HERO IS REPUDIATED AND BEFRIENDED
Does Claudio's demeanor in the repudiation scene betray the violence
of love?
What is to be inferred from the Prince's words and those of his
bastard brother Don John?
Is it natural for Leonato to be convinced and to know his daughter no
better?
Why is the Friar on her side? Notice how the Friar represents the
Church as Dogberry does the Law. As institutional forces of civic
life, outside the circle of the central group of characters, they
intervene in the action of the drama when it is properly amenable to
outside influences and civic instrumentalities. And both are brought
into the sphere of the Play by a means in sympathy with the artistic
method belonging to it. Observe how Dogberry is made humorously to
desire to have everything noted down, and how the Friar has come to
the conclusion that Hero is innocent "by noting of the Ladie." With
the Friar on her side, Hero and her one staunch friend--Beatrice are
enabled to follow a policy of resistance to her disgrace and of
re-establishment, first, of her good fame and, then, of her happiness.
How is this brought about? The share of the Friar in rallying her
friends to be loyal, and the share of Beatrice in instituting a
counter-movement to the accusation combine to what effect? How does it
suit with the scheme of the action that the love of Benedicke and
Beatrice here attains its climax?
What does scene ii accomplish for the plot?
QUERIES FOR DISCUSSION
Is the injection of tragedy at this Fourth Act into the Comedy
effective? Does it change the character of the Comedy or merely
intensify it?
Does Beatrice ask an unreasonable deed of Benedicke when she says
"Kill Claudio"? Suppose it were to prove true, instead of to be
prevented as may be already guessed, by the defeat of Don John's false
witness and evil influence: Is Beatrice justified in refusing
Benedicke if he will not kill his friend because it shows "there is no
love" in him?