Dramatic historians often note that Beatrice and Benedick are prototypes of (or models for) the witty lovers that so frequently appear in Restoration Comedies. Yet Beatrice and Benedick are also the best of such witty lovers, and Much Ado about Nothing continues to be a highly regarded and frequently staged comedy that continues to surpass the popularity of the Restoration plays.
The reader might note that Beatrice and Benedick frequently converse in prose (unlike the blank verse of Claudio and Hero). Prose separates their dialogue from the others and serves to highlight or emphasize the argumentative or combative aspect of their language. Yet this prose is also rich in metaphor and wit and is certainly more delightful than the poetry of Claudio and Hero. As many critics suggest, Shakespeare's wit is imaginative and analytical: it combines judgment and fancy.
Beatrice and Benedick are also romantics. Shakespeare provides clues throughout the early portions of the play to indicate that Beatrice and Bendick did share a romantic past of some sort. However, that relationship broke, most likely because of their pride and stubbornness and also because of a misunderstanding. Neither one realizes that the other loves him or her. Both Beatrice and Benedick were hurt by this past experience, but both of them are too proud to let the other know this. They believe that their romantic natures are weaknesses that they need to keep hidden. Their wit and sarcasm and verbal attacks become their way of defending themselves or protecting themselves against being hurt in the future.
One of the most revealing and important actions regarding the character of Benedick occurs when Benedick decides to challenge Claudio on Beatrice’s request. Benedick is not even sure of Beatrice's love at this point: he does not have a relationship with her. To challenge one's patriot in arms and sworn companion is definitely uncharacteristic of the Renaissance time period. Such an act goes against male brotherhood, the sense of camaraderie. Shakespeare thus reveals the overwhelming power of love as well as the extent of Benedick's love for Beatrice.
A highly notable action for Beatrice is her defense of Hero. Again the romantic and emotional aspect of her character becomes revealed at this instance. Beatrice does not rely on logic or analysis in regards to Hero. Rather she relies on and trusts her instincts and feelings. Beatrice's request that Benedick kill Claudio also is also based on emotion: her love for Hero and her anger against those who have hurt Hero.
The critic Dover Wilson describes Beatrice as “the first woman in [English] literature, perhaps in the literature of Europe, who not only has a brain, but delights in the constant employment of it.”
Both Benedick and Beatrice enjoy their witty battles. Such verbal fighting and insulting actually increases their love for one another. Each of them is attracted to intelligence of the other, and these verbal battles provide opportunities for them to be together without revealing their emotional weaknesses.