In the second eavesdropping scene Beatrice listens in on Hero and Ursula when they discuss Benedick. The scene parallels the earlier one (in Act II, Scene 3). This second scene is also shorter than the earlier one because Shakespeare relies on a dialogic relationship between the two. The term dialogic in drama means that the sense or meaning of one scene carries over into the other scene: the prefix dia- means across and the root logic implies sense or meaning. The scenes are identical in many ways: the stubborn bachelor or bachelorette hides in the garden and listens in on his or her friends as they discuss the man or woman of whom the eavesdropper is subconsciously in love with. The results of the eavesdropping are also quite similar. The eavesdroppers hear about their faults and decide to mend their ways. The second scene is shorter, then, because the audience already knows what to expect. Nevertheless, the scene is equally as delightful as the first.
Shakespeare also uses semiotics to connect the two scenes. In literature semiotics is the use of signs to connect one part of the work to another. The act of eavesdropping itself is one such sign. The audience quickly perceives that Beatrice is behaving exactly in the same manner as Benedick did. The elaborate fiction or lies also connects the scenes. Certain words also serve as signs. Both Beatrice and Benedick are referred to metaphorically as birds ("fowl" in line 87 of Act II, Scene 3; and "lapwing" in line 24 of Act III, Scene 1), and the fishing metaphor is also used to describe the trap set for both Benedick and Beatrice (line 101 in Act II, Scene 3; and line 26 in Act III, Scene 1). Most importantly, the same term is used to describe their major fault: pride or proud (line 200 in the earlier scene and line 109 in the latter scene). In addition, the word requite also appears in the soliloquies of both characters:
BENEDICK: Why, it must be requited. (Act II, Scene 3: 199) BEATRICE: I will requite thee. (Act III, 1: 112)
Both Benedick and Beatrice wake up to their true feelings regarding one another, and both of them vow to repay the love that (they believe) the other has for him or her. Both Benedick and Beatrice change in a drastic way. And, as suggested earlier, that change is brought about in a humorous and entertaining way. Shakespeare is at his comedic best in these scenes. Both scenes are clever, witty, and thoroughly enjoyable.