“become the argument of his own scorn by falling in love.”
It locks the mocker and the mocked into one clause: the man who laughed at love becomes love's joke.
literary
Chapter 10 of 24 · 2'51"
Benedick cannot believe what love has done to Claudio, who once mocked lovers himself. Now Claudio loses sleep over a new doublet and talks 'a very fantastical banquet.' Benedick swears he will not be made a fool, then hides to eavesdrop on the Prince.
❝ Monologue · 21 lines Benedick on How Love Changed Claudio
Benedick Swears Love Won't Fool Him
Benedick delivers a long complaint about how love transforms men, using Claudio as his example. The man who once jeered at lovers now loses sleep over clothes and speaks in fancy language. Benedick insists love will never make such a fool of him, then hides as Don Pedro and his friends approach.
The soliloquy is Benedick writing his own comedy about Claudio, but every joke points back at him. He notices that a man can laugh at love in others and then 'become the argument of his own scorn by falling in love,' and he knows he could be next, admitting that 'love may transform me to an oyster' before he swears it never will. That refusal is what the scene is really about: Benedick defines himself as the one man not to be changed, and lists impossible requirements for a woman just to make the position sound reasonable. The overhearing plot works because his own words set the trap — he is so busy proving he cannot be caught that he walks straight into hiding and the friends who will lie to him. His last admiring line about the music, that 'sheep's guts should hale souls out of men's bodies,' shows how easily charm gets around his defences.
A1–C2 is the CEFR scale. Cards above the level you pick fade, and playback will not auto-pause on them.
“become the argument of his own scorn by falling in love.”
It locks the mocker and the mocked into one clause: the man who laughed at love becomes love's joke.
literary
“He was wont to speak plain like an honest man and a soldier, now is he turned orthography.”
The blunt soldier is set against spelling-book fuss: one word, orthography, shows the whole change.
literary
“His words are a very fantastical banquet, just so many strange dishes.”
Flowery speech served up as a spread of odd dishes: an image that makes the flattery taste greasy.
literary
“but till he hath made an oyster of me, he shall never make me such a fool.”
The absurd condition, turning him into an oyster, makes his vow against love both funny and airtight.
literary
“but till all graces be in one woman, one woman shall not come in my grace.”
The word grace turns back on itself: until every virtue meets in one woman, no woman meets his favour.
literary
“Is it not strange that sheep's guts should hale souls out of men's bodies?”
Calling lute strings sheep's guts while music pulls out souls makes the moment crude and magical at once.
literary
I do much wonder that one man, seeing how much another man is a fool when he dedicates his behaviours to love, will, after he hath laughed at such shallow follies in others, become the argument of his own scorn by falling in love. And such a man is Claudio. He would have walked ten mile afoot to see a good armour, now will he lie ten nights awake, carving the fashion of a new doublet. He was wont to speak plain like an honest man and a soldier, now is he turned orthography. His words are a very fantastical banquet, just so many strange dishes. Well, may I be so converted and see with these eyes? I cannot tell. I think not. I will not be sworn, but love may transform me to an oyster, but till he hath made an oyster of me, he shall never make me such a fool. One woman is fair, yet I am well. Another is wise, yet I am well. Another virtuous, yet I am well, but till all graces be in one woman, one woman shall not come in my grace. Rich she shall be, that's certain. Wise, or I'll none. Virtuous, or I'll never cheapen her. Fair, or I'll never look on her. Mild, or come not near me. ..and her hair shall be... ..of what colour it please God.
Up next · 11bait the hookThe scene: Don Pedro Tricks BenedickClaudio was once as scornful of love as Benedick is. Now Claudio is lovesick and fussy about his clothes, and Benedick uses him as proof that love turns men into fools.
He insists he will not, but he also admits love may still turn him into an oyster. His confidence is loud enough to be a joke in itself.
He hides so he can listen to Don Pedro and the others without being seen. It is the first step of the trick they are about to play on him.
Rich, wise, virtuous, fair, and mild, with hair of whatever colour God pleases. The list is so demanding that no woman could satisfy it.
He is struck by how much the song moves the listener, asking how sheep's guts can draw a man's soul out of his body.