The30MinuteShakespeare

CHARACTERS IN THE PLAY

The following is a list of characters that appear in this cutting of

Love’s Labor’s Lost.

Twenty actors performed in the original production. This number can be increased to about thirty or decreased to about twelve by having actors share or double roles.

For the full breakdown of characters, see Sample Program.

KING FERDINAND: King of Navarre

BEROWNE

LONGAVILLE DUMAINE

Lords attending on the King

COSTARD: A clown

BOYET

MARCADE

Lords attending on the Princess of France

DULL: A constable

THE PRINCESS OF FRANCE ROSALINE

MARIA KATHARINE

Ladies attending on the Princess

DON ARMADO: A fantastical Spaniard

SIR NATHANIEL: A curate HOLOFERNES: A schoolmaster BOY/MOTH: Page to Don Armado NARRATORS

✴ SCENE 1. (ACT I, SCENE I)

The King of Navarre’s Court.

STAGEHANDS set bench stage right, at an angle, placing table in front of bench; then set throne stage left, at an angle.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

The King of Navarre and his lords vow to retire from the world (especially from women) and study for three years. We will see how long this plan lasts!

Exit NARRATOR stage right.

Enter FERDINAND, BEROWNE, LONGAVILLE, and DUMAINE.

FERDINAND stands stage left between the table and bench, placing a scroll and pen on the table. The LORDS standstage right in front of the table, facing FERDINAND.

FERDINAND

Let fame, that all hunt after in their lives, Live regist’red upon our brazen tombs, And thengrace us in the disgrace of death;

You three, Berowne, Dumaine, and Longaville, Have sworn for three years’ term to live with me, My fellow-scholars, and to keep those statutes That are recorded in this schedule here: Subscribe to your deep oaths, and keep it too.

LONGAVILLE

I am resolv’d; ’tis but a three years’ fast:

The mind shall banquet, though the body pine.

LONGAVILLE signs the scroll and crosses stage left.

DUMAINE

My loving lord, Dumaine is mortified:

To love, to wealth, to pomp, I pine and die, With all these living in philosophy.

DUMAINE signs the scroll and moves to LONGAVILLE’S right.

BEROWNE (walks behind table, looking at scroll)

So much, dear liege, I have already sworn, That is, to live and study here three years. But there are other strict observances:

As, not to see a woman in that term, Which I hope well is not enrolled there: And one day ina week to touch no food, Which I hope well is not enrolled there.

O! These are barren tasks, too hard to keep, Not to see ladies, study, fast, not sleep.

LONGAVILLE

You swore to that, Berowne, and to the rest.

BEROWNE

By yea and nay, sir, then I swore in jest. What is the end of study? Let me know. Study me how to pleasethe eye indeed, By fixing it upon a fairer eye.

LONGAVILLE

Berowne is like an envious sneaping frost That bites the first-born infants of the spring.

BEROWNE (leaps onto stage right bench, animated)

Well, say I am: why should proud summer boast Before the birds have any cause to sing?

FERDINAND

Well, sit out; go home, Berowne; adieu.

FERDINAND begins to exit stage left, motioning to others to follow.

BEROWNE (returns to table)

No, my good lord; I have sworn to stay with you; I’ll write my name. (signs his name)

FERDINAND

How well this yielding rescues thee from shame!

BEROWNE (reading)

“Item, That no woman shall come within a mile of my court.”

This article, my liege, yourself must break; For well you know here comes in embassy

The French king’s daughter, with yourself to speak— A mild of grace and complete majesty—

About surrender up of Aquitaine

To her decrepit, sick, and bedrid father: Therefore this article is made in vain,

Or vainly comes th’ admired princess hither.

FERDINAND

What say you, lords? Why, this was quite forgot.

BEROWNE

So study evermore is over-shot:

We must of force dispense with this decree; She must lie here on mere necessity.

Necessity will make us all forsworn

Three thousand times within this three years’ space.

Enter DULL, the constable, holding a letter, from stage right. He is followed by COSTARD.

LONGAVILLE

Costard the swain shall be our sport; And so to study three years is but short.

DULL

Signior Arm—Arm—commends you. There’s villainy abroad: this letter will tell you more. (hands letter to FERDINAND)

COSTARD

Sir, the contempts thereof are as touching me.

KING

A letter from the magnificent Armado.

COSTARD

The matter is to me, sir, as concerning Jaquenetta. The manner of it is, I was taken with the manner.

BEROWNE

In what manner?

COSTARD

In manner and form following, sir; all those three:

I was seen with her in the manor-house, sitting with her upon the form, and taken following her into

the park; (sits on bench and pretends to have his arm around a woman on his right)—it is the manner of

a man to speak to a woman, for the form,—in some form.

FERDINAND

Will you hear this letter with attention? (reading) “Great deputy, the welkin’s vicegerent and sole dominator of Navarre, my soul’s earth’s god and body’s fostering patron.”

COSTARD

Not a word of Costard yet.

FERDINAND

Peace!

COSTARD

Be to me, and every man that dares not fight!

FERDINAND

No words!

COSTARD

Of other men’s secrets, I beseech you.

FERDINAND

“So it is, besieged with sable-coloured melancholy, I betook myself to walk, where, I did encounter that obscene and most preposterous event, there did I see that low-spirited swain, that base minnow of thymirth,”—

COSTARD

Me.

FERDINAND takes a step downstage to get away from COSTARD,

but COSTARD follows, looking over his shoulder. DULL, in turn, follows COSTARD.

FERDINAND

“that unlettered small-knowing soul,”—

COSTARD

Me.

FERDINAND (takes another step downstage; COSTARD follows, then DULL)

“that shallow vassal,”—

COSTARD

Still me?

FERDINAND (he takes yet another step; COSTARD follows, then DULL)

“which, as I remember, hight Costard,”—

COSTARD

O me!

FERDINAND

“sorted and consorted, contrary to thy established proclaimed edict and continent canon, with— with,— (can’t find the word; turns page over)

COSTARD

With a wench.

FERDINAND

“with a child of our grandmother Eve, a female; Jaquenetta, which I apprehended with the aforesaid swain,— and shall, bring her to trial. Thine, in heart-burning heat of duty, DON ADRIANO DE ARMADO.”

FERDINAND

But, sirrah, what say you to this?

COSTARD

Sir, I confess the wench.

FERDINAND

Did you hear the proclamation?

COSTARD

I do confess much of the hearing it, but little of the marking of it.

FERDINAND

Sir, I will pronounce your sentence: you shall fast a week with bran and water.

COSTARD

I had rather pray a month with mutton and porridge.

FERDINAND

And Don Armado shall be your keeper. My Lord Berowne, see him delivered o’er: And go we, lords, to put in practice that

Which each to other hath so strongly sworn.

Exit FERDINAND, LONGAVILLE, and DUMAINE stage left.

BEROWNE

I’ll lay my head to any good man’s hat

These oaths and laws will prove an idle scorn. Sirrah, come on.

BEROWNE, COSTARD, and DULL begin to exit stage right.

COSTARD

I suffer for the truth, sir: for true it is I was taken with Jaquenetta, and Jaquenetta is a true girl; and therefore welcome the sour cup of prosperity!

Affiiction may one day smile again; and till then, sit thee down, sorrow! (sits on bench)

BEROWNE and DULL drag bench offstage right, with COSTARD

remaining seated.

STAGEHANDS remove throne and table and set a second bench stage left.

✴ SCENE 2. (ACT II, SCENE I)

The King of Navarre’s Park.

Enter NARRATOR from stage rear, coming downstage.

NARRATOR

The Princess of France and her ladies arrive at Navarre. Ferdinand’s lords each take an interest in oneof the Princess’s ladies. Maybe that plan not to see women was not such a good idea!

Exit NARRATOR stage right.

Enter the PRINCESS OF FRANCE, ROSALINE, MARIA, KATHARINE,

and BOYET from stage rear.

BOYET and the PRINCESS stand center, with BOYET to the right of the PRINCESS, a few feet away from her. The threeLADIES stand to the left of the PRINCESS, in front of stage left bench.

BOYET

Now, madam, summon up your dearest spirits: Consider who the king your father sends,

and what’s his embassy:

To parley with Matchless Navarre; the plea of no less weight

Than Aquitaine, a dowry for a queen.

PRINCESS

Good Lord Boyet,

You are not ignorant, Navarre hath made a vow, Till painful study shall outwear three years,

No woman may approach his silent court: Tell him the daughter of the King of France,

Importunes personal conference with his Grace.

BOYET

Proud of employment, willingly I go.

Exit BOYET stage right.

PRINCESS (calling after him)

All pride is willing pride, and yours is so.

(to ladies) Who are the votaries,

that are vow-fellows with this virtuous duke?

MARIA (smiling)

Lord Longaville is one.

PRINCESS

Know you the man?

MARIA (steps forward)

I know him, madam: at a marriage feast, saw I this Longaville.

A man of sovereign parts, he is esteem’d, The only soil of his fair virtue’s gloss,—

Is a sharp wit match’d with too blunt a will.

PRINCESS

Such short-liv’d wits do wither as they grow. Who are the rest?

KATHARINE (steps forward)

The young Dumaine, a well-accomplish’d youth,

For he hath wit to make an ill shape good, And shape to win grace though he had no wit.

ROSALINE (steps forward)

Another of these students at that time

Was there with him, if I have heard a truth: Berowne they call him; but a merrier man, Within the limit of becoming mirth,

I never spent an hour’s talk withal.

PRINCESS

God bless my ladies! Are they all in love, That every one her own hath garnished With such bedeckingornaments of praise? Here comes Boyet.

Enter BOYET from stage right.

PRINCESS

Now, what admittance, lord?

BOYET (delighted and excited to be the bearer of good news)

Navarre had notice of your fair approach, And he and his competitors in oath

Were all address’d to meet you, gentle lady, Before I came. Marry, thus much I have learnt; He rather means to lodge you in the field,

Like one that comes here to besiege his court, Than seek a dispensation for his oath,

Here comes Navarre.

Enter FERDINAND, LONGAVILLE, DUMAINE, and BEROWNE from

stage right. All stand in front of stage right bench. FERDINAND

takes the PRINCESS’S hand and bows graciously. LONGAVILLE and

MARIA, KATHARINE and DUMAINE, and ROSALINE and BEROWNE

catch each other’s eyes.

FERDINAND

Fair Princess, welcome to the court of Navarre.

PRINCESS

“Fair” I give you back again; and “welcome” I have not yet: the roof of this court is too high to be yours, and welcome to the wide fields too base to be mine.

FERDINAND

Hear me, dear lady; I have sworn an oath.

PRINCESS

I hear your Grace hath sworn out house-keeping: ’Tis deadly sin to keep that oath, my lord,

And sin to break it.

The PRINCESS turns her back slightly to FERDINAND, facing her LADIES, who share a small smile/laugh with her.She then gives a paper to FERDINAND.

FERDINAND (moving to face the Princess again)

Madam, I will, if suddenly I may.

PRINCESS

You will the sooner that I were away,

For you’ll prove perjur’d if you make me stay.

(turns her back again slightly)

BEROWNE walks stage left toward ROSALINE, clears off the bench with his hat, and motions for her to sit. They both sit on the right side of the bench. All others freeze.

BEROWNE

Did not I dance with you in Brabant once?

ROSALINE

Did not I dance with you in Brabant once?

BEROWNE

I know you did.

ROSALINE

How needless was it then To ask the question!

BEROWNE

You must not be so quick.

ROSALINE

’Tis long of you, that spur me with such questions.

BEROWNE

Your wit’s too hot, it speeds too fast, ’twill tire.

ROSALINE

Not till it leave the rider in the mire.

ROSALINE stands and moves toward center stage. BEROWNE, who has been leaning toward her, falls onto bench. He stands and follows her.

BEROWNE (after a slightly uncomfortable silence)

What time o’ day?

ROSALINE

The hour that fools should ask.

BEROWNE

Now fair befall your mask!

ROSALINE

Fair fall the face it covers!

BEROWNE

And send you many lovers! (leaning toward her slightly)

ROSALINE (turning her back)

Amen, so you be none.

ROSALINE walks back to front of bench while BEROWNE stays center stage and gazes forlornly after her.

BEROWNE

Nay, then will I be gone.

BEROWNE returns to join the other lords stage right. All un- freeze.

FERDINAND

You may not come, fair Princess, in my gates; But here without you shall be so receiv’d

As you shall deem yourself lodg’d in my heart, To-morrow shall we visit you again.

PRINCESS

Sweet health and fair desires consort your Grace!

FERDINAND (looking deeply into her eyes)

Thy own wish wish I thee in every place.

Exit FERDINAND and his LORDS stage right.

BOYET

If my observation,—which very seldom lies, By the heart’s still rhetoric disclosed with eyes, Deceive me not now, Navarre is infected.

PRINCESS

With what?

BOYET

With that which we lovers entitle affected.

PRINCESS

Your reason.

BOYET (walking downstage center, painting a picture with his words and gestures)

Why, all his behaviors did make their retire

To the court of his eye, peeping thorough desire; His heart, like an agate, with your print impress’d, Proud with his form, in his eye pride express’d; Methought all his senses were lock’d in his eye, As jewels in crystal for some prince to buy.

PRINCESS

Come, to our pavilion: Boyet is dispos’d.

BOYET

But to speak that in words which his eye hath disclos’d. I only have made a mouth of his eye,

By adding a tongue which I know will not lie.

MARIA

Thou art an old love-monger, and speak’st skilfully.

Exit ALL stage rear, led first by the PRINCESS, then her LADIES, and then BOYET, winking at the audience.

✴ SCENE 3. (ACT V, SCENE II)

Before the Princess’s pavilion.

Enter NARRATOR from stage rear, coming downstage.

NARRATOR

The king and his lords, disguised as Russians, visit the ladies, who have their fun by confusing the men. Poor misguided men! How will it all end?

Exit NARRATOR stage right.

Enter the PRINCESS, KATHARINE, ROSALINE, and MARIA from

stage rear.

The PRINCESS and KATHARINE stand in front of stage right bench;

ROSALINE and MARIA stand in front of stage left bench.

PRINCESS

Sweet hearts, we shall be rich ere we depart, If fairings come thus plentifully in.

A lady wall’d about with diamonds!

(displays her jewels)

Look you what I have from the loving king. But, Rosaline, you have a favor too:

Who sent it? And what is it?

ROSALINE

I thank Berowne;

I am compar’d to twenty thousand fairs.

O! He hath drawn my picture in his letter.

(displays a letter and earrings)

PRINCESS

But, Katharine, what was sent to you from fair Dumaine?

KATHARINE

Madam, this glove.

PRINCESS

Did he not send you twain?

KATHARINE

Yes, madam; and, moreover,

Some thousand verses of a faithful lover;

(displays gloves and a letter)

A huge translation of hypocrisy, Vilely compil’d, profound simplicity.

MARIA

This, and these pearl, to me sent Longaville;

(displays pearls and a letter)

The letter is too long by half a mile.

PRINCESS

I think no less. Dost thou not wish in heart The chain were longer and the letter short?

MARIA

Ay, or I would these hands might never part.

PRINCESS

We are wise girls to mock our lovers so.

ROSALINE

They are worse fools to purchase mocking so. That same Berowne I’ll torture ere I go.

O that I knew he were but in by th’ week!

How I would make him fawn, and beg, and seek.

PRINCESS

None are so surely caught, when they are catch’d, As wit turn’d fool: folly, in wisdom hatch’d,

Hath wisdom’s warrant and the help of school And wit’s own grace to grace a learned fool.

Enter BOYET from stage rear.

PRINCESS

Here comes Boyet, and mirth is in his face. (stands)

BOYET

O! I am stabb’d with laughter! Where’s her Grace?

PRINCESS

Thy news, Boyet?

BOYET

Prepare, madam, prepare! Love doth approach disguised,

Armed in arguments; you’ll be surpris’d:

PRINCESS

But what, but what, come they to visit us?

BOYET

They do, they do, and are apparell’d thus, Like Muscovites or Russians, as I guess. Their purpose is toparley, court, and dance; And every one his love-feat will advance

Unto his several mistress; which they’ll know By favours several which they did bestow.

PRINCESS

And will they so? The gallants shall be task’d: For, ladies, we will every one be mask’d; Hold, Rosaline, this favour thou shalt wear,

(gives ROSALINE her jewels)

And then the king will court thee for his dear; Hold, take thou this, my sweet, and give me thine,

(ROSALINE gives the PRINCESS her earrings)

So shall Berowne take me for Rosaline.

And change you favours too; so shall your loves Woo contrary, deceiv’d by these removes.

(MARIA gives KATHARINE her pearl necklace;

KATHARINE gives MARIA her gloves)

PRINCESS

The effect of my intent is to cross theirs; They do it but in mocking merriment; And mock for mock is only my intent.

So shall we stay, mocking intended game,

And they well mock’d, depart away with shame.

SOUND OPERATOR plays Sound Cue #1 (“Trumpet sounds”).

BOYET

The trumpet sounds: be mask’d; the maskers come.

The LADIES put their veils over their faces.

Enter MOTH, FERDINAND, BEROWNE, LONGAVILLE, and DUMAINE,

dressed in Russian habits and wearing masks.

MOTH

“All hail, the richest heauties on the earth!”

(unsure of which masked lady to talk to)

A holy parcel of the fairest dames

The LADIES turn their backs to him.

That ever turn’d their—backs—to mortal views!

BEROWNE

“Their eyes,” villain, “their eyes.”

MOTH

“That ever turn’d their eyes to mortal views!”

BEROWNE

Is this your perfectness? Be gone, you rogue.

Exit MOTH stage right.

ROSALINE (as PRINCESS)

What would these strangers? Know their minds, Boyet.

BOYET

What would you with the princess?

BEROWNE

Nothing but peace and gentle visitation.

ROSALINE

What would they, say they?

BOYET

Nothing but peace and gentle visitation.

ROSALINE

Why, that they have; and bid them so be gone.

BOYET

She says you have it, and you may be gone.

FERDINAND

Say to her we have measur’d many miles To tread a measure with her on this grass.

SOUND OPERATOR plays Sound Cue # 2 (“Dance music”).

FERDINAND goes to ROSALINE, who is sitting on downstage side of stage right bench; he offers his hand to dance but she does not return her hand.

FERDINAND

Will you not dance? How come you thus estranged?

ROSALINE

You took the moon at full; but now she’s chang’d.

FERDINAND and ROSALINE freeze.

BEROWNE (goes to the Princess, who is sitting on downstage side of stage left bench)

White-handed mistress, one sweet word with thee.

PRINCESS

Honey, and milk, and sugar; there is three.

BEROWNE and the PRINCESS freeze.

DUMAINE (goes to MARIA, who is sitting on upstage side of stage right bench)

Will you vouchsafe with me to change a word?

MARIA

Name it.

DUMAINE

Fair lady,—

MARIA

Say you so? Fair lord,

Take that for your fair lady.

DUMAINE and MARIA freeze.

LONGAVILLE goes to KATHERINE who is sitting on upstage side of stage left bench.

KATHARINE

What, was your visord made without a tongue?

LONGAVILLE

You have a double tongue within your mask, And would afford my speechless visor half. One word in private with you ere I die.

KATHARINE

Bleat softly, then; the butcher hears you cry.

KATHARINE and LONGAVILLE freeze.

ROSALINE (unfreezes, along with FERDINAND)

Not one word more, my maids; break off, break off.

The rest unfreeze.

BEROWNE

By heaven, all dry-beaten with pure scoff!

FERDINAND

Farewell, mad wenches; you have simple wits.

PRINCESS

Twenty adieus, my frozen Muscovits.

Exit FERDINAND and his LORDS stage right.

The LADIES come to center stage together, laughing.

ROSALINE

O! They were all in lamentable cases!

The King was weeping-ripe for a good word.

PRINCESS

Berowne did swear himself out of all suit.

MARIA

Dumaine was at my service, and his sword:

“No point” quoth I; my servant straight was mute.

KATHARINE

Lord Longaville said, I came o’er his heart.

BOYET (from stage right)

Madam, and pretty mistresses, give ear: Immediately they will again be here

In their own shapes.

ROSALINE

Good madam, if by me you’ll be advis’d,

Let’s mock them still, as well known as disguis’d. Let us complain to them what fools were here, Disguis’d like Muscovites, in shapeless gear.

BOYET

Ladies, withdraw: the gallants are at hand.

The PRINCESS, ROSALINE, KATHARINE, and MARIA hide behind stage left pillar.

Enter FERDINAND, BEROWNE, LONGAVILLE, and DUMAINE in their

proper habits from stage right.

FERDINAND

Fair sir, God save you! Where’s the princess?

BOYET

Gone to her tent.

The PRINCESS, ROSALINE, MARIA, and KATHARINE come out from behind stage left pillar; the PRINCESS greetsFERDINAND center stage as the other ladies return to their original positions in front of benches.

FERDINAND

All hail, sweet madam, and fair time of day!

PRINCESS

We have had pastimes here, and pleasant game. A mess of Russians left us but of late.

FERDINAND

How, madam! Russians?

PRINCESS

Ay, in truth, my lord;

Trim gallants, full of courtship and of state.

(looks at FERDINAND knowingly)

Were not you here but even now, disguis’d?

FERDINAND (confessing)

Madam, I was.

PRINCESS

Rosaline, what did the Russian whisper in your ear?

ROSALINE

Madam, he swore that he did hold me dear

adding that he would wed me, or else die my lover.

PRINCESS

The noble lord

Most honourably doth uphold his word.

FERDINAND

What mean you, madam? By my life, my troth, I never swore this lady such an oath.

ROSALINE

By heaven, you did; and, to confirm it plain, You gave me this: but take it, sir, again.

FERDINAND

My faith and this the princess I did give; I knew her by this jewel on her sleeve.

PRINCESS

Pardon me, sir, this jewel did she wear;

And Lord Berowne, I thank him, is my dear.

BEROWNE

I see the trick on’t: here was a consent, Knowing aforehand of our merriment, To dash it like a Christmas comedy.

The ladies did change favors, and then we, Following the signs, woo’d but the sign of she. Now, to our perjury to add more terror,

We are again forsworn, in will and error.

Enter COSTARD from stage rear.

Welcome, pure wit! Thou part’st a fair fray.

COSTARD

O Lord, sir, they would know

Whether the three Worthies shall come in or no?

BEROWNE

Go, bid them prepare.

Exit COSTARD stage rear.

FERDINAND

The ship is under sail, and here she comes amain.

The four men and four women sit as couples on the benches, to watch the show.

Enter COSTARD from stage rear, to perform “Pompey.”

COSTARD

“I Pompey am”—

That oft in field, with targe and shield, did make my foe to sweat:

And travelling along this coast, I here am come by chance,

And lay my arms before the legs of this sweet lass of France.

BEROWNE

Pompey proves the best Worthy.

Enter SIR NATHANIEL from stage rear, to perform “Alexander.”

SIR NATHANIEL

“When in the world I liv’d, I was the world’s

commander;

By east, west, north, and south, I spread my conquering might:

My scutcheon plain declares that I am Alisander”—

BEROWNE

Pompey the Great,—

Take away the conqueror, take away Alisander.

COSTARD (to SIR NATHANIEL)

Run away for shame, Alisander.

Exit SIR NATHANIEL stage right.

But there are Worthies a-coming will speak their mind in some other sort.

PRINCESS

Stand aside, good Pompey.

Enter HOLOFERNES and MOTH from stage rear, to perform “Judas” and “Hercules,” respectively. MOTH stands to HOLOFERNES’ left.

HOLOFERNES

“Great Hercules is presented by this imp,

Whose club kill’d Cerberus, that three-headed canis; And when he was a babe, a child, a shrimp,

Thus did he strangle serpents in his manus. Keep some state in thy exit, and vanish.— ”

Exit MOTH stage left.

HOLOFERNES stands center stage, declaiming.

“Judas I am.”—

DUMAINE

A Judas!

HOLOFERNES

Not Iscariot, sir.

“Judas I am, ycliped Maccabaeus.”

DUMAINE

Judas Maccabaeus clipt is plain Judas.

BOYET

Therefore, as he is an ass, let him go.

And so adieu, sweet Jude! Nay, why dost thou stay?

DUMAINE

For the latter end of his name.

BEROWNE

For the ass to the Jude? Give it him:—Jud-as, away!

HOLOFERNES

This is not generous, not gentle, not humble.

Exit HOLOFERNES stage right.

PRINCESS

Alas! Poor Maccabaeus, how hath he been baited.

Enter ARMADO, coming stage right to perform “Hector.”

BEROWNE

Hide thy head, Achilles: here comes Hector in arms.

ARMADO

“The armipotent Mars, of lances the almighty, Gave Hector a gift, the heir of Ilion;

A man so breath’d that certain he would fight ye, From morn till night, out of his pavilion.

I am that flower,”—

DUMAINE

That mint.

LONGAVILLE

That columbine.

ARMADO

Sweet Lord Longaville, rein thy tongue.

I will forward with my device. (draws his sword toward COSTARD, who is stage left)

By the north pole, I do challenge thee.

COSTARD

I’ll slash; I’ll do it by the sword.

I bepray you, let me borrow my arms again.

DUMAINE

Room for the incensed Worthies!

COSTARD

I’ll do it in my shirt.

DUMAINE

Most resolute Pompey hath made the challenge!

ARMADO

Sweet bloods, I both may and will.

ARMADO and COSTARD are about to fight, and MOTH is trying to separate them.

Enter MONSIEUR MARCADE, a messenger, from stage rear.

MARCADE

God save you, madam!

PRINCESS

Welcome, Marcade;

But that thou interrupt’st our merriment.

MARCADE

I am sorry, madam; for the news I bring

Is heavy in my tongue. The king your father—

PRINCESS

Dead, for my life!

MARCADE

Even so: my tale is told.

BEROWNE

Worthies away! The scene begins to cloud.

First MOTH, then COSTARD, then ARMADO exit, but ARMADO turns before exiting.

ARMADO

For mine own part, I breathe free breath.

Exit ARMADO.

FERDINAND (bowing his head, wishing to comfort the PRINCESS

but not feeling bold enough)

How fares your Majesty?

PRINCESS (in mourning)

Boyet, prepare: I will away to-night.

FERDINAND

Madam, not so: I do beseech you stay.

PRINCESS

Farewell, worthy lord!

A heavy heart bears not a nimble tongue.

BEROWNE (stepping forward)

Honest plain words best pierce the ear of grief;

For your fair sakes have we play’d foul play with our oaths.

Your beauty, ladies,

Hath much deform’d us, fashioning our humours Even to the opposed end of our intents;

PRINCESS

We have receiv’d your letters, full of love; Your favours, the ambassadors of love; And, in our maiden council, rated them At courtship, pleasant jest, and courtesy, and therefore met your loves

In their own fashion, like a merriment.

DUMAINE

Our letters, madam, show’d much more than jest.

LONGAVILLE

So did our looks.

ROSALINE

We did not quote them so.

FERDINAND

Now, at the latest minute of the hour, Grant us your loves.

PRINCESS (to FERDINAND)

A time, methinks, too short

To make a world-without-end bargain in. No, no, my lord, your Grace is perjur’d much, Full of dear guiltiness; and therefore this:

Go with speed

To some forlorn and naked hermitage, Remote from all the pleasures of the world; There stay until the twelve celestial signs Have brought about the annual reckoning. Then, at the expiration of the year,

Come, challenge me, challenge me by these deserts; And, by this virgin palm now kissing thine,

I will be thine;

FERDINAND

Hence hermit, then. My heart is in thy breast.

DUMAINE (to KATHARINE)

But what to me, my love? But what to me?

KATHARINE

Come when the King doth to my lady come; Then, if I have much love, I’ll give you some.

DUMAINE

I’ll serve thee true and faithfully till then.

KATHARINE

Yet swear not, lest ye be forsworn again.

LONGAVILLE (to MARIA)

What says Maria?

MARIA

At the twelvemonth’s end

I’ll change my black gown for a faithful friend.

LONGAVILLE

I’ll stay with patience; but the time is long.

BEROWNE (to ROSALINE)

Mistress, look on me;

Impose some service on me for thy love.

ROSALINE

My lord Berowne,

You shall this twelvemonth term, from day to day, Visit the speechless sick, and still converse

With groaning wretches; and your task shall be, With all the fierce endeavour of your wit

To enforce the pained impotent to smile. A jest’s prosperity lies in the ear

Of him that hears it, never in the tongue Of him that makes it:

BEROWNE

A twelvemonth! Well, befall what will befall, I’ll jest a twelvemonth in an hospital.

PRINCESS (to the FERDINAND)

Ay, sweet my lord; and so I take my leave.

FERDINAND

No, madam; we will bring you on your way.

The PRINCESS shakes her head no.

BEROWNE

Our wooing doth not end like an old play:

Jack hath not Jill; these ladies’ courtesy Might well have made our sport a comedy.

FERDINAND

Come, sir, it wants a twelvemonth and a day, And then ’twill end.

BEROWNE

That’s too long for a play.

Enter ARMADO from stage rear.

ARMADO

Sweet Majesty, vouchsafe me,—will you hear the dialogue that the two learned men have compiled in praise of theowl and the cuckoo? It should have followed in the end of our show.

FERDINAND

Call them forth quickly; we will do so.

ARMADO

Holla! Approach.

Enter HOLOFERNES, NATHANIEL, MOTH, COSTARD, and others from stage rear.

This is Hiems, Winter; maintained by the owl, Ver, begin.

ALL (standing in a line with a simple right/left step and reciting together)

When all aloud the wind doth blow, And coughing drowns the parson’s saw, And birds sit brooding in the snow, And Marian’s nose looks red and raw,

CHARACTERS IN THE PLAY

The following is a list of characters that appear in this cutting of The Tempest.

For the full breakdown of characters, see Sample Program.

PROSPERO: Former Duke of Milan, now a magician on a Mediterranean island

SAILORS

MASTER OF THE SHIP BOATSWAIN OF THE SHIP

ALONSO: King of Naples

SEBASTIAN: Alonso’s brother

ANTONIO: Usurping Duke of Milan, and Prospero’s brother

FERDINAND: Prince of Naples, and Alonso’s son GONZALO: Counselor to Alonso, and friend to Prospero MIRANDA: Prospero’s daughter

ARIEL: An airy spirit, servant to Prospero

CALIBAN: A savage inhabitant of the island, servant to Prospero

TRINCULO: Servant to Alonso STEPHANO: Alonso’s drunken butler STRANGE SHAPES

DOGS NARRATOR

✴ SCENE 1. (ACT I, SCENE I)

On a ship at sea.

STAGEHAND sets stool upstage right.

SOUND OPERATOR plays Sound Cue #1 (“Storm sounds”).

Enter PROSPERO from stage left. He stands on stool upstage right and “directs” the storm with his staff. Enter SAILORS from stage right, pulling ropes in slow motion as NARRATOR speaks.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

On board a ship carrying King Alonso of Naples and his men, a boatswain directs the crew to fight agreat storm (raises voice over growing storm noises) . . . but the ship appears destined to sink!

Exit NARRATOR stage left. Exit PROSPERO and SAILORS stage right.

Enter MASTER and BOATSWAIN from stage right.

MASTER

Boatswain!

BOATSWAIN

Here, master: What cheer?

2 ✴ THE TEMPEST

MASTER

Good, speak to the mariners: fall to’t, yarely, or we run ourselves aground: bestir, bestir.

Exit MASTER stage right.

Enter SAILORS from stage right, pulling on rope.

BOATSWAIN

Heigh, my hearts! Cheerly! Yare, yare! Take in the topsail!

Enter ALONSO, SEBASTIAN, ANTONIO, FERDINAND, and GONZALO

from stage right.

ALONSO

Good boatswain, have care. Where’s the master?

BOATSWAIN

I pray now, keep below.

ANTONIO

Where is the master, boatswain?

BOATSWAIN

You mar our labor: keep your cabins!

GONZALO

Nay, good, be patient.

BOATSWAIN

When the sea is. Hence! What cares these roarers for the name of king? To cabin: trouble us not.

Out of our way, I say.

GONZALO (aside to ANTONIO and ALONSO)

THE TEMPEST ✴ 3

I have great comfort from this fellow: methinks he hath no drowning mark upon him.

Exit ALONSO, SEBASTIAN, ANTONIO, FERDINAND, and GONZALO

stage right.

SOUND OPERATOR plays Sound Cue #2 (“Thunder”).

SAILORS lurch stage left, pulling rope.

BOATSWAIN

Down with the topmast! Yare! Lower, lower!

Re-enter SEBASTIAN, ANTONIO, and GONZALO from stage right.

Yet again! What do you here? Have you a mind to sink?

SEBASTIAN

A pox o’ your throat, you bawling, blasphemous, incharitable dog!

BOATSWAIN

Work you then.

ANTONIO

Hang, cur! Hang, you whoreson, insolent noisemaker! We are less afraid to be drowned than thou art.

SOUND OPERATOR plays Sound Cue #3 (“Thunder”).

SAILORS lurch far stage right, pulling rope.

BOATSWAIN

Lay her a-hold! What, must our mouths be cold?

4 ✴ THE TEMPEST

ANTONIO

We are merely cheated of our lives by drunkards: Let’s all sink with the king.

Exit ANTONIO and SEBASTIAN stage right.

GONZALO

Now would I give a thousand furlongs of sea for an acre of barren ground.

Exit ALL stage right.

✴ SCENE 2. (ACT I, SCENE II)

The island. Before PROSPERO’S cell.

STAGEHANDS remove stool from upstage left and place chair downstage, just right of center.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Prospero, the former Duke of Milan, has been stranded on a barren island for twelve years with his daughter, Miranda. He explains to her that he used his magic to raise the recent storm, but no one was harmed. King Alonso’s son, Ferdinand, falls instantly in love with Miranda, to Prospero’s delight.

Exit NARRATOR stage left.

Enter PROSPERO and MIRANDA from stage right. MIRANDA sits in chair.

MIRANDA (standing, looking over the audience to the sea) If by your art, my dearest father, you have Put the wild waters in this roar, allay them.

A brave vessel, dash’d all to pieces.

PROSPERO

Be collected: There’s no harm done.

I should inform thee farther. Pluck my magic garment from me.

(lays down his mantle)

Thou must now know farther. Twelve year since, Miranda,

Thy father was the Duke of Milan.

MIRANDA

O the heavens!

PROSPERO

Thy uncle, call’d Antonio, did believe he was indeed the duke;

The King of Naples and Antonio prepared a rotten carcass of a boat;

There they hoist us, to cry to the sea that roar’d to us.

MIRANDA

How came we ashore?

PROSPERO

By Providence divine.

(dons his mantle again)

MIRANDA

I pray you, sir, your reason for raising this sea-storm?

PROSPERO

By accident most strange hath mine enemies brought to this shore. Here cease more questions: Thou art inclined to sleep.

PROSPERO waves his hands, casting a spell over MIRANDA. SOUND OPERATOR plays Sound Cue #4 (“Ding”).

MIRANDA sleeps.

Come, servant.

Approach, my Ariel, come.

Enter ARIEL from stage right, playing the recorder.

ARIEL

All hail, great master! I come to answer thy best pleasure;

To ride on the curl’d clouds, Ariel and all her quality.

PROSPERO

Hast thou, spirit,

Perform’d to point the tempest that I bade thee?

ARIEL

To every article.

I boarded the king’s ship; I flamed amazement.

The king’s son, Ferdinand, was the first man that leap’d,

Not a hair perish’d;

In troops I have dispersed them ’bout the isle. The king’s son have I landed by himself.

PROSPERO

Ariel, there’s more work.

ARIEL

Is there more toil?

Let me remember thee what thou hast promised, My liberty.

PROSPERO

Do so, and after two days I will discharge thee.

Go make thyself invisible.

Exit ARIEL stage right.

SOUND OPERATOR plays Sound Cue #5 (“Ding”).

(to MIRANDA) Awake, dear heart, awake! Thou hast slept well; awake!

MIRANDA awakes.

Re-enter ARIEL from stage right, invisible, playing and singing, with FERDINAND following.

FERDINAND

Where should this music be? I’ the air or the earth?

ARIEL

Full fathom five thy father lies; Those are pearls that were his eyes.

FERDINAND (agitated, sad)

The ditty does remember my drown’d father.

MIRANDA

What is’t? A spirit? It carries a brave form. I might call her a thing divine.

PROSPERO (aside to ARIEL)

It goes on, I see,

As my soul prompts it.

ARIEL, still invisible, turns FERDINAND around to face MIRANDA.

FERDINAND

My prime request is, O you wonder! If you be maid or no?

MIRANDA

No wonder, sir; but certainly a maid.

PROSPERO (aside)

They are both in either’s powers.

SOUND OPERATOR plays Sound Cue #6 (“Ding”).

MIRANDA freezes.

FERDINAND

My father’s loss, the wreck of all my friends, are but light to me,

Might I but through my prison once a day Behold this maid.

PROSPERO (aside)

It works.

SOUND OPERATOR plays Sound Cue #7 (“Ding”).

FERDINAND freezes.

(to ARIEL) Thou hast done well, fine Ariel! Thou shalt be free

As mountain winds: but then exactly do All points of my command.

ARIEL

To the syllable.

SOUND OPERATOR plays Sound Cue #8 (“Ding”).

MIRANDA and FERDINAND are unfrozen.

PROSPERO (sternly)

Come, follow.

Exit ALL stage right.

✴ SCENE 3. (ACT II, SCENE II)

Another part of the island.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Having escaped the apparently sinking ship, Trinculo hides under a cloak to weather the storm, where he discovers the island’s ornery monster, Caliban. Drunk Stephano finds them both and shares his bottlewith them, which livens things up!

Exit NARRATOR stage left.

Enter CALIBAN from stage right, carrying a bundle of wood.

SOUND OPERATOR plays Sound Cue #9 (“Thunder”).

CALIBAN

All the infections that the sun sucks up From bogs on Prosper fall.

Enter TRINCULO from stage right.

Lo, now, lo!

Here comes a spirit of his. I’ll fall flat.

(hides under his cloak)

TRINCULO

Another storm brewing;

I know not where to hide my head:

What have we here? A man or a fish? Dead or alive?

(lifts up the cloak)

A fish: he smells like a fish.

A strange fish! Legged like a man (noticing

CALIBAN’S arms) and his fins like arms!

Warm o’ my troth!

SOUND OPERATOR plays Sound Cue #10 (“Thunder”).

TRINCULO panics at the sounds of the storm.

Alas, the storm is come again! My best way is to creep under his gaberdine.

TRINCULO holds his nose to block the smell and crawls under the cloak. CALIBAN immediately sticks his head out from under the cloak with a startled look.

Enter STEPHANO from stage left, singing, with a flask in his hand.

STEPHANO

I shall no more to sea, to sea, Here shall I die ashore—(drinks)

This is a scurvy tune too: but here’s my comfort.

(drinks)

CALIBAN (frightened by STEPHANO’S singing and arrival)

Do not torment me: oh!

STEPHANO jumps at the sound and notices the four legs sticking out from under the cloak.

STEPHANO

I have not scaped drowning to be afeard now of your

(counting) four legs.

CALIBAN

Do not torment me, prithee.

STEPHANO

He’s in his fit now. He shall taste of my bottle: Open your mouth.

STEPHANO passes flask to CALIBAN, who takes a few long swigs with large breaths between sips.

TRINCULO

I should know that voice: it should be—but he is drowned.

STEPHANO

Four legs and two voices: a most delicate monster!

I will pour some in thy other mouth. (moves to pour drink on TRINCULO’S side of the cloak)

TRINCULO

Stephano!

STEPHANO shrieks.

Stephano! I am Trinculo—be not afeard— thy good friend (emerges from cloak, revealing himself) Trinculo.

STEPHANO

I’ll pull thee by the lesser legs.

STEPHANO pulls TRINCULO by his legs; TRINCULO protests when pulled.

Thou art very Trinculo indeed! How camest thou to be the siege of this moon-calf? Can he vent Trinculos?

TRINCULO

But art thou not drowned, Stephano?

STEPHANO shakes his head.

O Stephano, two Neapolitans ’scaped!

TRINCULO grabs STEPHANO as they dance around in a circle.

STEPHANO

Prithee, do not turn me about; my stomach is not constant.

CALIBAN (aside)

That’s a brave god and bears celestial liquor. I will kneel to him. (kneels)

STEPHANO

How didst thou ’scape?

TRINCULO

Swum ashore. Man, like a duck.

STEPHANO

Here, kiss the book.

STEPHANO hands flask to CALIBAN, who drinks greedily.

CALIBAN

I’ll kiss thy foot; I’ll swear myself thy subject. I’ll fish for thee and get thee wood enough. A plague upon the tyrant that I serve!

I’ll follow thee, thou wondrous man.

(singing drunkenly)

Farewell master; farewell, farewell!

TRINCULO

A howling monster: a drunken monster!

CALIBAN

’Ban, ’Ban, Ca-caliban

Has a new master: get a new man. Freedom, hie-day! Hie-day, freedom!

STEPHANO

O brave monster! Lead the way.

Exit ALL stage left, singing CALIBAN’S song and dancing merrily.

✴ SCENE 4. (ACT III, SCENE I)

Before PROSPERO’S cell.

STAGEHAND places stool stage right.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Ferdinand is visited by Miranda. Prospero observes them, unseen, as they exchange marriage vows.

Things are starting to heat up!

Exit NARRATOR stage left.

Enter FERDINAND from stage right, picking up logs.

FERDINAND

This my mean task would be heavy to me, but The mistress which I serve quickens what’s dead And makes my labors pleasures.

Enter MIRANDA from stage right. PROSPERO follows; he lingers upstage, unseen.

MIRANDA sits. PROSPERO continues to hang back, upstage right. Upon seeing MIRANDA, FERDINAND drops a logfrom his bundle.

MIRANDA

Work not so hard: rest yourself;

MIRANDA takes FERDINAND by the hand, leading him gently to the stool.

I’ll bear your logs the while.

MIRANDA pretends to struggle to pick up a log, looking over at FERDINAND. FERDINAND gently leads MIRANDA back to the stool while speaking, kneeling as she sits.

FERDINAND

No, precious creature;

I had rather break my back,

Than you should such dishonor undergo, While I sit lazy by.

PROSPERO

Poor worm, thou art infected!

FERDINAND

What is your name?

MIRANDA

Miranda.—O my father,

I have broke your hest to say so!

FERDINAND

Admired Miranda!

O you are created of every creature’s best!

MIRANDA

How features are abroad,

I am skilless of. I would not wish

Any companion in the world but you.

MIRANDA takes FERDINAND’S arm.

FERDINAND

The very instant that I saw you, did My heart fly to your service;

THE TEMPEST ✴ 17

And for your sake am I this patient (pauses, gesturing to logs) log-man.

MIRANDA

Do you love me?

FERDINAND

I beyond all limit of what else i’ the world Do love, prize, honor you.

MIRANDA

I am a fool

To weep at what I am glad of.

PROSPERO

Fair encounter

Of two most rare affections!

MIRANDA

I am your wife, if you will marry me.

FERDINAND

Ay, with a heart as willing

As bondage e’er of freedom: here’s my hand.

MIRANDA

And mine, with my heart in’t; and now farewell.

FERDINAND

A thousand thousand!

Exit FERDINAND and MIRANDA stage left.

PROSPERO

So glad of this as they I cannot be,

Who are surprised withal; but my rejoicing

At nothing can be more. I’ll to my book, For yet ere supper-time must I perform Much business appertaining.

Exit PROSPERO stage left.

✴ SCENE 5. (ACT III, SCENE II)

Another part of the island.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Trinculo and Caliban quarrel with the help of the invisible fairy Ariel. Caliban urges Stephano to kill Prospero. What a monstrous thing to do!

Exit NARRATOR stage left.

Enter CALIBAN, STEPHANO, and TRINCULO from stage right, drinking and carousing. They stand downstage fromstool.

STEPHANO

Servant-monster, drink to me.

STEPHANO hands a drink to CALIBAN, who takes a long gulp.

TRINCULO is not happy with this.

CALIBAN

Let me lick thy shoe. (kneels on floor)

I thank my noble lord.

Enter ARIEL from stage right, invisible to all. She stands on stool.

CALIBAN

As I told thee before, I am subject to a tyrant,

a sorcerer, that by his cunning hath cheated me of the island.

ARIEL

Thou liest.

CALIBAN (to TRINCULO)

Thou liest, thou jesting monkey, thou! I do not lie.

STEPHANO

Trinculo, if you trouble him any more, I will supplant some of your teeth.

TRINCULO

I did nothing.

STEPHANO

Didst thou not say he lied?

ARIEL

Thou liest.

STEPHANO

Do I so? Take thou that.

(beats TRINCULO with his hat)

Proceed.

CALIBAN (conspiratorially, pulling STEPHANO closer)

Why, as I told thee, ’tis a custom with Prospero

I’ th’ afternoon to sleep: there thou mayst brain him, With a log or cut his wezand with thy knife.

Remember first to possess his books; for without them He’s but a sot, as I am, nor hath not

One spirit to command:

And that most deeply to consider is The beauty of his daughter;

She will become thy bed,

And bring thee forth brave brood.

STEPHANO

Monster, I will kill this man: his daughter and I will be king and queen—save our graces!—andTrinculo and thyself shall be viceroys. Come on, Trinculo, let us sing.

(singing)

Flout ’em and scout ’em And scout ’em and flout ’em Thought is free.

ALL sing the song together, happily dancing as they start to exit.

ARIEL plays the tune on a recorder.

CALIBAN

Be not afeard; the isle is full of noises, That give delight and hurt not.

STEPHANO

This will prove a brave kingdom to me, where I shall have my music for nothing. Lead, monster; we’ll follow.

Exit ALL stage right.

✴ SCENE 6. (ACT III, SCENE III)

Another part of the island.

STAGEHANDS set banquet table upstage center and place stool center stage. They place second stool upstage left.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

King Alonso and his party are visited by strange shapes that invite them to a banquet. Ariel appears as a large winged bird called a harpy and accuses three of the men of overthrowing Prospero’s dukedom,threatening them with a fate worse than death. Rule number one: Never mess with a harpy!

Exit NARRATOR stage left.

Enter ALONSO, SEBASTIAN, ANTONIO, and GONZALO from stage left.

GONZALO

I can go no further, sir. My old bones ache.

ALONSO

Sit down, and rest.

GONZALO sits on floor, stage right; ALONSO sits on stool center stage.

Even here I will put off my hope; he is drown’d Whom thus we stray to find. Well, let him go.

ANTONIO (standing stage left with SEBASTIAN)

(aside to SEBASTIAN) I am right glad that he’s so out of hope.

SEBASTIAN (aside to ANTONIO)

The next advantage will we take throughly.

ANTONIO

(aside to SEBASTIAN) Let it be tonight.

SOUND OPERATOR plays Sound Cue #11 (“Strange shapes music”).

ALONSO

What harmony is this?

GONZALO

Marvelous sweet music!

Enter PROSPERO from stage rear. He stands on upstage left stool, invisible to all. Enter several STRANGE SHAPES from stage rear. They move gracefully around the stage, dancing about the banquet table with gentle actions. After inviting ALONSO, ANTONIO, and SEBASTIAN to eat, STRANGE SHAPES depart.

SEBASTIAN

Now I will believe

That there are unicorns.

GONZALO

If in Naples

I should report this now, would they believe me?

ALONSO

I will stand to and feed.

24 ✴ THE TEMPEST

SOUND OPERATOR plays Sound Cue #12 (“Thunder”).

Enter ARIEL, as Harpy, from stage left. She stands on center stage stool.

ARIEL

You are three men of sin, whom Destiny,

Hath caused to belch up you; I have made you mad.

ALONSO, SEBASTIAN, and ANTONIO draw their swords.

SOUND OPERATOR plays Sound Cue #13 (“Ding”).

You fools! Your swords may as well Wound the loud winds, or

Kill the still-closing waters.

SOUND OPERATOR plays Sound Cue #14 (“Ding”).

You three

From Milan did supplant good Prospero; Exposed unto the sea,

Him and his innocent child.

(to ALONSO) Thee of thy son, Alonso,

They have bereft; and do pronounce by me: Lingering perdition.

SOUND OPERATOR plays Sound Cue #15 (“Thunder”).

SOUND OPERATOR plays Sound Cue #16 (“Strange and solemn music”).

Re-enter STRANGE SHAPES, dancing, from stage rear. PROSPERO

follows, unseen, and stands on upstage left stool to observe.

ARIEL, as Harpy, descends from stool, removes bird mask, and moves upstage left to stand with Prospero.

Exit STRANGE SHAPES stage left.

PROSPERO

Bravely the figure of this harpy hast thou Perform’d, my Ariel. My high charms work And thesemine enemies now are in my power.

Exit ARIEL and PROSPERO stage left.

ALONSO

O, it is monstrous, monstrous.

Exit ALONSO, SEBASTIAN, and ANTONIO stage right.

GONZALO

All three of them are desperate: their great guilt, Like poison now ’gins to bite the spirits.

Exit GONZALO stage right.

STAGEHANDS remove banquet table.

✴ SCENE 7. (ACT IV, SCENE I)

Before PROSPERO’S cell.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Prospero gives his daughter’s hand to Ferdinand and the couple are married. He suddenly remembers

the threat posed by Caliban and company and drives them out with spirits disguised as dogs. Rule number two: Never mess with a magician.

Exit NARRATOR stage left.

Enter PROSPERO, FERDINAND, and MIRANDA from stage right.

PROSPERO

Take my daughter.

FERDINAND

I hope for quiet days, fair issue and long life.

PROSPERO

What, Ariel! My industrious servant, Ariel!

Enter ARIEL, humming, from stage right.

ARIEL

Here I am.

PROSPERO

I must use you in such another trick. Go bring the rabble,

O’er whom I give thee power, here to this place.

ARIEL

Before you can say ‘come’ and ‘go,’ Each one, tripping on his toe, Will be here with mop and mow. Do you love me, master? No?

PROSPERO

Dearly my delicate Ariel.

Exit ARIEL, humming, stage left.

PROSPERO (aside, suddenly very angry)

I had forgot that foul conspiracy

Of the beast Caliban and his confederates Against my life: the minute of their plot Is almost come.

FERDINAND

This is strange: your father’s in some passion That works him strongly.

MIRANDA

Never till this day

Saw I him touch’d with anger so distemper’d.

PROSPERO

My brain is troubled.

FERDINAND

We wish your peace.

Exit FERDINAND and MIRANDA stage right.

PROSPERO

Ariel: come.

Enter ARIEL from stage left.

ARIEL

What’s thy pleasure?

PROSPERO

Spirit,

We must prepare to meet with Caliban. Where didst thou leave these varlets?

ARIEL

(gestures offstage, miming a pool)

I left them i’ the filthy-mantled pool beyond your cell.

PROSPERO

This was well done, my bird.

Thy shape invisible retain thou still.

SOUND OPERATOR plays Sound Cue #17 (“Ding”).

ARIEL (twitching nose)

I go, I go.

Exit ARIEL stage left.

PROSPERO

I will plague them all, even to roaring.

Enter CALIBAN, STEPHANO, and TRINCULO, each wet from the pool, from stage right. PROSPERO and ARIEL remaininvisible.

CALIBAN (gesturing for STEPHANO and TRINCULO to follow) (whispering loudly) Pray you, tread softly.

TRINCULO

Monster, I do smell all horse-piss;

at which my nose is in great indignation.

STEPHANO

So is mine.

CALIBAN

Be patient, my king, be quiet. This is the mouth o’ the cell:

Do that good mischief which may make this island Thine own for ever, and I, thy Caliban,

Thy foot-licker.

PROSPERO gestures toward offstage. Enter DOG ONE from stage rear. DOG ONE starts after TRINCULO, who runsaway and hops on stool, afraid, trying to kick DOG ONE away with his feet.

PROSPERO

Hey, Mountain, hey!

ARIEL gestures toward offstage. Enter DOG TWO from stage rear. DOG TWO starts after CALIBAN, who growls and bears his teeth; DOG TWO growls and bears his teeth back.

ARIEL

Silver I there it goes, Silver!

PROSPERO

Fury, fury! There, there! Hark! Hark!

Enter DOG THREE from stage rear. DOG THREE starts after

STEPHANO and chases him around the stage.

Exit TRINCULO, CALIBAN, and STEPHANO stage right, pursued by

DOGS.

ARIEL (laughing hysterically)

Hark, they roar!

PROSPERO (laughs merrily, then becomes serious) Let them be hunted soundly. At this hour Lie at my mercy all mine enemies: Follow, and do me service.

Exit PROSPERO and ARIEL stage right.

✴ SCENE 8. (ACT V, SCENE I)

Before PROSPERO’S cell.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Prospero releases Alonso and his party from their charmed state and renounces the further use of his magic. Prospero’s dukedom is restored, all is

forgiven, and family members are reunited. Almost everyone is well on the way to being free! This must be a Shakespearean comedy!

Exit NARRATOR stage left.

Enter PROSPERO, in his magician’s robes, and ARIEL from stage right.

PROSPERO

Now does my project gather to a head: My charms crack not; my spirits obey. How fares the king and his followers?

ARIEL

Just as you left them; all prisoners, sir,

Gonzalo’s tears run down his beard, like winter’s drops From eaves of reeds.

PROSPERO

I am struck to the quick, The rarer action is

In virtue than in vengeance: Go release them, Ariel:

My charms I’ll break.

ARIEL

I’ll fetch them, sir.

Exit ARIEL stage right.

PROSPERO

I have bedimm’d

The noontide sun, call’d forth the mutinous winds, And ’twixt the green sea and the azured vault

Set roaring war: but this rough magic I here abjure, I’ll break my staff,

I’ll drown my book.

SOUND OPERATOR plays Sound Cue #18 (“Hypnotic music”).

Re-enter ARIEL from stage right. ALONSO follows, attended by

GONZALO, SEBASTIAN, and ANTONIO. As PROSPERO “conducts”

their movements, ALL walk around the stage in a circle, ending by forming a semicircle that faces the audience. They stand, charmed.

SOUND OPERATOR plays Sound Cue #19 (“Ding”).

ALL unfreeze.

There stand,

For you are spell-stopp’d.

Most cruelly didst thou, Alonso, use me and my daughter:

Thy brother was a furtherer in the act, Would here have kill’d your king; Quickly, spirit; thoushalt ere long be free.

ARIEL (singing)

Merrily, merrily shall I live now

Under the blossom that hangs on the bough.

PROSPERO

My dainty Ariel! To the king’s ship,

There shalt thou find the master and the boatswain. Enforce them to this place, presently.

ARIEL

I drink the air before me, and return.

SOUND OPERATOR plays Sound Cue #20 (“Ding”).

Exit ARIEL stage left.

PROSPERO (to ALONSO)

Behold, sir king,

The wronged Duke of Milan, Prospero.

ALONSO

Thy pulse

Beats as of flesh and blood; and, since I saw thee, The affiiction of my mind amends,

Thy dukedom I resign and do entreat Thou pardon me my wrongs.

PROSPERO (aside to SEBASTIAN and ANTONIO)

But you, my brace of lords, were I so minded, I here could justify you traitors.

SEBASTIAN (aside)

The devil speaks in him.

PROSPERO (to ANTONIO)

No. For you, most wicked sir, I do forgive Thy rankest fault.

ALONSO

I have lost my dear son Ferdinand.

PROSPERO

I have lost my daughter.

I will requite you with as good a thing.

Enter FERDINAND and MIRANDA from stage left. ALONSO is astonished and joyful to see his son alive.

ALONSO

If this prove

A vision of the Island, one dear son Shall I twice lose.

SEBASTIAN

A most high miracle!

FERDINAND (to ALONSO)

Though the seas threaten, they are merciful; I have cursed them without cause.

(kneels)

MIRANDA (looking at men with amazement and attraction)

O, wonder!

How many goodly creatures are there here! How beauteous mankind is! O brave new world, That has such people in’t!

PROSPERO

’Tis new to thee.

ALONSO

Is she the goddess that hath sever’d us, And brought us thus together?

FERDINAND

Sir, she is mortal;

But by immortal Providence she’s mine:

She is daughter to this famous Duke of Milan, And second father this lady makes him to me.

ALONSO

I am hers:

(to MIRANDA) I must ask my child forgiveness!

(to FERDINAND and MIRANDA) Give me your hands.

GONZALO

Be it so! Amen!

Re-enter ARIEL from stage left, with MASTER and BOATSWAIN

following in amazement.

What is the news?

BOATSWAIN

We have safely found

Our king and company. Our ship— Which we gave out split—

Is tight and yare and bravely rigg’d as when We first put out to sea.

PROSPERO (aside to ARIEL)

My tricksy spirit! Thou shalt be free.

Set Caliban and his companions free; Untie the spell.

Exit ARIEL stage left.

PROSPERO (to ALONSO)

How fares my gracious sir?

There are yet missing of your company.

Re-enter ARIEL from stage left, driving in CALIBAN, STEPHANO, and TRINCULO.

SEBASTIAN

Ha, ha!

What things are these, my lord Antonio? Will money buy ’em?

ANTONIO

One of them

Is a plain fish, and, no doubt, marketable.

PROSPERO

This misshapen demi-devil

had plotted with them to take my life.

CALIBAN

I shall be pinch’d to death.

ALONSO

Is not this Stephano, my drunken butler? And Trinculo is reeling ripe:

How camest thou in this pickle?

TRINCULO

I have been in such a pickle since I saw you last.

SEBASTIAN

How now, Stephano!

STEPHANO

I am not Stephano, but a cramp.

PROSPERO (pointing to CALIBAN)

Go, sirrah, to my cell.

CALIBAN

Ay, that I will; what a thrice-double ass Was I, to take this drunkard for a god And worship this dull fool!

Exit CALIBAN, STEPHANO, and TRINCULO stage left.

PROSPERO

Your highness; in the morn I’ll bring you to your ship;

And thence retire me to my Milan, where Every third thought shall be my grave.

ALONSO

I long

To hear the story of your life, which must Take the ear strangely.

PROSPERO

I’ll deliver all;

And promise you calm seas, auspicious gales.

(aside to ARIEL) My Ariel, chick,

To the elements be free, and fare thou well!

Exit ARIEL stage left.

PROSPERO

Now my charms are all o’erthrown, And what strength I have’s mine own, But release me from my bands

With the help of your good hands:

As you from crimes would pardon’d be, Let your indulgence set me free.

Re-enter ALL from stage left.

ALL

Our revels now are ended. These our actors, Were all spirits and

Are melted into air, into thin air: We are such stuff

As dreams are made on, and our little life Is rounded with a sleep.

 CHARACTERS IN THE PLAY

The following is a list of the characters that appear in this cutting of Othello.

Twenty-eight actors performed in the original production. This number can be increased to about thirty or decreased to aboutfifteen by having actors share or double roles.

For the full breakdown of characters, see Sample Program.

IAGO: An ensign and villain; husband to Emilia

RODERIGO: A gullible gentleman trying to woo Desdemona

BRABANTIO: A senator; father to Desdemona DUKE: Duke of Venice, a great admirer of Othello MESSENGER

FIRST SENATOR: A senator in the council chamber DESDEMONA: Wife to Othello, daughter to Brabantio CASSIO: An honorable lieutenant

MONTANO: Governor of Cyprus

LODOVICO: A noble Venetian, brother to Brabantio

EMILIA: Wife to Iago BIANCA: A courtesan SOLDIERS

SINGERS NARRATOR

✴ SCENE 1. (ACT I, SCENE I)

Venice. A street.

STAGEHANDS set bench center stage, downstage of pillars. SOUND OPERATOR plays Sound Cue #1, (“Ominous music”). Enter BRABANTIO from stage left, lying down on bench to sleep. Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

In the streets of Venice, Roderigo and Iago inform the Senator, Brabantio, of his daughter Desdemona’ssecret marriage to Othello. Enraged, Brabantio sets out in search of his daughter.

Exit NARRATOR stage right.

Enter IAGO and RODERIGO from stage left.

 IAGO

Call up her father,

Rouse him, poison his delight.

 RODERIGO

What ho, Brabantio! Signior Brabantio, ho!

 IAGO

Awake! Brabantio! Look to your daughter!

 BRABANTIO awakes. He stands on bench and looks down, as though from a balcony.

 BRABANTIO

What is the matter there?

 IAGO

’Zounds, sir! Even now, now, very now, an old black ram is tupping your white ewe. You’ll have your daughter covered with a Barbary horse, you’ll have your nephews neigh to you! Your daughter and the Moor are making the beast with two backs.

BRABANTIO

Give me a taper. Call up my people. Light, I say, light!

Exit ALL stage right.

STAGEHANDS remove bench and place table, set with maps, downstage center.

✴ SCENE 2. (ACT I, SCENE III)

Venice. A council-chamber.

Enter NARRATOR from stage rear, coming downstage center.

 NARRATOR

The Duke, preparing for a Turkish invasion of Cyprus, welcomes the arrival of Othello and Brabantio. Brabantio announces his dismay at Desdemona’s marriage to Othello. Iago begins to outline his plot to use Cassio in order to make Othello jealous.

Enter DUKE and FIRST SENATOR from stage left. They move to the table and examine the maps.

Enter MESSENGER, with a letter, from stage right.

 DUKE

Now, what’s the business?

MESSENGER

A Turkish fleet, of thirty sail:

Their purposes toward Cyprus.

Exit MESSENGER stage right.

 FIRST SENATOR

Here comes Brabantio and the valiant Moor.

Enter BRABANTIO, OTHELLO, IAGO, and RODERIGO from stage right.

DUKE

Valiant Othello, we must straight employ you Against the general enemy Ottoman. (to BRABANTIO) Brabantio, why, what’s the matter?

BRABANTIO

My daughter! O, my daughter!

FIRST SENATOR

Dead?

BRABANTIO

Ay, to me;

She is abused, stol’n from me, and corrupted. Here is the man, this Moor. (points to OTHELLO)

DUKE (to OTHELLO)

What, in your own part, can you say to this?

OTHELLO walks downstage center and stands left of DUKE.

My very noble and approved good masters, Rude am I in my speech,

And little bless’d with the soft phrase of peace; And little of this great world can I speak, More thanpertains to feats of broil and battle; I won his daughter.

BRABANTIO

To fall in love with what she fear’d to look on! It is a judgment maim’d and most imperfect.

FIRST SENATOR

But, Othello, speak:

Did you subdue and poison this young maid’s affections?

OTHELLO

I do beseech you,

Send for the lady to the Sagittary,

And let her speak of me before her father.

DUKE

Fetch Desdemona hither.

Exit IAGO and MESSENGER stage right. They re-enter immediately with DESDEMONA. DESDEMONA moves to BRABANTIO’S right side; OTHELLO stands to his left.

 BRABANTIO

Come hither, gentle mistress.

Do you perceive in all this noble company Where most you owe obedience?

DESDEMONA

My noble father,

I do perceive here a divided duty:

I am hitherto your daughter: but here’s my husband;

(moves to OTHELLO’S side)

That I did love the Moor to live with him

My downright violence and storm of fortunes May trumpet to the world. My heart’s subdued Even to the very quality of my Lord.

(turns to BRABANTIO)

Let me go with him.

 BRABANTIO

Come hither, Moor:

I here do give thee that with all my heart

I would keep from thee. For your sake, jewel, I am glad at soul I have no other child.

BRABANTIO turns away from DESDEMONA.

DUKE

To mourn a mischief that is past and gone Is the next way to draw new mischief on.

The Turk with a most mighty preparation makes for Cyprus.

FIRST SENATOR

You must away to-night.

 OTHELLO

With all my heart.

DUKE

Good night to every one. (to BRABANTIO)

And, noble signior,

If virtue no delighted beauty lack,

Your son-in-law is far more fair than black.

BRABANTIO (to OTHELLO)

Look to her, Moor, if thou hast eyes to see: She has deceived her father, and may thee.

Exit DUKE and FIRST SENATOR stage right.

OTHELLO (to BRABANTIO)

My life upon her faith! (to IAGO)

Honest Iago,

My Desdemona must I leave to thee: Come, Desdemona; I have but an hour Of love, of worldlymatters and direction, To spend with thee.

Exit ALL, except for IAGO, stage right.

 IAGO (moves downstage center; addresses audience)

I hate the Moor;

And it is thought abroad, that ’twixt my sheets He has done my office: I know not if ’t be true; But I, for mere suspicion in that kind,

Will do as if for surety.

Cassio’s a proper man: let me see now; After some time, to abuse Othello’s ear That he is too familiar with his wife:

I have’t; it is engender’d: hell and night

Must bring this monstrous birth to the world’s light.

Exit IAGO stage right.

✴ SCENE 3. (ACT II, SCENE III)

Cyprus. A hall in the castle.

Enter NARRATOR from stage rear, coming downstage center.

 NARRATOR

We are now in Cyprus. Iago persuades Cassio to drink too much, which is part of Iago’s devious plan of action.

Exit NARRATOR stage left.

Enter OTHELLO and DESDEMONA from stage rear. Enter CASSIO

from stage right.

OTHELLO (to CASSIO)

Good Michael, look you to the guard to-night: Good night.

Exit OTHELLO and DESDEMONA stage rear. Enter IAGO from stage right, carrying a flask.

CASSIO

Welcome, Iago; we must to the watch.

IAGO

Come, lieutenant, I have a stoup of wine; to the health of black Othello.

CASSIO

Not to-night, good Iago: I have very poor and unhappy brains for drinking.

IAGO

What, man! ’Tis a night of revels: the gallants desire it.

CASSIO

’ll do’t; but it dislikes me.

IAGO (steps downstage; addresses audience)

If I can fasten but one cup upon him, He’ll be as full of quarrel and offense As my young mistress’ dog.

Enter CASSIO, RODERIGO, MONTANO, and SOLDIERS from stage right, holding goblets.

 CASSIO

To the health of our general!

ALL drink. CASSIO drinks quickly and refills his cup.

 MONTANO

I am for it, lieutenant; and I’ll do you justice.

IAGO

O sweet England!

ALL (singing)

And let me the cannikin clink, clink And let me the cannikin clink.

A soldier’s a man,

O man’s life’s but a span,

Why, then let a soldier drink Why, then let a soldier drink!

 IAGO

Some wine, ho!

CASSIO (pours more wine for himself)

Why, this is a more exquisite song than the other. Do not think, gentlemen. I am drunk: this is my ancient;this is my right hand, and this is my left:

I am not drunk now; I can stand well enough, and speak well enough.

Exit CASSIO stage left.

 IAGO (aside, to RODERIGO)

How now, Roderigo!

I pray you, after the lieutenant; go.

Exit RODERIGO stage left.

 RODERIGO (from offstage)

Help! Help!

Enter RODERIGO, chased by CASSIO.

 CASSIO

’Zounds, you rogue! You rascal!

A knave teach me my duty! (strikes RODERIGO)

 MONTANO

Nay, good lieutenant; I pray you, sir, hold your hand.

CASSIO

Let me go, sir, or I’ll knock you o’er the mazard.

MONTANO

Come, come, you’re drunk.

CASSIO

Drunk!

CASSIO and MONTANO fight; MONTANO is injured.

 IAGO (aside, to RODERIGO)

Away, I say, go out; and cry a mutiny!

Exit RODERIGO stage rear.

SOUND OPERATOR plays Sound Cue #2 (“Ringing bell”).

Enter OTHELLO and DESDEMONA from stage rear.

 OTHELLO

What is the matter here?

Are we turn’d Turks? Honest Iago, Speak, who began this?

 IAGO

I had rather have this tongue cut from my mouth Than it should do offense to Michael Cassio;

But men are men; the best sometimes forget.

OTHELLO

I know, Iago,

Thy honesty and love doth mince this matter, Making it light to Cassio. Cassio, I love thee; But never more be officer of mine.

 Exit OTHELLO and DESDEMONA stage rear. Exit ALL but IAGO and

CASSIO stage right.

CASSIO (falls to his knees)

Reputation, reputation, reputation! O, I have lost my reputation! I have lost the immortal part of myself, and what remains is bestial.

 IAGO (helps Cassio to his feet)

As I am an honest man, I’ll tell you what you shall do. Our general’s wife is now the general: confess yourself freely to her; importune her help to put you in your place again.

 CASSIO

You advise me well. In the morning I will beseech the virtuous Desdemona to undertake for me: Good night, honest Iago.

Exit CASSIO stage right.

 IAGO (walks downstage center, addressing audience)

Whiles this honest fool

Plies Desdemona to repair his fortunes,

And she for him pleads strongly to the Moor, I’ll pour this pestilence into his ear,

That she repeals him for her body’s lust; So will I turn her virtue into pitch;

And out of her own goodness make the net That shall enmesh them all.

Exit IAGO stage right.

STAGEHANDS remove table, then set two chairs, one stage right and one stage left, slightly facing each other.

✴ SCENE 4. (ACT III, SCENE III)

Cyprus. The garden of the castle.

Enter NARRATOR from stage rear, coming downstage center.

 NARRATOR

Desdemona pleads for Cassio’s reinstatement while Iago causes Othello to doubt Desdemona and her friendship with Cassio. Keep an eye out for a very important handkerchief.

Exit NARRATOR stage right.

Enter DESDEMONA, CASSIO, and EMILIA from stage left. CASSIO

sits in chair stage right.

 CASSIO

My general will forget my love and service.

DESDEMONA (touches CASSIO’S hand comfortingly)

If I do vow a friendship, I’ll perform it

To the last article: my lord shall never rest;

I’ll watch him tame, and talk him out of patience.

 EMILIA

Madam, here comes my lord.

CASSIO

Madam, I’ll take my leave.

Exit CASSIO stage right.

Enter OTHELLO and IAGO from stage rear; IAGO stands to

OTHELLO’S right.

 IAGO

Ha! I like not that.

OTHELLO

Was not that Cassio parted from my wife?

IAGO

Cassio, my lord! No, sure, I cannot think it, That he would steal away so guilty-like, Seeing you coming.

DESDEMONA (stands; moves toward OTHELLO)

How now, my lord!

I have been talking with a suitor here,

A man that languishes in your displeasure.

 OTHELLO

Who is’t you mean?

DESDEMONA

Why, your lieutenant, Cassio. Good my lord, If I have any grace or power to move you,

I prithee, call him back.

 OTHELLO (moves downstage center, away from DESDEMONA)

No, not to-night.

 DESDEMONA (follows OTHELLO)

Why, then, to-morrow night; or Tuesday morn.

 OTHELLO (takes a step stage left, away from DESDEMONA)

Prithee, no more: let him come when he will; I will deny thee nothing.

OTHELLO kisses DESDEMONA’S hand.

 DESDEMONA

Whate’er you be, I am obedient.

DESDEMONA bows, then exits stage right with EMILIA.

 OTHELLO

Excellent wretch! Perdition catch my soul, But I do love thee! And when I love thee not, Chaos is come again.

IAGO

For Michael Cassio,

I dare be sworn I think that he is honest.

OTHELLO

I think so too.

IAGO

Men should be what they seem.

OTHELLO

Certain, men should be what they seem.

IAGO

Why, then, I think Cassio’s an honest man.

OTHELLO

Nay, yet there’s more in this: Give thy worst of thoughts The worst of words.

IAGO

O, beware, my lord, of jealousy;

It is the green-eyed monster, which doth mock

The meat it feeds on: that cuckold lives in bliss Who, certain of his fate, loves not his wronger; But, O, what damned minutes tells he o’er

Who dotes, yet doubts, suspects, yet strongly loves! Look to your wife; observe her well with Cassio; She did deceive her father, marrying you;

And when she seem’d to shake and fear your looks, She loved them most.

My lord, I take my leave.

IAGO begins to exit stage left, but he stops and moves behind left pillar.

 OTHELLO (walks downstage center)

Why did I marry? This honest creature doubtless Sees and knows more, much more, than he unfolds.

 IAGO (comes out from behind pillar)

My lord, I would I might entreat your honor Note if your lady strain Cassio’s entertainment With any strong or vehement importunity; Much will be seen in that. In the mean time Let me be thought too busy in my fears.

I once more take my leave.

Exit IAGO stage left.

 OTHELLO

This fellow’s of exceeding honesty, If I do prove her haggard,

Though that her jesses were my dear heartstrings, I’ld whistle her off, and let her down the wind,

To prey at fortune. Haply, for I am black, And have not those soft parts of conversation That chamberers have; or, for I am declined Into the vale of years, yet that’s not much;

She’s gone; I am abused; and my relief Must be to loathe her. O curse of marriage,

That we can call these delicate creatures ours, And not their appetites!

OTHELLO sits in stage right chair and hears DESDEMONA

approaching on his left.

Desdemona comes:

If she be false, O, then heaven mocks itself! I’ll not believe’t. (rubs his temples)

Enter DESDEMONA and EMILIA from stage left. EMILIA stands back by left pillar.

 DESDEMONA (approaches OTHELLO; embraces him)

How now, my dear Othello! Are you not well?

 OTHELLO

I have a pain upon my forehead here.

DESDEMONA

I am very sorry that you are not well.

DESDEMONA takes out her handkerchief and swabs OTHELLO’S

forehead. She helps him to his feet and they begin to exit stage right. DESDEMONA drops the handkerchief by accident as they walk off stage.

 EMILIA (spots handkerchief and picks it up)

I am glad I have found this napkin:

This was her first remembrance from the Moor: My wayward husband hath a hundred times Woo’d me to steal it; I nothing but to please

his fantasy.

Enter IAGO from stage left.

 IAGO

How now! What do you here alone?

EMILIA

Do not you chide; I have a thing for you.

Why, the handkerchief the Moor first gave to Desdemona;

That which so often you did bid me steal.

IAGO

A good wench; give it me.

EMILIA teases IAGO with the handkerchief. IAGO hugs EMILIA and snatches the handkerchief from her.

I have use for it. Go, leave me.

Exit EMILIA stage left.

I will in Cassio’s lodging lose this napkin, And let him find it. Trifles light as air Are to the jealous confirmations strong

As proofs of holy writ: this may do something. The Moor already changes with my poison.

Enter OTHELLO from stage rear.

 OTHELLO.

Ha! Ha! False to me?

 IAGO

How now, my lord!

OTHELLO

What sense had I of her stol’n hours of lust? Farewell the tranquil mind! Farewell content!

(turns to IAGO)

Villain, be sure thou prove my love a whore, Be sure of it; I’ll have some proof: her name,

that was as fresh

As Dian’s visage, is now begrimed and black As mine own face.

Give me a living reason she’s disloyal.

IAGO

 She may be honest yet. Tell me but this,

Have you not sometimes seen a handkerchief Spotted with strawberries in your wife’s hand?

 OTHELLO.

I gave her such a one; ’twas my first gift.

IAGO

I know not that: but such a handkerchief— I am sure it was your wife’s—did I to-day See Cassio wipe his beard with.

OTHELLO

Now do I see ’tis true. Look here, Iago;

All my fond love thus do I blow to heaven: ’Tis gone. (drops to his knees)

Arise, black vengeance, from the hollow hell! Yield up, O love, thy crown and hearted throne To tyrannous hate! O, blood, blood, blood!

IAGO (drops to his knees next to OTHELLO)

Patience, I say; your mind perhaps may change.

OTHELLO (rises)

Never, Iago. Like to the Pontic sea,

My bloody thoughts, with violent pace,

Shall ne’er look back, ne’er ebb to humble love, Till that a capable and wide revenge

Swallow them up. I will withdraw,

To furnish me with some swift means of death For the fair devil. (turns to IAGO)

Now art thou my lieutenant.

 IAGO

I am your own for ever.

Exit IAGO and OTHELLO stage right.

✴ SCENE 5 (ACT III, SCENE IV)

Before the castle.

Enter NARRATOR from stage rear, coming downstage center.

 NARRATOR

Othello asks Desdemona for the handkerchief that she has lost, but she tries to talk to him about Cassio. (pauses) Not a good idea.

Exit NARRATOR stage right.

Enter DESDEMONA and EMILIA from stage left.

 DESDEMONA

Where should I lose that handkerchief, Emilia?

 EMILIA

I know not, madam.

Enter OTHELLO from stage left.

How is’t with you, my lord?

 OTHELLO

Well, my good lady. (aside)

O, hardness to dissemble!

How do you, Desdemona? (takes her hand and looks at it)