Benedicke, initiate the two channels of action in which
the plot will run. The normal sex-agreement of the one pair of
characters is varied by contrast with the more unusual sex-warfare
that asserts itself humorously both in Beatrice and Benedicke. Bring
out pertinent examples of their defiance of love and marriage. What
is to be gathered of Hero and her point of view from this Act? How
much from others, from little from herself? And how much from her of
others? Contrast with hers the witness given of herself by Beatrice.
Is Claudio taciturn, too, when compared with Benedicke?

What noting goes on in scene ii? Is it in accordance with what has
already taken place between Claudio and the Prince? What additional
noting comes out in Sc. iii. Is this in accordance with Scene i or
Scene ii? Act I closes with a sense of some confusion which Act II is
required to clear up. In addition to the inconsistency, notice Don
John's enmity to Claudio, and its menace of disaster.

QUERIES FOR DISCUSSION

Is the inconsistency of the last three scenes misleading and puzzling
rather than alluring to the curiosity of the reader?

Could it be made more interesting on the stage by the way of enacting
the part of Brother Anthony?

ACT II

THE PRINCE PLOTS FOR TRUE NOTING AND HIS BROTHER FOR FALSE

Tell the story of the masked ball. What new light is thrown, first, on
the characters and, then, on the plot by means of these fragmentary
bits of dialogue heard as the revellers pass on and off stage
together.

Is Don John really misled as to his Brother's intentions toward Hero?

What does Hero herself think?

Does Don Pedro himself show that he is acting for another--that the
god, Love, dwells beneath his visor? The modernized edition spoils one
of the references to this office in which the Prince labors for Love
and does a labor of love in whose disinterestedness some doubt is
expressed. By changing Love to Jove (in II, i, 92) a literal
correction is made in accord with the legend referred to, but in
entire destruction of the point made by the Prince, if Shakespeare
means to adapt the allusion to his special purpose. Note also
Benedicke's name for Claudio (II, iii, 34). What is your opinion of
this? (See Note on II, i, 91, in "First Folio Edition"). Compare
another instance where the Prince shows that he is acting for Cupid
(II, i, 358-367). Is Don Pedro the most active spirit in the plot?
Show how in Acts I and II, it is made cle