Perhaps the best example of this "comedy of love" is the fencing of the two unconscious lovers, Beatrice and Benedick, in _Much Ado About Nothing._ This young couple seek one another only to measure weapons, to sneer and to fence, with the fine-pointed swords of biting jest and disdain, they believe themselves to be antipathetic, disbelieve one another; yet the simplest little intrigue of their friends suffices to reveal each to each as whole-heartedly loving and desiring the adversary. The union of the two is sealed, when they find themselves united in the same sentiment to defend their friend, who has been calumniated and rejected, thus discovering that their perpetual following of one another to engage in strife, had not concealed the struggle, which implies affinity of sex, but the spiritual affinity of two generous hearts. _Benedick._ And, I pray thee now, tell me for which of my bad faults didst thou first fall in love with me?... And the other, speaking with tenderness and ceasing to carry on the pinpricking: "Suffer love,--a good epithet! I do suffer love indeed, for I love thee against my will." A light touch permeates the treatment of these characters and suffices to animate them and make them act. The dramatic or indeed tragic situations, which at times arise, are treated as it were with the implied consciousness of their slight gravity and danger, which shall soon be evident and dispel all the apprehensions of those who doubt. They sometimes consist of nothing but an external action or occurrence, suited to the theatre, and more frequently a decorative background. Parallelism of personages and symmetry of events also abound in these plays, suitable to the merry teaching that pervades them.