship to correct yourself, for the example of others. God keep your worship, I wish your worship well. God restore you to health. I humbly give you leave to depart, and if a merry meeting may be wished, God prohibit it. Come, neighbour.
(didascalia)	Exeunt Dogberry and Verges
LEONATO	Until tomorrow morning, lords, farewell.
ANTONIO	Farewell, my lords. We look for you tomorrow.
DON PEDRO	We will not fail.
CLAUDIO	Tonight I’ll mourn with Hero.
LEONATO	(to the Watch) Bring you these fellows on.—We’ll talk with Margaret How her acquaintance grew with this lewd fellow.
(didascalia)	Exeunt

Atto 5, Scena 2

Chi parla	Battuta
(didascalia)	Enter Benedick and Margaret
BENEDICK	Pray thee, sweet Mistress Margaret, deserve well at my hands by helping me to the speech of Beatrice.
MARGARET	Will you then write me a sonnet in praise of my beauty?
BENEDICK	In so high a style, Margaret, that no man living shall come over it, for in most comely truth, thou deservest it.
MARGARET	To have no man come over me—why, shall I always keep below stairs?
BENEDICK	Thy wit is as quick as the greyhound’s mouth, it catches.
MARGARET	And yours as blunt as the fencer’s foils, which hit but hurt not.
BENEDICK	A most manly wit, Margaret, it will not hurt a woman. And so I pray thee call Beatrice. I give thee the bucklers.
MARGARET	Give us the swords. We have bucklers of our own.
BENEDICK	If you use them, Margaret, you must put in the pikes with a vice—and they are dangerous weapons for maids.
MARGARET	Well, I will call Beatrice to you, who I think hath legs. Exit
BENEDICK	And therefore will come. (Sings) The god of love That sits above, And knows me, and knows me, How pitiful I deserve— I mean in singing; but in loving, Leander the good swimmer, Troilus the first employer of panders, and a whole book full of these quondam carpet-mongers whose names yet run smoothly in the even road of a blank verse, why they were never so truly turned over and over as my poor self in love. Marry, I cannot show it in rhyme. I have tried. I can find out no rhyme to ‘lady’ but ‘baby‘, an innocent rhyme; for ‘scorn’ ‘horn’, a hard rhyme; for ‘school’ ‘fool’, a babbling rhyme. Very ominous endings. No, I was not born under a rhyming planet, nor I cannot woo in festival terms.
(didascalia)	Enter Beatrice
BENEDICK	Sweet Beatrice, wouldst thou come when I called thee?
BEATRICE	Yea, signor, and depart when you bid me.
BENEDICK	O, stay but till then.
BEATRICE	‘Then’ is spoken. Fare you well now. And yet ere I go, let me go with that I came for, which is with knowing what hath passed between you and Claudio.
BENEDICK	Only foul words, and thereupon I will kiss thee.
BEATRICE	Foul words is but foul wind, and foul wind is but foul breath, and foul breath is noisome, therefore I will depart unkissed.
BENEDICK	Thou hast frighted the word out of his right sense, so forcible is thy wit. But I must tell thee plainly, Claudio undergoes my challenge, and either I must shortly hear from him or I will subscribe him a coward. And I pray thee now tell me, for which of my bad parts didst thou first fall in love with me?
BEATRICE	For them all together, which maintain so politic a state of evil that they will not admit any good part to intermingle with them. But for which of my good parts did you first suffer love for me?
BENEDICK	Suffer love—a good epithet. I do suffer love indeed, for I love thee against my will.
BEATRICE	In spite of your heart, I think. Alas, poor heart. If you spite it for my sake I will spite it for yours, for I will never love that which my friend hates.
BENEDICK	Thou and I are too wise to woo peaceably.
BEATRICE	It appears not in this confession. There’s not one wise man among twenty that will praise himself.
BENEDICK	An old, an old instance, Beatrice, that lived in the time of good neighbours. If a man do not erect in this age his own tomb ere he dies, he shall live no longer in monument than the bell rings and the widow weeps.
BEATRICE	And how long is that, think you?
BENEDICK	Question—why, an hour in clamour and a quarter in rheum. Therefore is it most expedient for the wise, if Don Worm—his conscience—find no impediment to the contrary, to be the trumpet of his own virtues, as I am to myself. So much for praising myself who, I myself will bear witness, is praiseworthy. And now tell me, how doth your cousin?
BEATRICE	Very ill.
BENEDICK	And how do you?
BEATRICE	Very ill too.
BENEDICK	Serve God, love me, and mend. There will I leave you too, for here comes one in haste.
(didascalia)	Enter Ursula
URSULA	Madam, you must come to your uncle. Yonder’s old coil at home. It is proved my lady Hero hath been falsely accused, the Prince and Claudio mightily abused, and Don John is the author of all, who is fled and gone. Will you come presently?
BEATRICE	Will you go hear this news, signor?
BENEDICK	I will live in thy heart, die in thy lap, and be buried in thy eyes. And moreover, I will go with thee to thy uncle’s. Exeunt

Atto 5, Scena 3

Chi parla	Battuta
(didascalia)	Enter Claudio, Don Pedro the Prince, and three or four with tapers, all in black
CLAUDIO	Is this the monument of Leonato? A LORD It is, my lord.
(didascalia)	CLAUDIO (reading from a scroll)
CLAUDIO	Done to death by slanderous tongues Was the Hero that here lies. Death in guerdon of her wrongs Gives her fame which never dies. So the life that died with shame Lives in death with glorious fame. He hangs the epitaph on the tomb Hang thou there upon the tomb, Praising her when I am dumb. Now music sound, and sing your solemn hymn.
(didascalia)	Song
CLAUDIO	Pardon, goddess of the night, Those that slew thy virgin knight, For the which with songs of woe Round about her tomb they go. Midnight, assist our moan, Help us to sigh and groan, Heavily, heavily. Graves yawn, and yield your dead Till death be utterèd, Heavily, heavily.
(didascalia)	CLAUDIO
CLAUDIO	Now, unto thy bones good night. Yearly will I do this rite.
DON PEDRO	Good morrow, masters, put your torches out. The wolves have preyed, and look, the gentle day Before the wheels of Phoebus round about Dapples the drowsy east with spots of grey. Thanks to you all, and leave us. Fare you well.
CLAUDIO	Good morrow, masters. Each his several way.
DON PEDRO	Come, let us hence, and put on other weeds, And then to Leonato’s we will go.
CLAUDIO	And Hymen now with luckier issue speed ’s Than this for whom we rendered up this woe.
(didascalia)	Exeunt

Atto 5, Scena 4

Chi parla	Battuta
(didascalia)	Enter Leonato, Antonio, Benedick, Beatrice, Margaret, Ursula, Friar Francis, and Hero
FRIAR	Did I not tell you she was innocent?
LEONATO	So are the Prince and Claudio who accused her Upon the error that you heard debated. But Margaret was in some fault for this, Although against her will as it appears In the true course of all the question.
ANTONIO	Well, I am glad that all things sorts so well.
BENEDICK	And so am I, being else by faith enforced To call young Claudio to a reckoning for it.
LEONATO	Well, daughter, and you gentlewomen all, Withdraw into a chamber by yourselves, And when I send for you come hither masked.
(didascalia)	Exeunt Beatrice, Hero, Margaret, and Ursula
LEONATO	The Prince and Claudio promised by this hour To visit me. You know your office, brother, You must be father to your brother’s daughter, And give her to young Claudio.
ANTONIO	Which I will do with confirmed countenance.
BENEDICK	Friar, I must entreat your pains, I think.
FRIAR	To do what, signor?
BENEDICK	To bind me or undo me, one of them. Signor Leonato, truth it is, good signor, Your niece regards me with an eye of favour.
LEONATO	That eye my daughter lent her, ’tis most true.
BENEDICK	And I do with an eye of love requite her.
LEONATO	The sight whereof I think you had from me, From Claudio and the Prince. But what’s your will?
BENEDICK	Your answer, sir, is enigmatical. But for my will, my will is your good will May stand with ours this day to be conjoined In the state of honourable marriage, In which, good Friar, I shall desire your help.
LEONATO	My heart is with your liking.
FRIAR	And my help. Here comes the Prince and Claudio.
(didascalia)	Enter Don Pedro and Claudio with attendants
DON PEDRO	Good morrow to this fair assembly.
LEONATO	Good morrow, Prince. Good morrow, Claudio. We here attend you. Are you yet determined Today to marry with my brother’s daughter?
CLAUDIO	I’ll hold my mind, were she an Ethiope.
LEONATO	Call her forth, brother, here’s the Friar ready.
(didascalia)	Exit Antonio
DON PEDRO	Good morrow, Benedick. Why, what’s the matter That you have such a February face, So full of frost, of storm and cloudiness?
CLAUDIO	I think he thinks upon the savage bull. Tush, fear not, man, we’ll tip thy horns with gold, And all Europa shall rejoice at thee As once Europa did at lusty Jove When he would play the noble beast in love.
BENEDICK	Bull Jove, sir, had an amiable low, And some such strange bull leapt your father’s cow And got a calf in that same noble feat Much like to you, for you have just his bleat.
(didascalia)	Enter Antonio with Hero, Beatrice, Margaret, and Ursula, masked
CLAUDIO	For this I owe you. Here comes other reck’nings. Which is the lady I must seize upon?
(didascalia)	ANTONIO
CLAUDIO	This same is she, and I do give you her.
CLAUDIO	Why then, she’s mine. Sweet, let me see your face. 55
LEONATO	No, that you shall not till you take her hand Before this Friar and swear to marry her.
CLAUDIO	(to Hero) Give me your hand before this holy friar. I am your husband if you like of me.
HERO	(unmasking) And when I lived I was your other wife; And when you loved, you were my other husband.
CLAUDIO	Another Hero!
HERO	Nothing certainer. One Hero died defiled, but I do live, And surely as I live, I am a maid.
DON PEDRO	The former Hero, Hero that is dead!
LEONATO	She died, my lord, but whiles her slander lived.
FRIAR	All this amazement can I qualify When after that the holy rites are ended I’ll tell you largely of fair Hero’s death. Meantime, let wonder seem familiar, And to the chapel let us presently.
BENEDICK	Soft and fair, Friar, which is Beatrice?
BEATRICE	(unmasking) I answer to that name, what is your will?
BENEDICK	Do not you love me?
BEATRICE	Why no, no more than reason.
BENEDICK	Why then, your uncle and the Prince and Claudio Have been deceived. They swore you did.
BEATRICE	Do not you love me?
BENEDICK	Troth no, no more than reason.
BEATRICE	Why then, my cousin, Margaret, and Ursula Are much deceived, for they did swear you did.
BENEDICK	They swore that you were almost sick for me.
BEATRICE	They swore that you were wellnigh dead for me.
BENEDICK	’Tis no such matter. Then you do not love me?
BEATRICE	No, truly, but in friendly recompense.
LEONATO	Come, cousin, I am sure you love the gentleman.
CLAUDIO	And I’ll be sworn upon’t that he loves her, For here’s a paper written in his hand, A halting sonnet of his own pure brain, Fashioned to Beatrice.
HERO	And here’s another, Writ in my cousin’s hand, stol’n from her pocket, Containing her affection unto Benedick.
BENEDICK	A miracle! Here’s our own hands against our hearts. Come, I will have thee, but by this light, I take thee for pity.
BEATRICE	I would not deny you, but by this good day, I yield upon great persuasion, and partly to save your life, for I was told you were in a consumption.
BENEDICK	(kissing her) Peace, I will stop your mouth.
DON PEDRO	How dost thou, Benedick the married man?
BENEDICK	I’ll tell thee what, Prince: a college of wit-crackers cannot flout me out of my humour. Dost thou think I care for a satire or an epigram? No, if a man will be beaten with brains, a shall wear nothing handsome about him. In brief, since I do purpose to marry, I will think nothing to any purpose that the world can say against it, and therefore never flout at me for what I have said against it. For man is a giddy thing, and this is my conclusion. For thy part, Claudio, I did think to have beaten thee, but in that thou art like to be my kinsman, live unbruised, and love my cousin.
CLAUDIO	I had well hoped thou wouldst have denied Beatrice, that I might have cudgelled thee out of thy single life to make thee a double dealer, which out of question thou wilt be, if my cousin do not look exceeding narrowly to thee.
BENEDICK	Come, come, we are friends, let’s have a dance ere we are married, that we may lighten our own hearts and our wives’ heels.
LEONATO	We’ll have dancing afterward.
BENEDICK	First, of my word. Therefore play, music. (To Don Pedro) Prince, thou art sad, get thee a wife, get thee a wife. There is no staff more reverend than one tipped with horn.
(didascalia)	Enter Messenger
MESSENGER	My lord, your brother John is ta’en in flight, And brought with armed men back to Messina.
BENEDICK	Think not on him till tomorrow, I’ll devise thee brave punishments for him. Strike up, pipers. Dance, and exeunt
HENRY	V
THE	Chorus to Act 5 of Henry V contains an uncharacteristic, direct topical reference: Were now the General of our gracious Empress— As in good time he may—from Ireland coming, Bringing rebellion broached on his sword, How many would the peaceful city quit To welcome him! ‘The General’ must be the Earl of Essex, whose ‘Empress’—Queen Elizabeth—had sent him on an Irish campaign on 27 March 1599; he returned, disgraced, on 28 September. Plans for his campaign had been known at least since the previous November; the idea that he might return in triumph would have been meaningless after September 1599, and it seems likely that Shakespeare completed his play during 1599, probably in the spring. It appeared in print, in a short and debased text, in (probably) August 1600, when it was said to have ‘been sundry times played by the Right Honourable the Lord Chamberlain his servants’. Although this text (which omits the Choruses) seems to have been put together from memory by actors playing in an abbreviated adaptation, the Shakespearian text behind it appears to have been in a later state than the generally superior text printed from Shakespeare’s own papers in the 1623 Folio. Our edition draws on the 1600 quarto in the attempt to represent the play as acted by Shakespeare’s company. The principal difference is the reversion to historical authenticity in the substitution at Agincourt of the Duke of Bourbon for the Dauphin. As in the two plays about Henry IV, Shakespeare is indebted to The Famous Victories of Henry the Fifth (printed 1598). Other Elizabethan plays about Henry V, now lost, may have influenced him; he certainly used the chronicle histories of Edward Hall (1542) and Holinshed (1577, revised and enlarged in 1587). From the ‘civil broils’ of the earlier history plays, Shakespeare turns to portray a country united in war against France. Each act is prefaced by a Chorus, speaking some of the play’s finest poetry, and giving it an epic quality. Henry V, ‘star of England’, is Shakespeare’s most heroic warrior king, but (like his predecessors) has an introspective side, and is aware of the crime by which his father came to the throne. We are reminded of his ‘wilder days’, and see that the transition from ‘madcap prince’ to the ‘mirror of all Christian kings’ involves loss: although the epilogue to 2 Henry IV had suggested that Sir John would reappear, he is only, though poignantly, an off-stage presence. Yet Shakespeare’s infusion of comic form into historical narrative reaches its natural conclusion in this play. Sir John’s cronies, Pistol, Bardolph, Nim, and Mistress Quickly, reappear to provide a counterpart to the heroic action, and Shakespeare invents comic episodes involving an Englishman (Gower), a Welshman (Fluellen), an Irishman (MacMorris), and a Scot (Jamy). The play also has romance elements, in the almost incredible extent of the English victory over the French and in the disguised Henry’s comradely mingling with his soldiers, as well as in his courtship of the French princess. The play’s romantic and heroic aspects have made it popular especially in times of war and have aroused accusations of jingoism, but the horrors of war are vividly depicted, and the Chorus’s closing speech reminds us that Henry died young, and that his son’s protector ‘lost France and made his England bleed’.
THE PERSONS OF THE	PLAY