BENEDICK
I would my horse had the speed of your
tongue, and so good a continuer, but keep your
way, i' God's name, I have done.
BEATRICE
You always end with a jade's trick. I know
you of old. (1.1.139-143)
Benedick drops out of the argument because he can’t keep up with Beatrice. The two characters use their language as weapons, but never seem to be able to end or resolve their fights.
CLAUDIO
Benedick, didst thou note the daughter of
Signior Leonato?
BENEDICK
I noted her not, but I looked on her. (1.1.158-160)
This is the first of many usages of the word "noting" in the play; Benedick teases that he looked on the girl, but she was unremarkable, so he took no particular notice of her. Language is precise here, and communicates that Benedick has some disdain (maybe not particularly for Hero, but for taking note of women).
BENEDICK
I have almost matter enough in me for such
an embassage, and so I commit you—
CLAUDIO
To the tuition of God. From my house, if I had
it—
PEDRO
The sixth of July. Your loving friend,
Benedick.
BENEDICK
Nay, mock not, mock not. The body of your
discourse is sometime guarded with fragments,
and the guards are but slightly basted on neither.
Ere you flout old ends any further, examine your
conscience. And so I leave you. (1.1.273-283)
This is important—Benedick is silly an awful lot, but he's aware that the silliness of his language is often just a ruse to hide his more serious thoughts. He’s not a shallow jester, but more of a John Oliver type. Being funny is both his armor and weaponry.