Shakespeare: More Lovers Trivia Quiz

Answer: Lady Macbeth

"Look like the innocent flower, but be the serpent under't." - Lady Macbeth (Macbeth, Act 1, Scene 5)

Macbeth and Lady Macbeth have an intense and ambitious relationship. While their love seems strong at first, it quickly becomes entangled in the lust for power. This begins when Lady Macbeth receives Macbeth's letter about the witches' prophecy (Act 1, Scene 5), which prompts her to plot the murder of King Duncan. In Act 1, Scene 7, she manipulates Macbeth by questioning his manhood: "When you durst do it, then you were a man."

As the guilt of the murder sets in, Macbeth becomes increasingly paranoid, especially after seeing Banquo's ghost in Act 3, Scene 4. At a banquet, his public reaction to the ghost reveals his guilt: "Thou canst not say I did it: never shake / Thy gory locks at me!"

Meanwhile, Lady Macbeth's mental state is deteriorating. In Act 5, Scene 1, she famously sleepwalks, obsessively trying to wash imaginary blood from her hands: "Out, damned spot! Out, I say!"

The couple's love, once based on ambition, crumbles under the weight of her actions. Lady Macbeth's guilt drives her to suicide, hinted at in Act 5, Scene 5, when Macbeth reacts indifferently to her death: "She should have died hereafter." Macbeth ultimately meets his own tragic end in Act 5, Scene 8, when he is slain by Macduff in a final confrontation: "Turn, hell-hound, turn!"

Answer: Beatrice

"I do love nothing in the world so well as you: is not that strange?" - Benedick ("Much Ado About Nothing", Act 4, Scene 1)

One of Shakespeare's sharpest couples, Benedick and Beatrice engage in a playful "merry war" of words that masks their true feelings. Both are initially cynical about love, but their banter hints at an underlying attraction. Their friends trick them into admitting their affection, leading to a real romance. Unlike many of Shakespeare's couples, their bond is based on equality and wit.

From the start, their exchanges are sharp and playful, with Beatrice calling Benedick "Signior Mountanto" (Act 1, Scene 1), mocking his bravado. Benedick responds in kind, showing their dynamic as equals sparring with words.

The turning point arrives when their friends plot to make them confess their feelings. After overhearing a staged conversation, Benedick admits his surprise in Act 2, Scene 3: "Love me? Why, it must be requited." Similarly, Beatrice's tough exterior cracks when she hears a similar setup: "Contempt, farewell! and maiden pride, adieu!" (Act 3, Scene 1).

Finally, in a tense moment in Act 4, Scene 1, they confess their love. Benedick's declaration is both heartfelt and humorous: "I do love nothing in the world so well as you: is not that strange?" Beatrice, moved, replies sincerely, marking the transition from witty rivalry to genuine affection. Their union is one of Shakespeare's most joyous, celebrating a love rooted in respect and mutual understanding.

Answer: Hermione

"I am a feather for each wind that blows." - Leontes ("A Winter's Tale", Act 2, Scene 1)

Leontes' unfounded jealousy leads him to accuse his wife Hermione of infidelity. His obsession drives the tragic first half of the play, creating a rift with devastating consequences. Despite his cruelty, Hermione's love for him remains steadfast. Ultimately, Leontes' repentance allows for a reconciliation marked by a miraculous reunion.

His irrational jealousy first appears in Act 2, Scene 1, when he accuses Hermione of having an affair with his friend Polixenes: "Give me the boy: I am glad you did not nurse him: / Though he does bear some signs of me, yet you / Have too much blood in him." His mistaken belief in her infidelity sets off a chain of tragic events, including the death of her son Mamillius and Hermione's apparent demise.

Years later, after deep remorse, Leontes' transformation is rewarded in the play's final act. In Act 5, Scene 3, a statue of Hermione seemingly comes to life, revealing that she has been alive all along: "She hangs about his neck: / If she pertain to life, let her speak too." This extraordinary moment of forgiveness and reunion underscores how love, despite severe trials, can be redeemed through repentance and second chances.

Answer: Olivia

"Blame not this haste of mine. If you mean well, / Now go with me and with this holy man." - Olivia ("Twelfth Night", Act 4, Scene 3)

Sebastian and Olivia's relationship is based on mistaken identity and impulsive attraction. Olivia falls in love with Sebastian, believing him to be Cesario (who is actually Sebastian's sister Viola in disguise), and her bold pursuit takes him by surprise. Despite the confusion, Sebastian embraces the unexpected romance, leading to a sudden but joyful union.

The mix-up begins in Act 4, Scene 1, when Olivia, still mistaking Sebastian for Cesario, urges him to follow her: "Would thou'dst be ruled by me!" Surprised but intrigued, Sebastian decides to go along, declaring in Act 4, Scene 3, "Blame not this haste of mine." His openness to this whirlwind courtship swiftly leads to marriage.

Their connection, although formed in haste, brings a cheerful resolution to the play's chaos. In Act 5, Scene 1, the confusion is finally cleared when Sebastian acknowledges Olivia: "So comes it, lady, you have been mistook." Their union, free from deeper conflicts, serves as a light-hearted and comedic conclusion to the tangled love stories in "Twelfth Night."

Answer: Hermia

"The course of true love never did run smooth." - Lysander ("A Midsummer Night's Dream", Act 1, Scene 1)

Lysander and Hermia's love faces challenges from the start, as Hermia's father insists that she marry Demetrius. They defy these demands and flee into the forest, where their relationship is tested by magical interference. Despite enchantments and misunderstandings, their bond remains strong.

In Act 1, Scene 1, Lysander sums up their predicament: "The course of true love never did run smooth," highlighting the obstacles they face, including societal pressures and family opposition. They decide to elope and flee to the woods to escape Athenian law.

Their plans are complicated when Puck accidentally enchants Lysander, making him fall in love with Helena. This magical mix-up disrupts their relationship, but in Act 4, Scene 1, the spell is lifted and Lysander's true feelings for Hermia return: "My love to Hermia, / Melted as the snow." Freed from enchantment and external pressures, Lysander and Hermia marry in the play's final act, celebrating the triumph of love over adversity.

Answer: Jessica

"In such a night / Did young Lorenzo swear he loved her well." - Lorenzo ("The Merchant of Venice", Act 5, Scene 1)

Lorenzo and Jessica's love story defies strict social and religious boundaries. Jessica, feeling trapped by her father Shylock's control, decides to run away, marking a break with her past. Her escape is a rebellion against authority and tradition, and Jessica's conversion to Christianity underlines the depth of her commitment to Lorenzo.

In Act 2, Scene 3, Jessica confesses her inner struggle: "Alack, what heinous sin is it in me / To be ashamed to be my father's child!" This reveals her desire to leave her father's oppressive household and sets the stage for her dramatic departure.

Disguised as a boy, Jessica steals away from her home and brings with her her father's wealth, reflecting both defiance and devotion: "What gold and jewels she is furnished with, / What page's suit she hath in readiness." The couple's union is sealed by Jessica's conversion to Christianity, symbolising her complete departure from her father's world. In Act 2, Scene 6, Lorenzo affirms his love for her during their escape: "If e'er the Jew her father come to heaven, / It will be for his gentle daughter's sake."

Answer: Juliet

"My bounty is as boundless as the sea, / My love as deep; the more I give to thee, / The more I have, for both are infinite." - Juliet ("Romeo and Juliet", Act 2, Scene 2)

Romeo and Juliet's love is born despite the bitter feud between their families, the Montagues and the Capulets. The couple's bond defies family expectations and societal rules and demonstrates the desire to transcend the hatred that surrounds them. In Act 2, Scene 2, their devotion shines through in the famous balcony scene, where Juliet questions the conflict: "What's in a name? That which we call a rose / By any other name would smell as sweet." Juliet shows her willingness to disregard social barriers in order to be with Romeo.

Their determination to be together culminates in a secret marriage (Act 2, Scene 6), as Romeo declares: "Do thou but close our hands with holy words, / Then love-devouring death do what he dare." This foreboding line foreshadows their tragic end, suggesting that their love, though pure, is perilously intertwined with fate.

The final act reveals the depth of their tragedy. In Act 5, Scene 3, Romeo, believing Juliet to be dead, decides to end his life by her side: "Here's to my love! [Drinks.] O true apothecary! / Thy drugs are quick. Thus with a kiss I die." Shortly after, Juliet wakes up to find Romeo dead, which prompts her to take her own life: "O happy dagger! / This is thy sheath: there rust, and let me die." Both take their own lives, believing they cannot live without each other, establishing their place as one of literature's most iconic tragic couples.

Answer: Miranda

"I would not wish / Any companion in the world but you." - Miranda ("The Tempest", Act 3, Scene 1)

Ferdinand and Miranda's love is defined by purity and simplicity, growing in the isolation of Prospero's enchanted island. Miranda, who has known no other men, falls instantly in love with Ferdinand, seeing him as the ideal mate. Their love is untainted by the deception and power struggles of other Shakespearean romances, reflecting the innocence of their isolated existence.

When Miranda first meets Ferdinand in Act 1, Scene 2, she is struck by his appearance: "I might call him / A thing divine, for nothing natural / I ever saw so noble." Ferdinand's devotion to Miranda is equally genuine. In Act 3, Scene 1, he willingly labours under Prospero's orders to prove his love, declaring: "The very instant that I saw you, did / My heart fly to your service."

Their union is ultimately a moment of reconciliation between estranged powers. In Act 5, Scene 1, Prospero blesses their marriage, recognising it as a bridge between Milan and Naples: "Then, as my gift, and thine own acquisition / Worthily purchased, take my daughter." Their marriage also brings the two kingdoms together for a new era of peace and unity.

Answer: Cressida

"Lechery, lechery, still wars and lechery: nothing else holds fashion." - Thersites ("Troilus and Cressida", Act 5, Scene 2)

The love story of Troilus and Cressida unfolds amidst the turmoil of the Trojan War, characterised by shifting alliances and betrayal. Troilus, a Trojan prince, is fascinated by Cressida and expresses his love for her in Act 3, Scene 2: "I am giddy; expectation whirls me round." At first their affection seems genuine and they exchange vows of fidelity.

However, their bond is disrupted when Cressida is sent to the Greek camp in a political exchange for the Trojan warrior Antenor. Before she leaves, she promises to be faithful to Troilus, declaring in Act 4, Scene 4: "I will be true." Once in the Greek camp, though, Cressida is quickly pursued by Diomedes. In Act 5, Scene 2, she accepts his advances, which Troilus witnesses, leading him to exclaim in disbelief: "This is, and is not, Cressid!"

Unlike many Shakespearean couples, their love does not come to a hopeful conclusion, but ends in separation and disappointment. The play ends with their bond broken, showing the fragility of love in a world overshadowed by war and uncertainty.

Answer: Katherina

"I am as peremptory as she proud-minded." - Petruchio ("The Taming of the Shrew", Act 2, Scene 1)

The relationship between Petruchio and Katherina is one of conflict and control. Katherina, with her outspoken and fiery nature, is perceived as 'shrewish', while Petruchio arrives in Padua with the aim of taming her. The conflict begins in Act 2, Scene 1, where Petruchio asserts his intentions: "I am as peremptory as she proud-minded; / And where two raging fires meet together / They do consume the thing that feeds their fury." This sets the stage for a courtship marked by dominance and manipulation.

Throughout the play, Petruchio uses a series of tactics to assert control, from denying Katherina food and sleep to contradicting her views. By Act 4, Scene 3, he reveals his strategy: "Thus have I politicly begun my reign, / And 'tis my hope to end successfully." His aim is to break her resistance by creating an environment where her usual defiance is rendered futile.

The play culminates in Act 5, Scene 2, where Katherine makes a speech in favour of wifely submission: "Thy husband is thy lord, thy life, thy keeper, / Thy head, thy sovereign; one that cares for thee." While this seems to signal her transformation, interpretations vary widely. Some see her speech as genuine acceptance, others view it as strategic compliance, and many argue that it is Shakespeare's critique of rigid gender expectations.