MAAN Flashcards

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1
Q

Paragraph #1 Quote 1 Claudio

A

“jewel…modest young lady”

The callow claudio seems unfettered by these restrictions owing to his relative youth and naivete, simperingly labelling Hero a “ “ and a “ “

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2
Q

Paragraph #1 Quote 1 Benedick

A

“professed tyrant to their sex”

When Benedick declares himself a “ “, Shakespeare suggests that his witty misogyny is merely a mask to conceal his liminal fear of cuckoldry and subliminal fear of the emasculation that would accompany his coupling with Beatrice

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3
Q

Paragraph #1 Quote 3 Beatrice -> Benedick

A

“signore montanto”

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4
Q

Paragraph #1 Quote 4 Benedick -> Beatrice

A

“harpy… lady tongue”

indicating that the need to conceal one’s true feelings is universal for both men and women. Shakespeare presents wit as the acme of social intelligence within Messina, necessitating the concealment of vulnerable, uncomfortable feelings beneath a carapace of heartlessness.

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5
Q

Paragraph #1 Quote 2 Don Pedro

A

“a time of wooing”

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6
Q

Paragraph #1 Quote1 Messina

A

“merry war”

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7
Q

Paragraph #1 Quote2 Messina

A

“breaking jests”

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8
Q

Paragraph #1 Quote5 Benedick

A

“yoke[d]”

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9
Q

Paragraph #2 Quote1 Claudio

A

“strikes like a blind man”

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10
Q

Paragraph #1 Quote4 Claudio

A

“with a soldier’s eye”

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11
Q

Paragraph #2 Quote2 DJ -> Claudio

A

“beauty is a witch”

when initally duped by Don John and Borachio, Claudio’s insistence that “ “ reflects his assumption that (LINK TO TOPIC), her identity subsumed into an archetype of female wickedness, something that prefigured his later denunciation if her as a “approved wanton” and “rotten orange”

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12
Q

Paragraph #2 Quote1 Benedick

A

“horribly in love with you”

The gulling of Beatrice and Benedick allows for both characters to overcome their fear of humiliation and social ostracisation, with Benedick resolving that he is “ “ with Beatrice, his dialogue stripped bare of the witty persiflage that reflected his performative irreverence within the fetters of society

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13
Q

Paragraph #2 Quote 3 Claudio

A

“rotten orange… approved wanton”

when initally duped by Don John and Borachio, Claudio’s insistence that “ “ reflects his assumption that (LINK TO TOPIC), her identity subsumed into an archetype of female wickedness, something that prefigured his later denunciation if her as a “approved wanton” and “rotten orange”

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14
Q

Paragraph #2 Quote4 Claudio

A

“tainted flesh”

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15
Q

Paragraph #2 Quote1 Beatrice

A

“that i were a man”

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16
Q

Paragraph #2 Quote2 Benedick

A

“to wise to woo peaceably”

Link to topic

17
Q

Paragraph #2 Quote3 Benedick

A

“horribly in love”

18
Q

Paragraph #2 Quote5 Claudio

A

“better fit [Claudio’s] pride”

19
Q

Paragraph #3 Quote 1 Messina

A

“pipers”

Despite the ostensibly harmonious marriages and “pipers” that conclude the play…

20
Q

Paragraph #3 Quote 1 Benedick

A

“loves nothing in the world so well as [Beatrice]”

When Benedick declares that “ “, his words stripped bare of jargon and ornamentation, Shakespeare presents him as a man who ahs overcome his fear of vulnerability and is now able to express his emotions…

21
Q

Paragraph #3 Quote 1 Margeret

A

“why must [she] always be kept below the stairs”

Margeret, who’s anguished questioning of “ “ highlights the entrapment still experienced by the lower echelons of society

22
Q

Paragraph #3 Quote 1 Claudio

A

“see his new bride’s face”

His request to “ “ coupled with Benedick’s allusions to cuckoldry in the play’s final lines, suggests that fear of (link to topic) remains prevelent at the denouement , implying that such subterfuge is still necessitated or expected within the play’s unreformed milieu

23
Q

Paragraph #3 Quote 2 Claudio

A

“death by slanderous tongues”

24
Q

Paragraph #3 Quote 2 Benedick

A

“man is a giddy thing”

25
Q

Paragraph #3 Quote 1 Benedick

A

“…the author of it all…”

26
Q
A