Much Ado About Nothing — Quotes

17 quotes — Gender & Power with full 6-part analysis

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1
STAGNATE

“I had rather hear my dog bark at a crow than a man swear he loves me”

HYPERBOLIC SIMILEDRAMATIC IRONY

Beatrice · Act 1, Scene 1

2
PROGRESS

“Kill Claudio”

IMPERATIVE MONOSYLLABLESCAESURA & STRUCTURAL DISRUPTION

Beatrice · Act 4, Scene 1

3
STAGNATE

“Sigh no more, ladies, sigh no more, Men were deceivers ever”

PROLEPTIC IRONYCHORIC FUNCTION

Balthasar's Song · Act 2, Scene 3

4
REGRESS

“O, what men dare do! What men may do! What men daily do, not knowing what they d…”

ANAPHORIC TRICOLONPUBLIC PERFORMATIVITY

Claudio · Act 4, Scene 1

5
PROGRESS

“O that I were a man! I would eat his heart in the marketplace”

VIOLENT IMAGERY / SEMANTIC FIELD OF SAVAGERYEXCLAMATORY SYNTAX & CONDITIONAL MOOD

Beatrice · Act 4, Scene 1

6
PROGRESS

“I do love nothing in the world so well as you — is not that strange?”

LITOTES & SELF-INTERROGATIONPROSE vs VERSE — REGISTER SHIFT

Benedick · Act 4, Scene 1

8
PROGRESS

“Thou and I are too wise to woo peaceably”

PARADOX / OXYMORONIC WITMETALINGUISTIC COMMENTARY

Benedick · Act 5, Scene 2

10
PROGRESS

“Contempt, farewell! and maiden pride, adieu! No glory lives behind the back of s…”

APOSTROPHE & PERSONIFICATIONVERSE SHIFT — PROSE TO VERSE

Beatrice · Act 3, Scene 1

11
PROGRESS

“Of this matter is little Cupid's crafty arrow made, that only wounds by hearsay”

MYTHOLOGICAL ALLUSION / PERSONIFICATIONPROLEPTIC IRONY / FORESHADOWING

Hero · Act 3, Scene 1

12
REGRESS

“Is my lord well, that he doth speak so wide?”

INTERROGATIVE SYNTAX / DRAMATIC IRONYLINGUISTIC RESTRAINT / SILENCING

Hero · Act 4, Scene 1

13
PROGRESS

“One Hero died defiled, but I do live, and surely as I live, I am a maid”

SYMBOLIC DEATH & RESURRECTIONTHIRD-PERSON SELF-REFERENCE

Hero · Act 5, Scene 4

14
STAGNATE

“And seemed I ever otherwise to you?”

RHETORICAL QUESTION / MONOSYLLABIC POWERAPPEAL TO EMPIRICAL EVIDENCE

Hero · Act 4, Scene 1

16
REGRESS

“Give not this rotten orange to your friend”

EXTENDED METAPHOR / OBJECTIFICATIONPUBLIC PERFORMANCE / RITUAL HUMILIATION

Claudio · Act 4, Scene 1

17
REGRESS

“Beauty is a witch, against whose charms faith melteth into blood”

DEMONIC IMAGERY / MISOGYNISTIC TROPESEMANTIC FIELD OF ENCHANTMENT

Claudio · Act 2, Scene 1

20
STAGNATE

“Leonato's Hero, your Hero, every man's Hero”

TRICOLON WITH ESCALATIONINNUENDO / LINGUISTIC POISON

Don John · Act 3, Scene 2

23
REGRESS

“Mine, and mine I loved, and mine I praised, and mine that I was proud on — mine …”

ANAPHORA / OBSESSIVE POSSESSIVESOLIPSISTIC GRIEF / SELF-CENTRED RHETORIC

Leonato · Act 4, Scene 1

24
REGRESS

“Hath no man's dagger here a point for me?”

RHETORICAL QUESTION / MELODRAMATIC EXCESSPATHOS & TRAGIC REGISTER

Leonato · Act 4, Scene 1