In 1206 the greatest of the Mongols took the name of Genghis Khan, and he proved a Prester John indeed, though not a Christian one. For a bloody and unbelievable half century the Mongols expanded with unheard-of speed and built the largest continuous land empire the world had yet seen. In 1240 they even penetrated central Europe, defeating all armies sent against them.

Under Kublai Khan, the grandson of Genghis Khan, they reached their height. In the late thirteenth century the Italian traveler Marco Polo spent seventeen years at the court of Kublai Khan and thereafter wrote an immensely popular account of his travels. The memory of the Khans (or Chams) remained green, therefore, and it is the beard of the Mongol ruler which Benedick offers to pluck (though by Shakespeare's time only remnants of the Mongol Empire remained).

The Pygmies were a dwarfish race first mentioned in Homer's Iliad, and were reputed to live south of Egypt (see page I-63). The Harpies, in Greek legend, were originally symbols of the storm wind, but they were eventually pictured as winged birds of prey with women's heads. They were described as horrible, filthy creatures that snatched food away from men's tables, soiling and fouling what they could not take.

Having said all this, Benedick stalks off in a huff, to Beatrice's amusement. The rest of the group are happy too, as it quickly turns out that Don Pedro has wooed on his friend's behalf, and successfully. Soon there will be a wedding between Claudio and Hero.

Don Pedro, having listened to Benedick and Beatrice berate each other, suddenly thinks it would be delightful to trick them into falling in love. It is quite obvious to everyone that they are actually in love and it is just necessary to find some face-saving way of getting each to admit it

Don Pedro, Leonato, and Claudio therefore seize an opportunity when Benedick is within earshot, to pretend they don't know they are being overheard, and to begin a long, circumstantial tale about Beatrice being in love with Benedick and being afraid to show it. They say that she may die of it.

Benedick is quite incredulous at first, but the three are most convincing, and, in his heart, he wants to believe, of course. So it comes about that he decides he can't very well let the poor girl die and he might as well save her life by loving her.

Next, Beatrice must get the same treatment. Hero and a lady in waiting, Ursula, will talk in the garden and Beatrice will be lured there to overhear them. Hero gives directions, saying that the talk will be in a shady place where the plants

—Act III, scene i, lines 9-11

Considering the year in which the play was written, this sounds like an unmistakable reference to the Earl of Essex (see page I-120), who had been the favorite of Queen Elizabeth and who was now falling out of favor and taking it hard. Soon he was to attempt rebellion against the Queen and be beheaded for his pains.

Shakespeare was patronized by Essex and was surely sympathetic to him (see page I-119). In fact, there is every reason to suppose he did not forgive Elizabeth for executing the Earl, and when Queen Elizabeth died he remained mute, something spitefully noted by the poet Henry Chettle, who wrote an elegy in the dead monarch's honor.

And yet here is this passage in Much Ado About Nothing. We might suppose that Shakespeare, not one to risk his neck, or his living either, fearful that his connection with Essex might bring harm down upon his head, inserted this passage as an indication of disapproval of Essex. Such an indication might place him on the right side and out of trouble.

The girls' stratagem works and Beatrice is tricked into love out of pity, just as Benedick was.

Everything is going better and better, but there is Don John even yet His earlier bit of mischief had miscarried and he wants something more effective. His companion, Borachio, has an idea. Why not frame Hero? He can arrange things so that he himself will woo Hero's lady in waiting Margaret at Hero's window. Don Pedro and Claudio will be allowed to overhear and be made to believe that Hero is a creature of light behavior who bestows her favors on anyone.

This vile plot is carried through offstage and works, but almost at once the nemesis of the plotters appears in the shape of comic constables, who mangle the English language with every sentence.

Their chief is Dogberry, epitome of the cowardly policeman who is willing to make an arrest only if there is no risk in it. Thus, when asked by a watchman whether they may arrest any thieves they encounter, Dogberry prudently says:

—Act III, scene iii, lines 57-58

The proverb is biblical; at least it occurs in the apocryphal Book of Ecclesiasticus (13:1), where it is written: "He that toucheth pitch shall be defiled therewith," an analogy that warns against evil companionship.

Two newly sworn watchmen remain behind and almost at once Conrade and Borachio enter. Borachio, having successfully carried through the plot, is bubbling over with glee because he has earned a thousand ducats from Don John as a result. Borachio says to Conrade:

—Act III, scene iii, lines 104-6

It is to be presumed that Don John's companions are Aragonese and speak Spanish. Shakespeare makes no point of it in the play but Bora-chio's reference to himself as a drunkard is interesting, since the Spanish word borracho means just that.

Borachio is triumphant over the ease with which appearance was mistaken for reality (Margaret at the window for Hero). Through him, Shakespeare strikes out at one of his favorite targets-changing fashion. Borachio denounces fashion for making mankind ridiculous:

—Act III, scene iii, lines 134-38

The new fashions only succeed, in other words, in making men look like one variety or another of ancient figures so that those fashions don't even have the virtue of being really new.

The reference to "Bel's priests" brings in another apocryphal book of the Bible. In this case it is Bel and the Dragon, in which the prophet Daniel proved to King Cyrus of Persia that the idol Bel was merely an inanimate object. The priests of Bel pretended that the idol consumed food and wine brought to it by the faithful each day, and Daniel showed that it was the priests themselves who ate and drank.