ACT V

THE DOUBLE WEDDING

The valor and humor of the two old men against the two young ones has especial value in restoring the comic vein.  How does this somewhat belated loyalty of Leonato act upon our sympathy with him?  Does the forbearance of Claudio and the Prince toward the two men raise our esteem of them or lead to further dislike?

What effect has the mock heroics of their ineffective challenge on Benedicke’s earnest championship of Hero?  Is the Prince’s satiric speech (V, i, 208-209) to be interpreted as complimentary to Benedicke?  Notice Claudio’s next speech in comment upon it, and explain the implications intended.

What does Leonato mean by blaming Borachio less than the three nobles?  How far do you think him justified—­the relations of master to man at the time being considered?

Was Margaret to blame?  Why did she not make the cheat known? (Cf.  V, iv, 5-7 with V, i, 311-314).  Is it worth while to spend much time on making all minor details clear?

Is Claudio’s consent to a second marriage creditable, natural, or a clumsy expedient which only the entire hollowness of the whole plot of false noting as to Hero renders endurable?  Can you imagine any way of acting the part of Claudio that would make it seem attractive?

Do you find it in character at the wedding that one couple says so little, the other so much?

QUERIES FOR DISCUSSION

Is the ending of the Plot happily contrived in too forced and unreal a way?

Which is the most stirring scheme in the Play and why?

Which is the funniest, and is it possible to say why?

THE CHARACTERS

Does this Play succeed in giving so extremely definite and varied an impression of the characters that it is chiefly notable for that?  To bring out this idea of the plot as successful less in itself than because it illuminates the quality and humor of the characters, compare with the “Comedie of Errors” or any of the Plays where events figure more prominently.  Show how the events of this Play may be said to be created by the Characters.  The Prince and his Brother (and their tools on each side who lend themselves to their plans with Dogberry, the highly unconscious, and the Friar, the highly conscious character) by being what they are constitute the diverse means of influencing the whole turn of events.  These persons may all be considered with reference to what they are themselves, in character, and through that, in relation to the other characters of the Comedy.

BENEDICKE AND BEATRICE, CLAUDIO AND HERO

These two loving couples reveal their special characters most vividly by means of their contrasting and supplementary relations to each other.  Show how Benedicke and Beatrice do not throw Claudio and Hero too much in the shade by their superior brilliancy, because through the love of the minor couple their own love is enabled to ripen.  Is their character heightened or lessened in wit and individual interest by love?