Analysis of Act II, scene i

Analysis

This long scene resolves the first of the play’s important questions: whether Claudio will receive Hero’s consent to love and marry her. When the two lovers are finally brought together, Claudio is too overwhelmed with joy to profess his love in elevated language, saying to Hero simply, “Silence is the perfectest herald of joy. I were but little happy if I could say how much” (II.i.267–268). While Claudio can find few words to express his joy, Hero can find none. Indeed, it is Beatrice who formalizes Hero’s return of Claudio’s love, commenting to Claudio, “My cousin [Hero] tells him [Claudio] in his ear that he is in her heart” (II.i.275–276). We never hear Hero’s acceptance of Claudio, but nonetheless we know what occurs.

These two quiet characters—Claudio and Hero—seem well matched, and Claudio’s addressing of Beatrice as “cousin” confirms that he will soon marry into her family (II.i.277). Nonetheless, a troubling element of Claudio’s character comes to light in this scene. Don John’s attempt to thwart the match has come to nothing; although he does manage to trick Claudio into believing that Don Pedro has betrayed him and is going to marry Hero himself, Claudio learns the truth before anything bad can happen. But here we see that Claudio is prone to making rash decisions. He is very quick to believe that his friend has betrayed him, not even questioning Don John’s claims. Acknowledging that Don Pedro seems to be wooing Hero for himself, Claudio declares that

Friendship is constant . . .
Save in the office and affairs of love.
. . .
. . . Farewell, therefore, Hero.
           (II.i.153–160)

Claudio’s readiness to believe that his friend would betray him is disturbing, and Don John’s plotting coupled with Claudio’s gullibility ominously foreshadows worse things to follow.

Beatrice and Benedick continue their “merry war” of wits with one another, but it seems to veer off course and turn into a much more hurtful competition. This time, Beatrice gets the better of Benedick while Benedick cannot defend himself. Dancing with him during the ball, while masked, she insults Benedick by mocking his “wittiness” and declaring his jokes boring. Beatrice’s jabs at Benedick are psychologically astute. We see how apt her comments are when Benedick cannot stop repeating her words to himself later in the scene. Moreover, the fact that Benedick begs Don Pedro frantically to let him leave so he will not have to talk to Beatrice suggests that he finds her company not simply annoying but also damaging.

Though Beatrice repeats in this scene her intention never to marry, her attitude seems a little changed. A certain wistfulness marks her words as she watches the betrothal of Hero to Claudio: “Good Lord, for alliance! There goes everyone to the world but I, and I am sunburnt. I may sit in a corner and cry ‘Heigh-ho for a husband!’” (II.i.278–280). Beatrice jests, as always, but it is hard to tell how seriously she takes this matter. Don Pedro’s sudden offer of himself to her in marriage also seems both lighthearted and serious, and Beatrice’s gentle rejection of him compels us to wonder whether she really does want to get married.