How does Shakespeare use language and stagecraft to achieve effects and engage his audience in Act II, scene iii of Much Ado about Nothing?

The primary language device Shakespeare uses in Act II,
scene iii of Much Ado about Nothing (pronounced
note-ing) is plays on words. The scene opens with one instance of
this. Bendick calls his servant in. The servant unintentionally--or
intentionally--misunderstands Bendick and gives him a nonsensical reply: When sent to
collect a book and bring it back, he replies, "I am here already, sir" to which Benedick
is forced to reply, "I know that; but I would have thee hence, and here again." This
creates a humorous effect and engages the audience.

Another
instance of word play is when Don Pedro, Claudio, and Leonato are talking about
Benedick--for Bendick's benefit--and playing off the word "quarrel."  Don Pedro says
Benedick "undertakes / them with a most Christian-like fear" to which Leonato replies,
"if he break the peace, he ought to enter into a / quarrel with fear and trembling."
This adds an engaging humorous twist to the notion of a soldier's courage in battle that
applies to personal relations. Another similarly engagingly humorous instance occurs
later when Leonato and Claudio know something and Don Pedro exclaims his amazement upon
hearing it: "How, how, pray you? You amaze me." The same engaging effects based upon
language occur later in Benedick's monologue after having overheard this staged
conversation.

Stagecraft in Act II, scene iii that creates
effects and engages centers around comings and goings. Entrances and exits create
perceptions of activity, feelings of anticipation and suspense, thus engaging the
audience. As the scene opens, Bendick is alone onstage. He raises his voice and calls
for the entrance of his servant. When the "Boy!" exits, Benedick delivers the first of
his two monologues in the scene. Don Pedro, Claudio, and Leonato enter calling for the
entrance of the musician Balthasar who adds to the engagement of the stagecraft by
singing a context-relevant song. Later, Don Pedro, Claudio, and Leonato exit. Bendick is
alone on stage and delivers his second monologue about requiting Beatrice's love: "Love
me! / why, it must be requited." The scene ends with a pithy exchange as Beatrice enters
and exits.