“’Twas in the temple where I first beheld her,

And now again the same. What omen yet

Follows of that? None but imaginary:

Why should my hope of fate be timorous?

The place is holy, so is my intent:

I love her beauties to the holy purpose,

And that, methinks, admits comparison

With man’s first creation, the place blest,

And is his right home back, if he achieve it.

The church hath first begun our interview,

And that’s the place must join us into one

So there’s beginning, and perfection too.” 

This monologue, spoken by Alsemero, opens the play and introduces key themes of religion and love. Alsemero meets Beatrice in a church, or “temple,” and describes his love for her using religious imagery. Both Beatrice and the play are framed by this virtuous imagery, creating a sharp contrast and steep descent toward sin as Beatrice’s crimes unfold. Allusions to Eve and the Garden of Eden further parallel Beatrice’s eventual fall with the fall of man. Alsemero’s noble intentions toward Beatrice and his religious devotion establish him as the play’s moral compass, in juxtaposition to the obsessive De Flores and corruptible Beatrice.

“Be better advised, sir

Our eyes are sentinels unto our judgements,

And should be given certain judgement what they see;

But they are rash sometimes, and tell us wonders

Of common things, which when our judgements find,

They can then check the eyes, and call them blind.” 

Beatrice warns Alsemero not to fall in love with her too fast, since the eyes can be deceived. The statement is ironic, both because Beatrice hastily entered an engagement to Alonzo, and because Beatrice will deceive Alsemero through various tricks later in the play. Unreliable eyesight underlines the larger motif of changing appearances and identities, emphasizing that it’s impossible to recognize someone’s true nature by sight or first impression alone.