Shakespeare describes Beatrice and Benedick’s relationship as a “merry war” and “a skirmish of wit”. They throw insults, harsh words and names at each other throughout most of the play. At the ball, Beatrice knows that the man she is talking to, who is hiding behind a mask, is in fact Benedick. However, Benedick does not realise that she knows who he is. At this time, Benedick has already told Beatrice that he thinks she is “disdainful” and has her “good wit out of The Hundred Merry Tales”. Beatrice decides that this would be a perfect moment to express some of her negative feelings for Benedick, as he cannot reveal his true self. She tells him that he is the “prince’s jester”, “a very dull fool” and that his only gift is in “devising impossible slanders”. This is just one example of their insulting matches. Benedick has also called Beatrice a “Harpy” and “Lady Tongue”. The audience find the arguments humorous.
Beatrice and Benedick are presented by Shakespeare as very unconventional characters. At the time this play was written, it was unusual for women or men to have negative feelings towards the opposite sex and marriage was expected. They both seem to protest too much that they will never fall in love or marry. For example, Beatrice exclaims that no man will ever be right for her. She says, “He that hath a beard is more than a youth: and he that hath no beard is less than a man”. Beatrice describes marriage as a series of dances. She describes the wooing stage as a “Scotch jig”, suggesting that it is exciting while it lasts, but is over quickly. She then describes the wedding stage as a “measure”, which is a stately and dignified. The last stage is compared to a “cinquepace”. This stage is referred to as the repenting period, where the marriage is a downward spiral, sinking fast.
Benedick thanks his mother for her usefulness, but says that under no circumstances will he ever attach himself to another woman. He says, “That a woman conceived me, I thank her…but…I will do myself the right to trust none”. When Claudio discusses marrying Hero with Don Pedro, Benedick thinks of three things he would allow them to do if he ever fell in love. He says for example “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”. All three things that he would allow Claudio and Don Pedro to do are exaggerated, dramatic and self-indulgent. The audience find unconventional characters so much more interesting because they are different from everyone else. The fact that Beatrice and Benedick have different views in comparison to everyone else’s just suggests further that they should be together.
Shakespeare fluctuates the control in the relationship between Beatrice and Benedick. At the ball, Beatrice has the upper hand because she knows that the man behind the mask is Benedick. She now has complete control and can say whatever she likes about him because he will not reveal himself. She calls him the “prince’s jester” and a “very dull fool”. However, later on, Benedick offers to travel extreme distances just to get away from Beatrice, who he calls a “harpy” in front of a lot of people. He now has the control because he has the power to humiliate her in public with his ridiculous and hyperbolic statements. Shakespeare fluctuates who has the control because he wants to make them appear equal and the same.
The relationship between Beatrice and Benedick is presented by Shakespeare as something the others can be amused by. In Branagh’s film, the director makes the audience laugh and cheer at them whenever one of them throws an insult. In particular this occurs during their confrontation on their first meeting. They all see Beatrice and Benedick as entertainment and they revel in the attention. Don Pedro thinks that he and a few others could usurp Cupid’s power to “bring Signor Benedick and the Lady Beatrice into a mountain of affection, th’one with th’other”. This is just a bit of light entertainment to pass the time quickly before Claudio and Hero marry. In Branagh’s film, at the end of the play when Beatrice and Benedick have confessed their love for each other, there is genuine happiness from their friends and family. There is a positive and happy atmosphere and there are cheers and applause when the long-awaited kiss takes place.
Shakespeare portrays Beatrice and Benedick as victims for love. Shakespeare uses entrapment imagery to make it seem as if Benedick is to be fished for. While reeling Benedick in Claudio says, “Bait the hook well, this fish will bite”. Benedick takes what Don Pedro, Leonato and Claudio are saying about Beatrice’s love for him on very quickly, although he is shocked at first. Benedick says, “This can be no trick, the conference was sadly borne, they have the truth of this from Hero”. This suggests that maybe he wanted to hear this for quite some time. In the film, he even falls off his deckchair with shock, which is funny. Beatrice is portrayed as a helpless victim. Claudio says that “down upon her knees she falls, weeps, sobs, beats her heart, tears her hair, prays, curses, Oh sweet Benedick, God give me patience”. When the men finish this unconvincing and hyperbolical trick, Benedick declares that her love for him “must be requited”. Beatrice is also easily duped and this time, Benedick is portrayed as a suffering man. Shakespeare also uses entrapment imagery, again to make it seem as if Beatrice is to be fished for. She finally decides to “requite thee [Benedick]”. In Branagh’s film, we see a montage of Benedick splashing in the fountain and Beatrice on the swing. Both actions are quite immature, but show how happy they are that the other loves them.
Beatrice and Benedick react physically to their new found love as well. They both are sick with love; Beatrice has a cold and Benedick has a “toothache”. Benedick also shaves his beard, combs his hair, starts to wear perfume, use a cosmetic lotion and puts on make-up. The audience find their reactions very entertaining since the change is so dramatic it is almost ridiculous. The fact that both are being totally hypocritical and contradictory towards the feelings they had before towards love and marriage is very humorous.
Shakespeare differs the tone of Beatrice and Benedick’s relationship after the denouncement of Hero and shows how their love must undergo trials. At first, the atmosphere is serious, intense and sombre because Beatrice is in mourning for the pain that has been inflicted on Hero. Benedick suddenly declares his love for Beatrice. He says, “I do love nothing in the world so well as you”. Beatrice’s declaration of love is more subtle and led by him. She replies, “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”. In Branagh’s film you can see that their faces are close, suggesting intimacy. There is soft, floating music in the background and a sudden crescendo at the moment of the kiss. They are comfortable, which is demonstrated when he touches her hand.
The mood, however, suddenly changes when Benedick says that he will do anything for her, and she replies, “Kill Claudio”. This selfish request is refused at first. In response Beatrice says that if he will not do this for her, he does not truly love her. She repeats, “Oh that I were a man” because she feels trapped, limited and confined by her gender. She realises that if she were a man she would have the freedom to challenge Claudio herself. Finally, Benedick accepts her wish and promises her that he will challenge him. This shows ultimate loyalty and proves that he will do anything for Beatrice. Branagh’s film shows this part of the scene as tense and unsettling. As soon as Beatrice says, “Kill Claudio”, the music stops to emphasise the words. Beatrice paces, throwing furniture and making extreme gestures with her hands. She shouts with frustration and Benedick has to restrain her at various points.
However, at the end of the play, Shakespeare shows how the love between Beatrice and Benedick is fully restored. They only agree to marry each other backhandedly, after making excuses, like for “pity” or “to save your [Benedick’s] life”. In the Branagh film, there are cheers and applause from the crowd when Benedick kisses Beatrice. This happy ending is complete and ends with a marriage, a common feature in Shakespeare’s comedies. It is a satisfying ending for the audience, as Beatrice and Benedick are finally together.
The future for Beatrice and Benedick seems like a ‘happily ever after’ ending. They agree that they are “too wise to woo peaceably”, and from there, it is presumed that they will move on with a loving relationship. In Branagh’s version, positive music begins at the end of the film. There is a repetitive melody, possibly suggesting that Beatrice and Benedick’s relationship is ongoing and for eternity. All the characters then begin to dance in circles, maybe representing eternity, wedding rings and therefore, marriage. These themes echo the themes of the play.
