"He hath twice or thrice cut Cupid's bow-string, and the little hangman dare not shoot at him." - Don Pedro
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Don Pedro compares falling in love with death, referring to Cupid as a little hangman
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Don Pedro compares falling in love with death, referring to Cupid as a "little hangman"
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Don Pedro compares falling in love with death, referring to Cupid as a little "hangman"
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Don Pedro compares "falling in love" with death, referring to Cupid as a "little hangman"
Q.2.
"Come, come, do you think I do not know you by your excellent wit? Can virtue hide itself? Go to, mom, you are he. Graces will appear and there's an end." - Ursula
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In Ursula's view, virtues are inevitably visible, a belief she emphasizes when she says, "Graces will appear and there's an end"
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In Ursula's view, "virtues" are inevitably visible, a belief she emphasizes when she says, "Graces will appear and there's an end"
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In Ursula's view, virtues are inevitably visible, a belief she emphasizes when she says, graces will appear and there's an end
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In Ursula's view, virtues are inevitably visible, "Graces will appear and there's an end"
Q.3.
"He hath ta'en th'infection. Hold it up." - Claudio
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Claudio resembles a "doctor" who observes a patient "catching" an "infection"
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Benedick "catches" the "infection of love" from the false gossip he overhears
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Claudio refers to the false report of Beatrice's love as an "infection" which Benedick has caught
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All of the above
Q.4.
"I had rather hear my dog bark at a crow than a man swear he loves me." - Beatrice
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Beatrice compares men's declarations of love to the instinctive, and irritating, behavior of dogs who "bark at a crow"
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Beatrice compares men's declarations of love to the instinctive, and irritating, behavior of dogs who bark at a crow
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Beatrice compares a man's declaration of love to the instinctive, and irritating, behavior of a dog "barking at a crow"
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Beatrice compares men's declarations of "love" to the instinctive, and irritating, behavior of dogs who bark at a crow
Q.5.
"If thou dost love fair Hero, cherish it." - Don Pedro
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By telling Claudio to "cherish it", Don Pedro places greater emphasis on the experience of love itself, rather than on the person who has supposedly inspired this love
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Don Pedro encourages Claudio to love Hero, but his emphasis, when he tells the young man to "cherish it", is on love itself, rather than its object
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When Don Pedro tells Claudio to "cherish it", his impersonal "it" refers to love, rather than to Hero; love is more important than the beloved
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All of the above
Q.6.
"By my troth, 's but a night-gown in respect of yours - cloth o' gold, and cuts, and laced with silver, set with pearls, down sleeves, side sleeves, and skirts round underborne with a bluish tinsel." - Margaret
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Margaret undermines her praise of Hero's wedding dress by referring to the "cloth o'gold", "silver", "pearls", and general extravagance of the "sleeves and skirts" of the Duchess of Milan's wedding dress
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Margaret undermines her praise of Hero's wedding "dress" by referring to the "cloth o'gold", "silver", "pearls", and general extravagance of the sleeves and skirts of the Duchess of Milan's "wedding dress"
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Margaret undermines her praise of Hero's wedding dress by referring to the cloth o'gold, silver, pearls, and general extravagance of the sleeves and skirts of the Duchess of Milan's wedding dress
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Margaret undermines her praise of Hero's wedding dress by referring to the "cloth o'gold", "silver", "pearls", and general extravagance of the sleeves and skirts of the Duchess of Milan's wedding dress
Q.7.
"A miracle! Here's our own hands against our hearts." - Benedick
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Benedick refers to the "written" evidence of "love" as pitting his and Beatrice's "hands" against their "hearts"
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Benedick refers to the written "evidence" of love as pitting his and Beatrice's "hands" against their "hearts"
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Benedick refers to the written evidence of love as pitting his and Beatrice's "hands" against their "hearts"
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Benedick refers to the written evidence of love as pitting his and Beatrice's hands against their "hearts"
Q.8.
"I have deceived even your very eyes. What your wisdoms could not discover, these shallow fools have brought to light." - Borachio
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Borachio mocks the gentlemen because he "deceived even your very eyes"
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Borachio takes pride in "deceiving" the gentlemen's "very eyes", even though he has been caught out by the "shallow fools"
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Borachio mocks the gentlemen whose "very eyes" have been "deceived", even though they are not shallow fools
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Borachio mocks the gentlemen for being less perceptive than the "shallow fools" who uncover the plot
Q.9.
"But that my Lady Beatrice should know me, and not know me! The Prince's fool! Ha, it may be I go under that title because I am merry." - Benedick
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"Benedick" contrasts two types of "knowing": Beatrice "knows him" and does "not know him"
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Benedick contrasts two types of "knowing": Beatrice "knows me" and does "not know me"
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Benedick contrasts two types of knowing: Beatrice knows his character very well, but apparently fails to recognize him during the revelry
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Benedick contrasts two types of knowing: Beatrice "knows" his character very well, but apparently fails to "recognize" him during the revelry
Q.10.
I have marked A thousand blushing apparitions To start into her face, a thousand innocent shames In angel whiteness beat away those blushes, And in her eye there hath appeared a fire. The Friar
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The Friar depicts Hero's face as a battlefield in which an angel whiteness and fire are her defenders
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The Friar depicts Hero's face as a battlefield in which an "angel whiteness" and "fire" are her defenders
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The Friar observes the "blushing apparitions" and innocent shames in Hero's "face"
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The Friar observes the "blushing apparitions" and "innocent" shames in Hero's "face"
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