The30MinuteShakespeare

Nineteen actors appeared 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 LEAR: King of Britain

KENT: Earl of Kent, a loyal subject to King Lear

GLOUCESTER: Earl of Gloucester, father to Edgar and Edmund

EDMUND: Bastard son to the Earl of Gloucester

CORDELIA: Youngest daughter to King Lear

GONERIL: Oldest daughter to King Lear, wife to the Duke of Albany REGAN: Middle daughter to King Lear, wife to the Duke ofCornwall ALBANY: Duke of Albany, husband to Goneril

CORNWALL: Duke of Cornwall, husband to Regan

EDGAR: son to the Earl of Gloucester

FOOL HERALD GENTLEMAN ATTENDANTS NARRATORS

✴ SCENE 1. (ACT I, SCENE I)

King Lear’s palace.

STAGEHAND sets throne center stage.

SOUND OPERATOR plays Sound Cue #1 (“Ominous music”).

Enter NARRATOR from stage right, coming downstage center.

NARRATOR

King Lear, intending to divide his power and his kingdom among his three daughters, demands public professions of their love.

Exit NARRATOR stage right.

Enter KENT, GLOUCESTER, and EDMUND from stage left.

KENT

Is not this your son, my lord?

GLOUCESTER

His breeding, sir, hath been at my charge: But I have, sir, a son by order of law, some year elder than this, who yet is no dearer in my account: though this knave came something saucily into the world, and the whoreson must be acknowledged. Do you know this noble gentleman, Edmund?

EDMUND

No, my lord.

GLOUCESTER

My lord of Kent: remember him hereafter as my honorable friend.

EDMUND (bows)

My services to your lordship.

GLOUCESTER

The king is coming.

EDMUND, KENT, and GLOUCESTER stand stage right, awaiting royal entrance.

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

Enter GONERIL and ALBANY from stage rear, proceeding to stage right. REGAN and CORNWALL follow, crossing tostage left. They are followed by CORDELIA, who stands left of the throne. KING LEAR enters last, shuffling in slowly and using his sword as a cane. He takes his seat in the throne. ALL bow to him.

KING LEAR holds out his hand, and KENT places a rolled-up map into it. LEAR unrolls the map and lays it on theground in front of him. As he speaks, he points at it with his sword.

KING LEAR

Know that we have divided

In three our kingdom while we Unburthen’d crawl toward death. Tell me,

my daughters:

Which of you shall we say doth love us most? That we our largest bounty may extend. Goneril, Our eldest-born, speak first.

As GONERIL speaks, she approaches the throne and kneels at her father’s feet. She then returns to ALBANY’S side.

GONERIL

Sir, I love you more than words can wield the matter;

Dearer than eye-sight, space, and liberty;

A love that makes breath poor, and speech unable; Beyond all manner of so much I love you.

CORDELIA (aside)

What shall Cordelia do? Love, and be silent.

KING LEAR (to GONERIL)

Of all these bounds, even from this line to this, We make thee lady: to thine and Albany’s issue Be this perpetual. (to REGAN)

What says our second daughter, Our dearest Regan? Speak.

As REGAN speaks, she approaches the throne and kneels at her father’s feet. She then returns to CORNWALL’S side.

REGAN

Sir, I am made

Of the self-same metal that my sister is, And prize me at her worth. In my true heart I find she names my very deed of love;

Only she comes too short: I am alone felicitate

In your dear highness’ love.

CORDELIA (aside)

Then poor Cordelia!

And yet not so; since, I am sure, my love’s More richer than my tongue.

KING LEAR (to REGAN)

To thee and thine hereditary ever

Remain this ample third of our fair kingdom;

(to CORDELIA)

Now, our joy,

Although the last, not least; what can you say to draw

A third more opulent than your sisters? Speak.

CORDELIA

Nothing, my lord.

REGAN, CORNWALL, GONERIL, and ALBANY react with shock at this pronouncement.

KING LEAR (stands)

Nothing!

CORDELIA

Nothing.

KING LEAR

Nothing will come of nothing: speak again.

CORDELIA

Unhappy that I am, I cannot heave

My heart into my mouth: I love your majesty According to my bond; nor more nor less.

KING LEAR

How, how, Cordelia! Mend your speech a little, Lest it may mar your fortunes.

CORDELIA

Good my lord,

You have begot me, bred me, loved me:

Return those duties back as are right fit, Obey you, love you, and most honor you.

KING LEAR

So young, and so untender?

CORDELIA

So young, my lord, and true.

As KING LEAR speaks, he gestures with his sword, thrusting it up on “sun” and pointing it downward on “Hecate.”

KING LEAR

Let it be so; thy truth, then, be thy dower: For, by the sacred radiance of the sun, The mysteries of Hecate, and the night; Here I disclaim all my paternal care,

(throws CORDELIA to the ground) And as a stranger to my heart and me Hold thee, from this, for ever.

KENT

Good my liege,—

KENT approaches KING LEAR, who holds him off with his sword.

KING LEAR

Peace, Kent!

Come not between the dragon and his wrath. I loved her most. Hence, and avoid my sight!

KENT

Royal Lear,

Thy youngest daughter does not love thee least; I’ll tell thee thou dost evil.

KING LEAR

Hear me, recreant!

Since thou hast sought to make us break our vow, Turn thy hated back

Upon our kingdom:

If thy banish’d trunk be found in our dominions, The moment is thy death. Away! By Jupiter,

This shall not be revoked.

KENT

Fare thee well, king: sith thus thou wilt appear, Freedom lives hence, and banishment is here.

(to CORDELIA, helping her up from the ground)

The gods to their dear shelter take thee, maid, That justly think’st, and hast most rightly said!

Exit KENT stage left.

CORDELIA

I yet beseech your majesty,—

If for I want that glib and oily art,

To speak and purpose not; such a tongue I am glad I have not, though not to have it Hath lost me in your liking.

KING LEAR

Better thou

Hadst not been born than not to have pleased me better.

Exit KING LEAR stage left, followed by all but GONERIL and

REGAN, who stand on either side of CORDELIA.

CORDELIA

Time shall unfold what plaited cunning hides: Who cover faults, at last shame them derides.

Exit CORDELIA stage left.

GONERIL

You see how full of changes his age is; he always loved our sister most; and with what poor judgment he hath now cast her off appears too grossly.

REGAN

’Tis the infirmity of his age: yet he hath ever but slenderly known himself. Such unconstant starts are we like to have from him as this of Kent’s banishment.

GONERIL (moves close to REGAN, speaking conspiratorially)

We must do something, and i’ the heat.

Exit GONERIL and REGAN stage left.

STAGEHANDS move throne from stage center to stage left.

✴ SCENE 2. (ACT I, SCENE II)

The Earl of Gloucester’s castle.

Enter NARRATOR from stage right, coming downstage center.

NARRATOR

Edmund, the Earl of Gloucester’s illegitimate son, plots to displace Edgar, Gloucester’s legitimate son andsuccessor, by turning Gloucester against him.

Exit NARRATOR stage left.

Enter EDMUND from stage rear, holding a letter. As he speaks, he walks slowly downstage center.

EDMUND

Thou, nature, art my goddess; to thy law My services are bound. Wherefore should I Stand in the plague of custom, and permit The curiosity of nations to deprive me,

For that I am some twelve or fourteen moon-shines Lag of a brother? Why bastard? Wherefore base?

Legitimate Edgar, I must have your land:

(sits in throne)

Fine word,—legitimate!

Well, my legitimate, if this letter speed, Edmund the base

Shall top the legitimate. (stands, continuing downstage center)

I grow; I prosper:

Now, gods, stand up for bastards!

Enter GLOUCESTER from stage left.

GLOUCESTER

Edmund, how now! What news?

EDMUND

So please your lordship, none.

EDMUND turns his back to GLOUCESTER and makes a showy attempt to conceal the letter.

GLOUCESTER

What paper were you reading?

EDMUND

It is a letter from my brother. I find it not fit for your o’er-looking.

GLOUCESTER

Let’s see, let’s see.

EDMUND hands the letter to GLOUCESTER, who reads from it out loud.

“If our father would sleep till I waked him, you should half his revenue for ever, and live the beloved of your brother, EDGAR.” Conspiracy!—O villain, villain! Edmund, seek him out: Find out this villain, Edmund; it shall lose thee nothing; do it carefully.

Exit GLOUCESTER stage left, clutching the letter.

EDMUND (crosses to center stage, addressing audience)

This is the excellent foppery of the world, that, when we are sick in fortune,—often the surfeit of our ownbehavior,—we make guilty of our disasters

10 ✴ KING LEAR

the sun, the moon, and the stars: I am rough and lecherous. Tut, I should have been that I am, had the maidenliest star in the firmament twinkled on my bastardizing. Edgar—

Enter EDGAR from stage left.

And pat he comes like the catastrophe of the old comedy: (conspiratorially, to audience) my cue is villanous melancholy.

EDGAR (approaches EDMUND)

How now, brother Edmund! What serious contemplation are you in?

EDMUND (puts his arm around EDGAR)

Come, come; when saw you my father last?

EDGAR

Why, the night gone by.

EDMUND

Bethink yourself wherein you may have offended him: and at my entreaty forbear his presence till some little time hath qualified the heat of his displeasure; which at this instant so rageth in him, that with the mischief of your person it would scarcely allay.

EDGAR

Some villain hath done me wrong.

EDMUND

Pray ye, go; there’s my key: (hands EDGAR a key and pats his shoulder reassuringly) if you do stir abroad, go armed.

EDGAR

Armed, brother!

EDMUND

Go armed: I pray you, away.

Exit EDGAR stage left.

EDMUND (walks downstage center, addressing audience) Let me, if not by birth, have lands by wit: All with me’s meet that I can fashion fit.

Exit EDMUND stage rear.

✴ SCENE 3. (ACT I, SCENE IV)

A hall in the same.

Enter NARRATOR from stage right, coming downstage center.

NARRATOR

The Earl of Kent returns in disguise, offers his services to King Lear, and is accepted as one of his followers. The Fool lives up to his name!

Exit NARRATOR stage right.

Enter KENT, disguised, from stage left.

Enter FOOL from stage right, unseen by KENT; he lurks behind stage right pillar.

KENT

If but as well I other accents borrow, That can my speech defuse,

now, banish’d Kent,

thy master, whom thou lovest, Shall find thee full of labors.

KENT crouches by stage right pillar, hunching over to hide his face. The FOOL is behind him, still unseen.

Enter KING LEAR, GONERIL, and ALBANY from stage left.

KING LEAR

How now! What art thou?

KENT (bows, still hiding his face)

A very honest-hearted fellow, and as poor as the king.

KING LEAR

Who wouldst thou serve?

KENT

You.

KING LEAR

Dost thou know me, fellow?

KENT

No, sir; but I can keep honest counsel.

KING LEAR

Follow me; thou shalt serve me: Where’s my knave? My fool?

The FOOL appears from behind stage right pillar.

FOOL (pulls cap over eyes)

Here’s my coxcomb.

KING LEAR

How now, my pretty knave! How dost thou?

The FOOL offers his cap to Kent.

FOOL

Sirrah, you were best take my coxcomb.

KENT

Why, fool?

FOOL

Why, for taking one’s part that’s out of favor: why, this fellow has banished two on’s daughters, and did the third ablessing against his will; How now, nuncle! Sirrah, I’ll teach thee a speech.

KING LEAR

Do.

FOOL

Mark it, nuncle: (with mock wisdom and flourishes)

Have more than thou showest, Speak less than thou knowest, Lend less than thou owest, Ride more than thou goest,

KENT

This is nothing, fool.

FOOL

Can you make no use of nothing, nuncle?

KING LEAR

Why, no, boy; nothing can be made out of nothing.

FOOL (to KENT)

Prithee, tell him, so much the rent of his land comes to: he will not believe a fool.

KING LEAR

A bitter fool!

FOOL

Dost thou know the difference, my boy, between a bitter fool and a sweet fool?

KING LEAR

No, lad; teach me.

FOOL

The sweet and bitter fool Will presently appear; The one in motley here,

The other found out there.

KING LEAR

Dost thou call me fool, boy?

FOOL

All thy other titles thou hast given away; that thou wast born with. I am a fool, thou art nothing.

Whoop, Jug! I love thee.

KING LEAR

Doth any here know me? Who is it that can tell me who I am?

The FOOL steps behind LEAR.

FOOL

Lear’s shadow.

GONERIL

As you are old and reverend, you should be wise. Here do you keep a hundred knights and squires; Men so disorder’d, so debosh’d and bold,

That this our court, is more like a tavern or a brothel Than a graced palace. Be then desired

a little to disquantity your train.

KING LEAR (to GONERIL)

Darkness and devils!

Degenerate bastard! Detested kite! Thou liest. O Lear, Lear, Lear!

Beat at this gate, that let thy folly in, (strikes his head)

And thy dear judgment out! How sharper than a serpent’s tooth it is

To have a thankless child! (to GONERIL)

Life and death! I am ashamed

That thou hast power to shake my manhood thus; Away! Away!

Exit KING LEAR and KENT stage left.

The FOOL sits in the throne, playing as if he is the king.

GONERIL (to FOOL)

You, sir, more knave than fool, after your master.

FOOL (hurrying after KING LEAR)

Nuncle Lear, nuncle Lear, tarry and take the fool with thee.

Exit FOOL stage left.

GONERIL

A hundred knights!

He may enguard his dotage with their powers, And hold our lives in mercy.

ALBANY

Well, you may fear too far.

GONERIL

Safer than trust too far:

I know his heart.

I have writ my sister

To inform her full of my particular fear.

Exit GONERIL and ALBANY stage left.

Enter FOOL from stage left, tiptoeing. He carries the throne offstage in preparation for the next scene.

✴ SCENE 4. (ACT III, SCENE IV)

The heath, before a hovel.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Lear, Kent, and the Fool reach the hovel, where they find Edgar disguised as Poor Tom, a madman and beggar. When Gloucester finds them, he leads them to the shelter of a house. It seems as if Lear is not the only one whose sanity is slipping away!

Exit NARRATOR stage right.

Enter KING LEAR, KENT, and the FOOL from stage left.

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

KENT (holds onto LEAR, attempting to shelter him from the storm)

Here is the place, my lord; good my lord, enter: The tyranny of the open night’s too rough

For nature to endure.

KING LEAR

The body’s delicate: the tempest in my mind Doth from my senses take all feeling else Save what beats there. Filial ingratitude!

O Regan, Goneril!

Your old kind father, whose frank heart gave all,— O, that way madness lies;

No more of that.

KENT

Good my lord, enter here.

KING LEAR

Prithee, go in thyself: seek thine own ease:

The FOOL walks behind stage left pillar as if entering the hovel.

This tempest will not give me leave to ponder On things would hurt me more. But I’ll go in.

EDGAR (within)

Fathom and half, fathom and half! Poor Tom!

FOOL (running out from behind pillar)

Come not in here, nuncle, here’s a spirit Help me, help me!

The FOOL runs to KING LEAR’S side and kneels. KING LEAR, KENT, and the FOOL huddle together, facing the stage left pillar.

KENT

Give me thy hand. Who’s there?

FOOL

A spirit, a spirit: he says his name’s Poor Tom.

KENT

Come forth.

Enter EDGAR, disguised.

EDGAR

Away! The foul fiend follows me!

KING LEAR, fascinated by the madman, slowly approaches

EDGAR. The FOOL, circling around stage rear, is also captivated.

KING LEAR

Hast thou given all to thy two daughters? And art thou come to this?

EDGAR

Who gives any thing to Poor Tom?

Bless thy five wits! Tom’s a-cold,—O, do de, do de, do de.

KING LEAR

What, have his daughters brought him to this pass? Couldst thou save nothing? Didst thou give them all?

EDGAR

Pillicock sat on Pillicock-hill: Halloo, halloo, loo, loo!

EDGAR moves stage right, flapping his arms like wings.

FOOL

This cold night will turn us all to fools and madmen.

KING LEAR

Is man no more than this? Unaccommodated man is no more but such a poor bare, forked animal as thou art.

FOOL (looks stage left)

Look, here comes a walking fire.

Enter GLOUCESTER from stage left, with a torch. He comes to center stage. The men form a line from stage rightto left:

EDGAR, KING LEAR, GLOUCESTER, KENT, and the FOOL.

EDGAR

This is the foul fiend Flibbertigibbet.

GLOUCESTER

What are you there? Your names?

EDGAR

Poor Tom, that in the fury of his heart, swallows the old rat and the ditch-dog; who is whipped from tithing to tithing! (whips himself with his arms)

GLOUCESTER

What, hath your grace no better company? Go in with me: my duty cannot suffer

To obey in all your daughters’ hard commands.

KING LEAR resists, moving stage right to converse silently with

EDGAR. He exchanges his crown for EDGAR’S hat.

KENT

Importune him once more to go, my lord; His wits begin to unsettle.

GLOUCESTER

Canst thou blame him?

His daughters seek his death: ah, that good Kent! He said it would be thus, poor banish’d man!

Thou say’st the king grows mad; I’ll tell thee, friend, I am almost mad myself: I had a son,

Now outlaw’d from my blood; he sought my life, But lately, very late: I loved him, friend,

The grief hath crazed my wits. (motions for all to exit)

KING LEAR

O, cry your mercy, sir.

Noble philosopher, your company. Come, good Athenian.

GLOUCESTER

No words, no words: hush.

Exit GLOUCESTER stage right, leading KING LEAR off. KENT follows, while EDGAR remains.

EDGAR

Child Rowland to the dark tower came, His word was still,—Fie, foh, and fum, I smell the blood of a British man.

Exit EDGAR stage right.

STAGEHANDS set bench (for bed), lengthwise, downstage center.

Enter KING LEAR from stage rear. He lies on the bed and falls asleep.

✴ SCENE 5. (ACT IV, SCENE VII)

A tent in the French camp.

KING LEAR remains asleep on bed.

Enter NARRATOR from stage rear, coming downstage right.

NARRATOR

In the French camp, Lear awakens and is reunited with Cordelia.

Exit NARRATOR stage right.

Enter CORDELIA from stage right. She stands over KING LEAR’S

bedside as he sleeps.

CORDELIA

O you kind gods,

Cure this great breach in his abused nature! O my dear father! Restoration hang

Thy medicine on my lips; and let this kiss Repair those violent harms that my two sisters Have in thy reverence made!

CORDELIA leans over and kisses her father’s head. He stirs and then sits up, facing out. CORDELIA sits next to him.

CORDELIA

He wakes; How does my royal lord? How fares your majesty?

KING LEAR

You do me wrong to take me out o’ the grave: Thou art a soul in bliss; but I am bound Upon a wheel of fire, that mine own tears

Do scald like moulten lead. (suddenly looks around, confused)

Where have I been? Where am I? Fair daylight? I am mightily abused.

I will not swear these are my hands.

CORDELIA

O, look upon me, sir,

And hold your hands in benediction o’er me:

KING LEAR kneels at CORDELIA’S feet, but she helps him to stand.

No, sir, you must not kneel.

KING LEAR

Pray, do not mock me:

I am a very foolish fond old man,

And I fear I am not in my perfect mind. Methinks I should know you,

Yet I am doubtful. For, as I am a man, I think this lady To be my child Cordelia.

CORDELIA

And so I am, I am. (puts her head on his chest, weeping)

KING LEAR

I pray, weep not:

If you have poison for me, I will drink it.

I know you do not love me; for your sisters Have, as I do remember, done me wrong: You have some cause, they have not.

CORDELIA

No cause, no cause.

KING LEAR

Do not abuse me.

CORDELIA

Will’t please your highness walk?

KING LEAR

You must bear with me:

Pray you now, forget and forgive: I am old and foolish.

Exit CORDELIA and KING LEAR stage right, with CORDELIA helping her father walk.

✴ SCENE 6. (ACT V, SCENE III)

The British camp near Dover.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Edmund sends King Lear and Cordelia to prison and secretly orders their assassinations. Edgar accusesEdmund of treachery. The characters face the consequences of their actions.

Exit NARRATOR stage right.

Enter EDMUND from stage left. Enter KING LEAR, CORDELIA, and

HERALD from stage right.

EDMUND (to HERALD, indicating KING LEAR and CORDELIA)

Take them away.

HERALD tries to take CORDELIA, but she shakes him off. KING LEAR

moves between HERALD and CORDELIA.

CORDELIA

We are not the first

Who, with best meaning, have incurr’d the worst. For thee, oppressed king, am I cast down;

Myself could else out-frown false fortune’s frown. Shall we not see these daughters and these sisters?

KING LEAR (facing CORDELIA)

No, no, no, no! Come, let’s away to prison: We two alone will sing like birds i’ the cage:

KING LEAR kneels, as does CORDELIA, facing him.

When thou dost ask me blessing, I’ll kneel down, And ask of thee forgiveness: so we’ll live,

And pray, and sing, and tell old tales, and laugh At gilded butterflies,

as if we were God’s spies.

EDMUND

Take them away.

HERALD grips KING LEAR and CORDELIA and escorts them offstage left.

Enter GONERIL and REGAN from stage right; they sit on the bench. GONERIL is holding two cups and hands one toREGAN. Both drink.

Enter ALBANY and HERALD from stage left.

ALBANY

Stay yet; hear reason. Edmund, I arrest thee On capital treason; and, in thine attaint,

Thou art arm’d, Gloucester: let the trumpet sound: If none appear to prove upon thy head

Thy heinous, manifest, and many treasons, There is my pledge. (throws down a glove)

REGAN

Sick, O, sick!

REGAN doubles over, dropping her cup.

GONERIL (aside to audience)

If not, I’ll ne’er trust medicine.

EDMUND

There’s my exchange: (throws down a glove)

what in the world he is

That names me traitor, villain-like he lies.

REGAN

My sickness grows upon me.

ALBANY

She is not well; convey her to my tent.

HERALD leads REGAN offstage right. GONERIL follows.

Re-enter HERALD from stage right; he crosses to stage left and faces out, reading from a paper.

HERALD

“If any man of quality or degree within the lists of the army will maintain upon Edmund, supposed Earl of Gloucester,that he is a manifold traitor, let him appear.

Enter EDGAR from stage right, masked.

EDMUND stands stage left, facing EDGAR.

HERALD (to EDGAR)

What are you?

Your name, your quality?

EDGAR

Know, my name is lost;

By treason’s tooth bare-gnawn and canker-bit:

Yet am I noble as the adversary I come to cope.

What’s he that speaks for Edmund Earl of Gloucester?

EDMUND

Himself: what say’st thou to him?

EDGAR

Draw thy sword,

Despite thy victor sword and fire-new fortune, thou art a traitor;

False to thy gods, thy brother, and thy father; A most toad-spotted traitor.

EDMUND

Back do I toss these treasons to thy head; With the hell-hated lie o’erwhelm thy heart;

SOUND OPERATOR plays Sound Cue #4 (“Drum beats”).

EDMUND and EDGAR fight. EDMUND falls.

EDMUND

What you have charged me with, that have I done; And more, much more; the time will bring it out: ’Tis past, and so am I. But what art thou?

EDGAR

I am no less in blood than thou art, Edmund;

(removes his mask)

My name is Edgar, and thy father’s son.

EDMUND

The wheel is come full circle: I am here.

Enter a GENTLEMAN, running in from stage left and holding a bloody knife. He comes center stage.

GENTLEMAN

Help, help, O, help!

EDGAR

What means that bloody knife?

GENTLEMAN

’Tis hot, it smokes;

It came even from the heart of—O, she’s dead!

ALBANY

Who dead? Speak, man.

GENTLEMAN

Your lady, sir, your lady: and her sister By her is poisoned; she hath confess’d it.

ALBANY

Produce their bodies, be they alive or dead:

This judgment of the heavens, that makes us tremble, Touches us not with pity.

Exit GENTLEMAN stage right. Enter KENT from stage left.

KENT

I am come

To bid my king and master aye good night: Is he not here?

ALBANY

Great thing of us forgot!

Speak, Edmund, where’s the king? And where’s Cordelia?

See’st thou this object, Kent?

Enter two ATTENDANTS, bearing the bodies of GONERIL and

REGAN; the bodies are placed center stage.

KENT

Alack, why thus?

EDMUND

Yet Edmund was beloved:

The one the other poison’d for my sake, And after slew herself.

ALBANY

Even so. Cover their faces.

ATTENDANTS cover the faces of GONERIL and REGAN with veils.

EDMUND

I pant for life: some good I mean to do, Despite of mine own nature. Quickly send, to the castle; for my writ

Is on the life of Lear and on Cordelia.

ALBANY

Run, run, O, run!

Exit EDGAR stage left.

EDMUND

He hath commission from thy wife and me To hang Cordelia in the prison, and

To lay the blame upon her own despair, That she fordid herself.

EDMUND dies.

ALBANY

The gods defend her!

ATTENDANTS carry EDMUND offstage right.

Re-enter KING LEAR from stage rear with the lifeless CORDELIA in his arms. He lays her down on the bed.

Re-enter EDGAR stage left, a witness to KING LEAR’S mourning.

KING LEAR

Howl, howl, howl, howl! O, you are men of stones: Had I your tongues and eyes, I’ld use them so

That heaven’s vault should crack. She’s gone for ever! Lend me a looking-glass;

HERALD hands KING LEAR a small mirror.

If that her breath will mist or stain the stone, Why, then she lives.

KENT

Is this the promised end?

KING LEAR holds a feather up to CORDELIA’S mouth. The feather does not move, but LEAR imagines it does.

KING LEAR

This feather stirs; she lives! If it be so,

It is a chance which does redeem all sorrows That ever I have felt.

KENT (kneels before KING LEAR)

O my good master!

KING LEAR

Prithee, away.

EDGAR

’Tis noble Kent, your friend.

KING LEAR

A plague upon you, murderers, traitors all!

I might have saved her; now she’s gone for ever! Cordelia, Cordelia! Stay a little.

I kill’d the slave that was a-hanging thee. I am old now,

And these same crosses spoil me. Who are you? Mine eyes are not o’ the best: I’ll tell you straight.

KENT

If fortune brag of two she loved and hated, One of them we behold.

KING LEAR

Are you not Kent?

KENT

The same,

Your servant Kent.

That, from your first of difference and decay, Have follow’d your sad steps.

KING LEAR

You are welcome hither.

KENT

Nor no man else: all’s cheerless, dark, and deadly. Your eldest daughters have fordone them selves, And desperately are dead.

HERALD checks EDMUND for a pulse, but finds none.

HERALD

Edmund is dead, my lord.

KING LEAR

And my poor fool is hang’d! No, no, no life! Why should a dog, a horse, a rat, have life,

And thou no breath at all? Thou’lt come no more, Never, never, never, never, never!

Look on her, look, her lips, Look there, look there!

KING LEAR looks up. The others look up, then back to KING LEAR.

(See Performance Notes.)

KING LEAR dies, collapsing to the ground next to CORDELIA.

EDGAR (rushes to KING LEAR’S side)

He faints! My lord, my lord!

KENT

Break, heart; I prithee, break!

Vex not his ghost: O, let him pass! He hates him much That would upon the rack of this tough world Stretch him out longer.

EDGAR

He is gone, indeed.

KENT

The wonder is, he hath endured so long: He but usurp’d his life.

ALBANY

Bear them from hence. Our present business

Is general woe. (to KENT and EDGAR)

Friends of my soul, you twain

Rule in this realm, and the gored state sustain.

KENT

I have a journey, sir, shortly to go;

My master calls me, I must not say no.

As ALL speak, the dead rise to standing positions, forming a line.

ALL

The weight of this sad time we must obey; Speak what we feel, not what we ought to say. The oldesthath borne most: we that are young Shall never see so much, nor live so long.

ALL hold hands and bow in unison. Exeunt.

Let's Make a Scene: Love's Labor's Lost Wednesday October 16th, 2024 7:30 to 8:30 PM EST

Here is the script for Let's Make a Scene: Love's Labor's Lost:

Join us for the Zoom round-robin dramatic reading on Wednesday October 16th, 7:30 to 8:30 PM EST

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See you there!

Nick Newlin

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Download Love_s_Labor_s_Lost_Let_s_Make_a_Scene_Script_PDF.pdf

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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, Andthen grace 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 in aweek 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 please the eye indeed, By fixing it upon a fairer eye.

LONGAVILLE

Berowne is like an envious sneaping frost That bites the first-born infantsof 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 butshort.

DULL

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

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 aninterest in one of 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 bedecking ornaments 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 highto 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.

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.

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 theirfun 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?

(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.

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.

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’llgive 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 the owl 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,

When roasted crabs hiss in the bowl, Then nightly sings the staring owl: Tu-who;

Tu-whit, to-who—a merry note, While greasy Joan doth keel the pot.

ARMADO

The words of Mercury are harsh after the songs of Apollo.

(to audience) You that way: (gestures to self and cast)

we this way.

All hold hands and take a bow. Exeunt.

Let's Make a Scene: The Merchant of Venice: Tuesday Sep 10th, 2024 7:30

Greetings all!

Here is the script for our Let's Make a Scene: The Merchant of Venice: The 30-Minute Shakespeare:

Tuesday, September 9th, 2024 at 7:30 PM EST

Microsoft Word version:

Download The_Merchant_of_Venice-_The_30-Minute_Shakespeare.docx

PDF:

Download PDF_Script_Let_s_Make_a_Scene_Merchant_of_Venice_2024_09.pdf

(I will copy and paste the text at the bottom of this.)

And here is the Zoom Link:

https://us02web.zoom.us/j/84875214369?pwd=TPUcEUaUOidln5pzRiiBiam4iNG46G.1

Here is the Facebook event link:

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And here is the script pasted!

Play on!

Nick

CHARACTERS IN THE PLAY

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

ANTONIO: A merchant of Venice

SOLARINO: Companion of Antonio and Bassanio SOLANIO: Companion of Antonio and Bassanio GRATIANO:Companion of Antonio and Bassanio BASSANIO: A Venetian gentleman, suitor to Portia PORTIA: Anheiress of Belmont

NERISSA: Portia’s waiting-gentlewoman SHYLOCK: A Jewish moneylender in Venice PRINCE OFMOROCCO: Suitor to Portia PRINCE OF ARRAGON: Suitor to Portia

DUKE OF VENICE

LORENZO: Companion of Antonio and Bassanio

JESSICA: Shylock’s daughter CHORUS MEMBERS NARRATOR

✴ SCENE 1. (ACT II, SCENE II | ACT I, SCENE I)

Venice. A street.

STAGEHANDS set stools and table downstage center. Enter LANCELET from stage left.

LANCELET

The fiend is at mine elbow and tempts me Saying to me

“Good Lancelet, use your legs, Run away.”

Well my conscience says, “Good Lancelet, Budge not.”

“Budge,” says the fiend.

“Budge not,” says my conscience.

To be ruled by my conscience, I should stay

With the Jew, my master, who (God bless the mark) Is a kind of devil, and to run away from the Jew

I should be ruled by the fiend, who (saving your reverence)

Is the Devil himself.

The fiend gives the more friendly counsel. I will run, fiend. I will run!

(winks, replacing his hat with SOLARINO’S hat)

Exit LANCELET stage right.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Bassanio informs his friend Antonio of his love for the wealthy Portia, and Antonio offers to loan Bassanio some money. (Never a good idea.)

Exit NARRATOR stage left.

Enter ANTONIO, SOLANIO, and SOLARINO from stage right.

ANTONIO sits on center stool and pours wine into mugs.

ANTONIO

In sooth, I know not why I am so sad: It wearies me; you say it wearies you;

And such a want-wit sadness makes of me, That I have much ado to know myself.

SOLARINO (standing and stepping downstage center, gesturing at imagined ships)

Your mind is tossing on the ocean;

There, where your argosies with portly sail, Do overpeer the petty traffickers,

As they fly by them with their woven wings. What harm a wind too great at sea might do. I know, Antonio

Is sad to think upon his merchandise.

ANTONIO

My ventures are not in one bottom trusted, Therefore my merchandise makes me not sad.

SOLANIO

Then let us say you are sad, Because you are not merry.

Exit SOLARINO and SOLANIO stage right. As they exit, they clink their mugs together with ANTONIO’S, greet BASSANIO as heenters,

and sing, “Ciao bella, ciao bella, bella bella ciao ciao.” Enter BASSANIO from stage right.

ANTONIO stands. He and BASSANIO greet each other. They sit;

ANTONIO pulls his chair closer to BASSANIO and leans in.

ANTONIO (to BASSANIO)

Well, tell me now what lady is the same To whom you swore a secret pilgrimage?

BASSANIO

’Tis not unknown to you, Antonio, How much I have disabled mine estate.

(stands and paces)

My chief care

Is to come fairly off from the great debts Wherein my time something too prodigal Hath left me gaged.

ANTONIO (stands facing BASSANIO)

(earnestly) Good Bassanio,

My purse, my person, my extremest means, Lie all unlock’d to your occasions.

Therefore, speak.

BASSANIO (slowly walks downstage center, envisioning PORTIA)

In Belmont is a lady richly left;

ANTONIO sits again, listening intently.

And she is fair, and, fairer than that word,

Of wondrous virtues: sometimes from her eyes I did receive fair speechless messages:

Her name is Portia.

(scowls) The four winds blow in from every coast

Renowned suitors, (enchanted smile) and her sunny locks

Hang on her temples like a golden fleece;

(turns back to ANTONIO, sits, and pulls his chair close)

O my Antonio, had I but the means To hold a rival place with one of them.

ANTONIO

Thou know’st that all my fortunes are at sea; therefore go forth;

Try what my credit can in Venice do:

To furnish thee to Belmont, to fair Portia.

Exit BASSANIO and ANTONIO together stage left, taking wineskin and mugs with them.

✴ SCENE 2. (ACT I, SCENE II)

Belmont. A room in PORTIA’S house.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Portia bemoans her late father’s rule that she can only be married if one of her suitor’s chooses the correct chest of gold, silver, or lead. I wouldn’t like that either.

Exit NARRATOR stage left.

Enter PORTIA and NERISSA from stage right. PORTIA plunks herself into a chair, and NERISSA stands behind her, brushing PORTIA’S hair.

PORTIA

By my troth, Nerissa, my little body is aweary of this great world.

NERISSA

You would be, sweet madam, if your miseries were in the same abundance as your good fortunes are.

PORTIA

I may neither choose whom I would nor refuse whom I dislike; so is the will of a living daughter curbed by the will of adead father.

NERISSA (sits next to PORTIA)

Your father was ever virtuous; therefore the lottery, that he hath devised in the three chests of gold, silver, and lead, whereof who chooses his meaning chooses you, will, no doubt, never be chosenby any rightly but one who shall rightly love.

(pauses, smiles slyly)

Do you not remember, lady, in your father’s time, a Venetian, a scholar and a soldier?

PORTIA (leaps up)

(excitedly) Yes, yes, it was Bassanio; (catches herself and sits down as if nothing has happened) as Ithink, he was so called.

NERISSA (leans in, giggles)

True, madam: he, of all the men that ever my foolish eyes looked upon, was the best deserving afair lady.

PORTIA

I remember him well, and I remember him worthy of thy praise. Come, Nerissa.

Exit PORTIA and NERISSA stage right, laughing excitedly.

✴ SCENE 3. (ACT I, SCENE III)

Venice. A public place.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Antonio borrows money from Shylock the Jew, with a disturbing condition.

Exit NARRATOR stage left.

Enter SHYLOCK from stage right. He sits on stage right stool and begins reading a newspaper.

Enter BASSIANO from stage right, following SHYLOCK.

SHYLOCK

Three thousand ducats; well.

BASSANIO (standing over SHYLOCK)

Ay, sir, for three months.

For the which, as I told you, Antonio shall be bound. Shall I know your answer?

SHYLOCK

Antonio is sufficient. Yet his means are in supposition: (points to the newspaper) He hath an argosy bound to Tripolis, another to the Indies; and other ventures he hath, squandered abroad. But ships are but boards, there is the peril ofwinds and

rocks. The man is, notwithstanding, sufficient. May I speak with Antonio?

BASSANIO

If it please you to dine with us.

SHYLOCK

Yes, to smell pork; to eat of the habitation which your prophet the Nazarite conjured the devil into. I will buy withyou, sell with you, but I will not eat with you. Who is he comes here?

Enter ANTONIO from stage right.

BASSANIO

This is Signior Antonio.

BASSIANO crosses stage right to greet ANTONIO.

SHYLOCK (stands and takes a step toward audience) (aside) I hate him for he is a Christian,

But more for he lends out money gratis and brings down

The rate of usance here with us in Venice. He hates our sacred nation, and he rails

On me, my bargains, and my well-won thrift, Which he calls interest. Cursed be my tribe, If I forgive him!

ANTONIO and BASSANIO return to stage left.

(to ANTONIO) Rest you fair, good signior.

ANTONIO, BASSANIO, and SHYLOCK sit.

ANTONIO

Shylock, although I neither lend nor borrow

Yet, to supply the ripe wants of my friend, I’ll break a custom.

Shall we be beholding to you?

SHYLOCK (leans in toward ANTONIO)

Signior Antonio, many a time and oft In the Rialto you have rated me About my moneysand my usances:

Still have I borne it with a patient shrug, For sufferance is the badge of all our tribe. You callme misbeliever, cut-throat dog, And spit upon my Jewish gaberdine,

Well then, it now appears you need my help: Fair sir, you spit on me on Wednesday last; Youcall’d me dog; and for these courtesies I’ll lend you thus much moneys?

SHYLOCK sits and picks up his newspaper, bringing it up to his face.

ANTONIO (stands and grabs newspaper away from SHYLOCK,

throwing it to the ground)

I am as like to call thee so again, To spit on thee again.

SHYLOCK stares at ANTONIO, picks up newspaper slowly, and smiles coldly. He folds newspaper and sets it on stool, laughs coldly, and stands.

SHYLOCK

Why, look you, how you storm!

Go with me to a notary, seal me there Your single bond; and, in a merry sport, If yourepay me not on such a day,

Let the forfeit

Be nominated for an equal pound

Of your fair flesh, to be cut off and taken In what part of your body pleaseth me.

BASSANIO (stands urgently and takes ANTONIO by the shoulders)

You shall not seal to such a bond for me.

ANTONIO (quietly to BASSANIO)

Why, fear not, man; I will not forfeit it:

(to SHYLOCK) Yes Shylock, I will seal unto this bond.

SHYLOCK pauses and then extends his hand for ANTONIO to shake. BASSANIO and SHYLOCK exchange a glance. ANTONIO shakes SHYLOCK’S hand.

SHYLOCK

Then meet me forthwith at the notary’s.

ANTONIO

Hie thee, gentle Jew.

Exit SHYLOCK stage left.

(cheerfully, but with an edge in his voice)

The Hebrew will turn Christian: He grows kind.

BASSANIO (dismayed and worried)

I like not fair terms and a villain’s mind.

ANTONIO

Come on: In this there can be no dismay;

My ships come home a month before the day.

Exit ANTONIO stage left.

Exit BASSANIO stage left, glancing worriedly at the horizon.

✴ SCENE 4. (ACT II, SCENE I | ACT II, SCENE VII)

Belmont. A room in PORTIA’S house.

STAGEHANDS set stools on either side of table at center stage to form a straight line and set caskets on top.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

The Prince of Morocco tries his luck at picking the right chest to win Portia’s hand. (afterthought, while exiting) Good luck!

Exit NARRATOR stage left.

Enter PORTIA and NERISSA from stage right. Drumbeats with a dance rhythm sound from offstage.

Enter the PRINCE OF MOROCCO with CHORUS dancing in behind him.

MOROCCO

Mislike me not for my complexion,

The shadow’d livery of the burnish’d sun, I would not change this hue,

Except to steal your thoughts, my gentle queen.

PORTIA

You must take your chance,

And either not attempt to choose at all

Or swear before you choose, if you choose wrong Never to speak to lady afterward

In way of marriage: Therefore be advised.

MOROCCO

Good fortune then!

To make me blest or cursed among men.

PORTIA

Go draw aside the curtains, noble prince. Now make your choice.

MOROCCO draws the curtains with a flourish. CHORUS echoes

MOROCCO’S movement.

MOROCCO

How shall I know if I do choose the right?

PORTIA

The one of them contains my picture, prince: If you choose that, then I am yours withal.

MOROCCO looks up, making upward gesture with arms. CHORUS

repeats this movement.

MOROCCO

Some god direct my judgment! (looks at lead casket)

Let me see;

What says this leaden casket?

(to audience) “Who chooseth me must give and hazard all he hath.”

I’ll then nor give nor hazard aught for lead.

(looks at silver casket)

What says the silver with her virgin hue?

“Who chooseth me shall get as much as he deserves.” I do in birth deserve her, and in fortunes.

Let’s see once more this saying graved in gold

“Who chooseth me shall gain what many men desire.” Why, that’s the lady; all the world desires her;

One of these three contains her heavenly picture.

(looks at gold casket)

Here an angel in a golden bed

Lies all within. Deliver me the key: Here do I choose, and thrive I as I may!

PORTIA (gives key to MOROCCO)

There, take it, prince; and if my form lie there, Then I am yours.

Drumroll sounds from offstage. MOROCCO unlocks the gold casket and pulls out a prop skull with a rolled up piece ofpaper in it.

MOROCCO laughs heartily as CHORUS laughs behind him. MOROC- CO then screams, and CHORUS echoes MOROCCO’Sscream.

MOROCCO

O hell! What have we here?

A carrion Death, within whose empty eye There is a written scroll! I’ll read the writing.

MOROCCO shows scroll to CHORUS. They mime putting on monocles to examine the scroll.

Drumroll sounds from offstage.

CHORUS

“All that glitters is not gold; Often have you heard that told:

Gilded tombs do worms enfold. Fare you well; your suit is cold.” Cold, indeed;and labor lost:

Then, farewell, heat, and welcome, frost! Portia, adieu. I have too grieved a heart To take a tedious leave: Thus losers part.

Drumbeats with a dance rhythm sound from offstage.

Exit MOROCCO stage left with CHORUS behind him, dancing despondently.

Drumming stops.

PORTIA

A gentle riddance. Draw the curtains, go. Let all of his complexion choose me so.

Drumbeats with a dance rhythm sound from offstage.

Exit PORTIA and NERISSA stage left, dancing like MOROCCO and

CHORUS.

✴ SCENE 5. (ACT II, SCENE IX)

Belmont. A room in PORTIA’S house.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Next up is the Prince of Arragon. Will he fare any better? Place your bets.

Exit NARRATOR stage left.

Enter NERISSA and PORTIA from stage left.

NERISSA

Quick, quick, I pray thee; draw the curtain straight: The Prince of Arragon hath ta’en his oath,

And comes to his election presently.

Drumbeats with a dance rhythm sound from offstage.

Enter the PRINCE OF ARRAGON and his CHORUS from stage right, dancing.

PORTIA

Behold, there stand the caskets, noble prince: If you choose that wherein I am contain’d, Straight shall our nuptial rites be solemnized: But if you fail, without more speech, my lord, Youmust be gone from hence immediately.

ARRAGON

Fortune now

To my heart’s hope! Gold, silver, and base lead.

(to audience) “Who chooseth me must give and hazard all he hath.”

You shall look fairer, ere I give or hazard.

ARRAGON laughs a silly laugh at his own joke. CHORUS echoes his laugh.

PORTIA and NERISSA exchange a look.

What says the golden chest? Ha! Let me see:

(to audience) “Who chooseth me shall gain what many men desire.”

That “many” may be meant by the fool multitude. Why, then to thee, thou silver treasure-house;

(to audience) “Who chooseth me shall get as much as he deserves.”

I will assume desert. Give me a key for this, And instantly unlock my fortunes here.

Drumroll sounds from offstage.

ARRAGON opens the silver casket and pulls out a doll or bust of a fool’s head.

ARRAGON

What’s here? The portrait of a blinking idiot, Did I deserve no more than a fool’s head?

What is here?

Drumroll sounds from offstage.

CHORUS

“Some there be that shadows kiss; Such have but a shadow’s bliss:

THE MERCHANT OF VENICE ✴ 17

I will ever be your head: So be gone: You are sped.”

With one fool’s head I came to woo, But I go away with two.

Sweet, adieu. I’ll keep my oath,

Patiently to bear my (pauses, makes a face) wroth?

Exit ARRAGON and CHORUS stage right, giving dismissive waves, while drumbeats sound from offstage.

Drumming stops.

PORTIA

Thus hath the candle singed the moth. O, these deliberate fools!

Exit PORTIA and NERISSA stage left, imitating ARRAGON, while drumbeats resume from offstage.

✴ SCENE 6. (ACT III, SCENE II)

Belmont. A room in PORTIA’S house.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

Portia’s final suitor is Bassanio. (whispers) I’m rooting for this guy.

Exit NARRATOR stage left.

Enter PORTIA and NERISSA from stage left.

PORTIA

Come, Nerissa; for I long to see

Quick Cupid’s post that comes so mannerly.

NERISSA (looks excitedly stage left)

Bassanio, lord Love, if thy will it be!

Enter BASSANIO from stage left, as drumbeats with a dance rhythm sound from offstage. CHORUS (includingGRATIANO) follows behind him, dancing and drumming. BASSANIO stops and turns around threateningly, andCHORUS all bump into each other and scurry to their places.

PORTIA (touches BASSANIO’S sleeve)

I pray you, tarry: Pause a day or two Before you hazard; for, in choosing wrong,

I lose your company: Therefore forbear awhile.

(looks in his eyes) Beshrew your eyes,

(turns away toward audience) They have o’erlook’d me and divided me;

One half of me is yours, the other half (pauses,

looks to BASSANIO, and then looks back to audience, smiling) yours.

BASSANIO (looks into PORTIA’S eyes, then turns to look at caskets)

Let me choose

For as I am, I live upon the rack.

(mimes being tortured)

(quickly turns toward caskets) But let me to my fortune and the caskets.

PORTIA (steps back to give BASSANIO room to look at caskets)

Away, then! I am lock’d in one of them: If you do love me, you will find me out.

Let music sound while he doth make his choice.

Drumbeats from offstage accompany music.

CHORUS

Tell me where is fancy bred, Or in the heart, or in the head? How begot, hownourished?

Reply, reply.

It is engender’d in the eyes, With gazing fed; and fancy dies In the cradle where itlies.

Let us all ring fancy’s knell

I’ll begin it—Ding, dong, bell.

BASSANIO

The world is still deceived with ornament. (examines gold casket) Therefore, thou gaudy gold,

Hard food for Midas, I will none of thee;

(examines silver casket) Nor none of thee, thou pale

and common drudge

’Tween man and man: but thou, thou meager lead

(picks up lead casket)

Thy paleness moves me more than eloquence; And here choose I; joy be the consequence!

Drumroll sounds from offstage.

CHORUS leans forward in anticipation.

What find I here?

(opens the lead casket and holds up photo of PORTIA)

Fair Portia’s counterfeit! What demi-god

Hath come so near creation? Move these eyes? Seem they in motion? Here are sever’d lips, Parted with sugar breath. (sniffs the air)

Here’s the scroll,

The continent and summary of my fortune.

BASSANIO shows scroll to CHORUS, who mime taking out monocles to read it.

Drumroll sounds from offstage.

CHORUS (illustrating words with movement) “You that choose not by the view, Chance as fair and choose as true! Turn you where your lady is

And claim her with a loving kiss.”

CHORUS leans forward to see if BASSANIO will kiss PORTIA. BASSANIO kisses PORTIA on the cheek. CHORUS coos happily.

PORTIA

You see me, Lord Bassanio, where I stand,

Such as I am.

Happiest of all is that her gentle spirit Commits itself to yours.

PORTIA turns her cheek for BASSANIO to kiss. When he gets close, she turns again and kisses him on the lips.

BASSANIO (stunned)

Madam, you have bereft me of all words, Only my blood speaks, to you in my veins.

NERISSA

Good joy, my lord and lady!

During the previous moments, NERISSA and GRATIANO have been eyeing each other and inching closer together. Theyare now side by side.

GRATIANO

I may be married too.

(holds NERISSA’S hand)

I got a promise of this fair one here

(gazes at her lovingly)

To have her love, provided that your fortune Achieved her mistress.

PORTIA (amazed and overjoyed)

Is this true, Nerissa?

NERISSA

Madam, it is.

BASSANIO (troubled and agitated; begins to pace downstage)

O sweet Portia, When I told you

My state was nothing, I should then have told you That I was worse than nothing; for, indeed,

(looks out, as if looking over the troubled seas)

I have engaged myself to a dear friend.

PORTIA (walks toward him and puts her hand on his shoulder)

Is it your dear friend that is thus in trouble?

BASSANIO nods.

What sum owes he the Jew?

BASSANIO

For me three thousand ducats.

PORTIA (unfazed)

What, no more?

PORTIA snaps her fingers, and each of the six CHORUS members holds out a bag of money. PORTIA snaps her fingersagain, and one CHORUS member holds out a large bag. All other CHORUS members drop their bag of money in large bag.CHORUS member hands large bag to PORTIA, who hands the bag to BASSANIO.

Pay him six thousand, and deface the bond.

BASSANIO

Since I have your good leave to go away, I will make haste.

Drumbeats from offstage play a love song as couples dance offstage two by two in a conga line.

Exit ALL stage right, CHORUS members taking caskets with them.

ALL continue dancing as they exit.

✴ SCENE 7. (ACT IV, SCENE I)

Venice. A court of justice.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

In the courtroom, Shylock arrives to claim his pound of flesh from Antonio. (whispers) There is a mystery guest.

Exit NARRATOR stage left.

Enter DUKE, ANTONIO, and BASSANIO from stage right. Drumbeats with a dance rhythm sound from offstage. Enter CHORUS from stage right, drumming and dancing.

DUKE (stands)

(yells) Silence!

CHORUS members stop and scurry to their positions.

DUKE sits on center stool and ANTONIO sits on stage left stool.

DUKE

Antonio, I am sorry for thee: Thou art come to answer an inhuman wretch, void and empty

From any dram of mercy.

ANTONIO

I am arm’d

To suffer, with a quietness of spirit, The very tyranny and rage of his.

DUKE

Go one, and call the Jew into the court.

Exit one CHORUS member stage right to retrieve SHYLOCK.

Enter SHYLOCK from stage right, holding a scroll of rolled-up paper: his bond. He sits on stage right stool.

DUKE (stands)

(with authority) Shylock, the world thinks, and I think so too,

That thou but lead’st this fashion of thy malice To the last hour of act; and then ’tis thought

Thou’lt show thy mercy and remorse more strange Than is thy strange apparent cruelty;

We all expect a gentle answer, Jew.

SHYLOCK (stands)

By our holy Sabbath have I sworn

To have the due and forfeit of my bond: I give no reason, nor I will not,

More than a lodged hate and a certain loathing I bear Antonio.

Are you answer’d?

CHORUS answers, “No!” and general pandemonium follows.

BASSANIO (angrily steps toward SHYLOCK)

This is no answer, thou unfeeling man. For thy three thousand ducats here is six.

(hands SHYLOCK bag of money)

SHYLOCK looks into the bag, swallows hard, and drops it at

BASSANIO’S feet. CHORUS utters, “Ooh!” in response.

SHYLOCK

If every ducat in six thousand ducats Were in six parts and every part a ducat,

(very distinctly) I would not draw them; I would have my bond.

DUKE (still standing)

How shalt thou hope for mercy, rendering none?

SHYLOCK (walks downstage right, away from the others) What judgment shall I dread, doing no wrong? Youhave among you many a purchased slave, Which, like your asses and your dogs and mules,You use in abject and in slavish parts,

Because you bought them.

The pound of flesh, which I demand of him,

Is dearly bought; ’tis mine and (distinctly) I will have it.

SHYLOCK takes out knife and CHORUS cries, “No!” Enter SOLARINO from stage right.

SOLARINO

My lord, here stays without

A messenger with letters from the doctor, New come from Padua.

DUKE

Bring us the letter; call the messenger.

Exit SOLARINO stage right to retrieve NERISSA.

Enter NERISSA from stage right, dressed as a lawyer’s clerk. She

bows to DUKE.

DUKE

Came you from Padua, from Bellario?

NERISSA

From both, my lord. Bellario greets your grace.

NERISSA presents a letter to DUKE. DUKE reads the letter to him- self.

DUKE

This letter from Bellario doth commend A young and learned doctor to our court. Where ishe?

NERISSA

He attendeth here hard by. (points stage right)

Enter PORTIA from stage right, dressed as a doctor of laws.

DUKE

And here, I take it, is the doctor come.

Give me your hand. Come you from old Bellario?

PORTIA comes center, starts to curtsy but catches herself, and then bows to DUKE. Meanwhile, SHYLOCK walks upstage tosit on stage right stool.

PORTIA

I did, my lord.

I am informed thoroughly of the cause.

Which is the merchant here, and which the Jew?

SHYLOCK (stands)

Shylock is my name.

PORTIA

(to ANTONIO) You stand within his danger, do you not?

ANTONIO (stands)

Ay, so he says.

PORTIA

Do you confess the bond?

ANTONIO

I do.

PORTIA

Then must the Jew be merciful.

SHYLOCK (animated and agitated)

On what compulsion must I? Tell me that.

PORTIA gestures for SHYLOCK to sit; SHYLOCK sits.

PORTIA

(to SHYLOCK) The quality of mercy is not strain’d, (moves downstage and talks out over audience) It droppeth asthe gentle rain from heaven Upon the place beneath: it is twice blest;

It blesseth him that gives and him that takes.

SHYLOCK (stands, agitated)

My deeds upon my head! I crave the law, The penalty and forfeit of my bond.

PORTIA

I pray you, let me look upon the bond.

(takes bond from SHYLOCK)

Why, this bond is forfeit;

And lawfully by this the Jew may claim A pound of flesh, to be by him cut off Nearest the merchant’sheart.

PORTIA kneels at SHYLOCK’S chair and softly pleads with him.

Be merciful:

Take twice thy money; bid me tear the bond.

SHYLOCK (stares at PORTIA)

(firmly) There is no power in the tongue of man To alter me: I stay here on my bond.

PORTIA

Why then, thus it is:

(hands the paper back to SHYLOCK and turns to

ANTONIO)

You must prepare your bosom for his knife.

DUKE motions two BAILIFFS to stand over ANTONIO.

They do so, with BASSANIO acting threatening toward BAILIFFS

by standing between them and ANTONIO. DUKE waves BASSANIO back.

SHYLOCK

We trifle time: I pray thee, pursue sentence.

Dramatic drumbeat sounds from offstage.

SHYLOCK sharpens his knife and approaches ANTONIO. CHORUS

murmurs and grows noisy. As SHYLOCK draws close, he brings knife up over his head. CHORUS gasps.

PORTIA

THE MERCHANT OF VENICE ✴ 29

Tarry a little; (PORTIA moves between SHYLOCK and

ANTONIO) there is something else.

This bond doth give thee here no jot of blood; The words expressly are “a pound of flesh:”

Take then thy bond, take thou thy pound of flesh; But, in the cutting it, if thou dost shed

One drop of Christian blood, thy lands and goods Are, by the laws of Venice, confiscate

Unto the state of Venice.

SHYLOCK

Is that the law?

PORTIA

Thyself shalt see the act:

PORTIA shows SHYLOCK the passage in the book. He examines it carefully.

For, as thou urgest justice, be assured

Thou shalt have justice, more than thou desirest. Therefore prepare thee to cut off the flesh.

Shed thou no blood, nor cut thou less nor more But just a pound of flesh: If the scale do turn Butin the estimation of a hair,

Thou diest and all thy goods are confiscate.

SHYLOCK (incredulous and stunned)

(sits) Give me my principal, and let me go.

SHYLOCK returns book to PORTIA and holds his hand out for the money.

PORTIA

Thou shalt have nothing but the forfeiture, To be so taken at thy peril, Jew.

ALL whisper, “Jew.”

SHYLOCK

I’ll stay no longer. (stands)

PORTIA

Tarry, Jew:

PORTIA motions for SHYLOCK to sit down; he refuses.

ALL repeat, “Jew,” louder and point. SHYLOCK sits.

The law hath yet another hold on you. It is enacted in the laws of Venice,

If it be proved against an alien

CHORUS says, “Jew!” more loudly and points.

That by direct or indirect attempts He seek the life of any citizen,

The party ’gainst the which he doth contrive Shall seize one half his goods; the other half Comes to the privy coffer of the state;

And the offender’s life lies in the mercy Of the duke only.

Down therefore and beg mercy of the duke.

(points for SHYLOCK to kneel)

SHYLOCK refuses. ALL repeat, “Down.” SHYLOCK kneels.

DUKE

That thou shalt see the difference of our spirits, I pardon thee thy life before thou ask it:

For half thy wealth, it is Antonio’s;

The other half comes to the general state.

SHYLOCK

Nay, take my life and all; pardon not that: You take my life

When you do take the means whereby I live.

PORTIA

What mercy can you render him, Antonio?

ANTONIO

So please my lord the Duke and all the court To quit the fine for one half of his goods,

I am content; More, that, for this favor, He presently become a Christian.

PORTIA

Art thou contented, Jew? What dost thou say?

SHYLOCK (defeated)

I am content.

I pray you, give me leave to go from hence; I am not well.

DUKE

Get thee gone.

Exit SHYLOCK stage right.

PORTIA (to BASSANIO, mysteriously, with a hint of a smile)

I pray you, know me when we meet again: I wish you well, and so I take my leave.

BASSANIO appears puzzled by PORTIA’S words. Military drumbeat sounds from offstage.

ALL exit stage left, somberly.

✴ SCENE 8. (ACT V, SCENE I)

Belmont. Avenue to PORTIA’S house.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

All secrets are revealed. Because this is a comedy, everybody ends up happy. Except Shylock.Which is kind of a big “except.” (shrugs) Enjoy!

Exit NARRATOR stage left.

Enter LORENZO from stage right and JESSICA from stage left, walking toward each other.

LORENZO

The moon shines bright: in such a night as this, When the sweet wind did gently kiss the trees. In such a night

Did Jessica steal from the wealthy Jew

And with an unthrift love did run from Venice As far as Belmont.

LORENZO and JESSICA meet at center stage and join hands.

JESSICA

In such a night

Did young Lorenzo swear he loved her well,

Stealing her soul with many vows of faith (unclasps his hands and in a playful snub, turns away)

And ne’er a true one.

LORENZO (plays along as if he is insulted and also turns away)

In such a night

Did pretty Jessica, like a little shrew, Slander her love,

JESSICA and LORENZO both look over their shoulders at each other and smile.

and he forgave her.

JESSICA and LORENZO turn back to each other, hug, and laugh.

Enter PORTIA and NERISSA from stage right, still dressed as a lawyer and clerk, ready to surprise their husbands.

LORENZO (hearing approaching footsteps stage right) (to PORTIA) Your husband is at hand.

Enter quickly BASSANIO, ANTONIO, and GRATIANO from stage right.

PORTIA

You are welcome home, my lord.

BASSANIO

I thank you . . .?

BASSANIO and GRATIANO are both stunned and confused.

Finally, PORTIA takes off the robe and hat to reveal herself.

NERISSA does the same.

PORTIA

You are all amazed: Portia was the doctor, Nerissa there her clerk.

ANTONIO

I am dumb.

BASSANIO (holds PORTIA’S hand and laughs)

Were you the doctor and I knew you not?

GRATIANO (also laughing)

Were you the clerk?

NERISSA nods her head and laughs.

BASSANIO

Sweet doctor, you shall be my bed-fellow: When I am absent, then lie with (looks around,

points back to PORTIA) my wife.

NERISSA (to LORENZO)

There do I give to you and Jessica, From the rich Jew, a special deed of gift,

After his death, of all he dies possess’d of.

NERISSA hands LORENZO a piece of paper.

LORENZO

Fair ladies, you drop manna in the way Of starved people.

ALL stand side by side as couples, facing the audience and smiling.

PORTIA

Let us go in;

and we will answer all things faithfully.

Enter ALL.

ALL (unison)

I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, senses, affections, passions? Fed with the same food, hurt with the same weapons, subject to the same diseases, healed by thesame means, warmed and cooled by the same winter and

summer, as a Christian is? If you prick us, do we not bleed? and if you wrong us, shall we not revenge?

ALL hold hands and take a bow. Exeunt.

Let's Make a Scene: The Tempest. Tuesday, July 9, 2024: Script here!

Join us for our monthly Let;s Make a Scene!

Tuesday, July 9th, 2024 7:30 to 8:30

We will round-robin read The Tempest: The 30-Minute Shakespeare over Zoom.

You can be an enslaved savage monster, an airy spirit, a scheming brother, a drunk butler, a young lady seeing a young man for the first time. Actually, all of the above, since we read/act it line by line, giving you multiple opportunities to unleash your inner drama!

No experience necessary, no cost to join, and all participants receive a FREE PDF of The Tempest: The 30-Minute Shakespeare.

Play on!

***

Here is the Zoom link for the event

Here is the Facebook event link

Here is a PDF of the script, which you can print out or read from a tablet:

Download THIS_Tempest_Let_s_Make_a_Scene_Script_PDF.pdf

Here is a Word document of the script:

Download THIS_Tempest_Let_s_Make_a_Scene_Script_Word.docx

And here is the script pasted:

Enjoy! Hope to see you there!

Nick Newlin

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 a great 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?

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.

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 bottle withthem, 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.

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 log from 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 from stool.

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,

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!—and Trinculo 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 these mineenemies 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.

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.

Here is the script with stage directions of Othello: The 30-Minute Shakespeare:

This is the Word doc:

Download Othello_converted_to_word_30_min.docx

And here it is as a PDF:

Download Othello_converted_to_30_min_PDF.pdf

(Click the blue link to download the script)

(I will paste the script as at the bottom too.)

Here is the Zoom link for Let's Make a Scene:

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Looking forward to seeing you Monday, June 3rd, 2024 at 7:30 EST!

Nick Newlin

www.30minuteshakespeare.com

(Here is the script pasted:)

And here is the text to the script pasted:

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!

2 ✴ OTHELLO

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

I’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

OTHELLO.

She may be honest yet. Tell me but this,

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

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)

DESDEMONA

Well, my good lord.

I have sent to bid Cassio come speak with you.

OTHELLO

Lend me thy handkerchief.

DESDEMONA (takes out a plain handkerchief)

Here, my lord.

OTHELLO

That which I gave you.

DESDEMONA

I have it not about me.

OTHELLO

That is a fault. That handkerchief

Did an Egyptian to my mother give; she, dying, gave it me;

Fetch’t, let me see’t.

DESDEMONA

Why, so I can, sir, but I will not now.

OTHELLO

Fetch me the handkerchief: my mind misgives.

Exit OTHELLO stage right.

DESDEMONA sits in stage right chair, EMILIA in left.

EMILIA (holds DESDEMONA’S hand)

Is not this man jealous?

OTHELLO ✴ 23

DESDEMONA

I ne’er saw this before.

Something hath puddled his clear spirit Alas the day! I never gave him cause.

EMILIA

Jealous souls will not be answer’d so; They are not ever jealous for the cause,

But jealous for they are jealous: ’tis a monster Begot upon itself, born on itself.

DESDEMONA (stands)

Heaven keep that monster from Othello’s mind!

EMILIA

Lady, amen.

Exit BOTH stage right.

Enter CASSIO from stage left, followed by BIANCA.

BIANCA

Save you, friend Cassio!

CASSIO

Sweet Bianca,

They embrace; CASSIO gives DESDEMONA’S handkerchief to BIANCA.

Take me this work out.

BIANCA (suspicious)

Why, whose is it?

CASSIO

I know not, sweet: I found it in my chamber. I like the work well: I’d have it copied:

Take it, and do’t; I’ll see you soon.

BIANCA

’Tis very good; I must be circumstanced.

Exit CASSIO stage left. Exit BIANCA stage right.

✴ SCENE 6 (ACT IV, SCENE III)

Cyprus. Another room in the castle.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

While Desdemona is preparing for bed, she talks to Emilia about unfaithful wives.

Exit NARRATOR stage right.

Enter DESDEMONA from stage left. Enter OTHELLO from stage right.

OTHELLO

O, Desdemona.

DESDEMONA

My lord?

OTHELLO

Get you to bed on th’instant; I will be return’d forthwith.

DESDEMONA

I will, my lord.

Exit OTHELLO stage right. DESDEMONA sits in stage left chair. Enter EMILIA from stage right.

EMILIA

How goes it now? (brushes DESDEMONA’S hair)

DESDEMONA

O, these men, these men!

Dost thou in conscience think,—tell me, Emilia,— That there be women do abuse their husbands

In such gross kind?

EMILIA

There be some such, no question. Let husbands know

Their wives have sense like them: they see, and smell,

And have their palates both for sweet and sour, As husbands have. What is it that they do When they change us for others? Is it sport?

I think it is: and doth affection breed it? I think it doth: is’t frailty that thus errs? It is so too: and have not we affections,

Desires for sport, and frailty, as men have? Then let them use us well: else let them know, The ills we do, their ills instruct us so.

DESDEMONA (rises and turns to face EMILIA)

Good night, good night: God me such usage send, Not to pick bad from bad, but by bad mend!

Exit DESDEMONA stage rear. Exit EMILIA stage right.

Enter SINGERS from stage left. They stand downstage center and begin singing.

SINGERS

The poor soul sat sighing by a sycamore tree Sing all a green willow.

Her hand on her bosom, her head on her knee Sing willow willow willow.

The fresh streams ran by her and murmured her moans,

Sing all a green willow.

Her salt tears fell by her and softened the stones. Sing willow willow willow.

Sing all a green willow must be my garland.

Exit SINGERS stage left and right.

✴ SCENE 7 (ACT V, SCENE II)

Cyprus. Outside of a bedchamber in the castle.

Enter NARRATOR from stage rear, coming downstage center.

NARRATOR

The scene takes place outside Desdemona’s bedroom. The hard truth is revealed.

Exit NARRATOR stage left.

Enter OTHELLO from stage right.

OTHELLO (walks downstage center)

She must die, else she’ll betray more men. Put out the light, and then put out the light.

Exit OTHELLO stage rear.

SOUND OPERATOR plays Sound Cue #3 (“Intense, disturbing music”).

OTHELLO re-enters from stage rear. He has just smothered

DESDEMONA.

Enter EMILIA from stage right. She glances at OTHELLO, enters the offstage bedchamber, and screams. EMILIA re-enters from stage rear.

EMILIA

O, my good lord, foul murders done!

O, who hath done This deed?

OTHELLO

She’s, like a liar, gone to burning hell: ’Twas I that kill’d her.

EMILIA

O, the more angel she, And you the blacker devil!

OTHELLO

EMILIA.

She turn’d to folly, and she was a whore.

O, she was heavenly true!

OTHELLO

Cassio did top her; ask thy husband else.

EMILIA

That she was false to wedlock? My husband?

OTHELLO

Ay, ’twas he that told me first: An honest man he is.

EMILIA

My husband!

OTHELLO

My friend, thy husband, honest, honest Iago.

EMILIA

If he say so, may his pernicious soul

Rot half a grain a day! He lies to th’heart: Help! Help, ho! Help!

The Moor hath kill’d my mistress! Murder! Murder!

Enter MONTANO and IAGO from stage left.

MONTANO

What is the matter? How now, general!

EMILIA

O, are you come, Iago? You have done well, That men must lay their murders on your neck. My mistress here lies murder’d in her bed,

(to IAGO)

And your reports have set the murder on.

OTHELLO

Nay, stare not, masters: it is true, indeed.

MONTANO

O monstrous act!

OTHELLO

O, she was foul!

’Tis pitiful; but yet Iago knows

That she with Cassio hath the act of shame

A thousand times committed; Cassio confess’d it: And she did gratify his amorous works

With that recognizance and pledge of love Which I first gave her; I saw it in his hand: It was a handkerchief, an antique token My father gave my mother.

EMILIA

O heaven! O heavenly powers!

IAGO

Come, hold your peace.

IAGO tries to stab EMILIA.

EMILIA

I will not.

O thou dull Moor! That handkerchief thou speak’st of I found by fortune, and did give my husband;

For often, with a solemn earnestness—

More than, indeed, belong’d to such a trifle— He begg’d of me to steal it.

IAGO

Filth, thou liest!

EMILIA

By heaven, I do not, I do not, gentlemen.

O murderous coxcomb! What should such a fool Do with so good a wife!

OTHELLO

Are there no stones in heaven

But what serve for the thunder? Precious villain!

OTHELLO runs at IAGO; IAGO stabs EMILIA and exits stage left.

EMILIA

Ay, ay: O, lay me by my mistress’ side.

EMILIA staggers offstage rear to DESDEMONA’S bedchamber.

OTHELLO

Who can control his fate? Where should Othello go? O cursed, cursed slave!

O Desdemona! Desdemona! Dead! (falls down, writhes)

O! O! O!

Enter LODOVICO, MONTANO, and CASSIO from stage left, holding

IAGO prisoner.

LODOVICO

Where is that viper? Bring the villain forth.

OTHELLO

If that thou be’st a devil, I cannot kill thee.

OTHELLO wounds IAGO.

LODOVICO

Wrench his sword from him. (CASSIO takes

OTHELLO’S sword)

IAGO

I bleed, sir; but not kill’d.

From this time forth I never will speak word.

OTHELLO

How came you, Cassio, by that handkerchief That was my wife’s?

CASSIO

I found it in my chamber:

And he himself confess’d but even now

That there he dropp’d it for a special purpose Which wrought to his desire.

OTHELLO

O, Fool! Fool! Fool!

LODOVICO (to OTHELLO)

You must forsake this room, and go with us: Your power and your command is taken off, And Cassio rules in Cyprus.

OTHELLO

Soft you; a word or two before you go. I pray you, in your letters,

When you shall these unlucky deeds relate, Speak of one that loved not wisely, but too well.

OTHELLO pulls out a dagger he had hidden on his person and stabs himself.

CASSIO

He was great of heart. (to IAGO)

O Spartan dog,

Myself will straight aboard, and to the state This heavy act with heavy heart relate.

ALL freeze briefly, then stand up, hold hands, and bow. Exeunt.

KING LEARCHARACTERS IN THE PLAY

King Lear’s palace.

Enter NARRATOR from stage right, coming downstage center.

As GONERIL speaks, she approaches the throne and kneels at her father’s feet. She then returns to ALBANY’S side.

As REGAN speaks, she approaches the throne and kneels at her father’s feet. She then returns to CORNWALL’S side.

As KING LEAR speaks, he gestures with his sword, thrusting it up on “sun” and pointing it downward on “Hecate.”

STAGEHANDS move throne from stage center to stage left.

The Earl of Gloucester’s castle.

Enter EDMUND from stage rear, holding a letter. As he speaks, he walks slowly downstage center.

A hall in the same.

Enter KENT, disguised, from stage left.

KENT crouches by stage right pillar, hunching over to hide his face. The FOOL is behind him, still unseen.

The FOOL offers his cap to Kent.

The FOOL sits in the throne, playing as if he is the king.

Enter FOOL from stage left, tiptoeing. He carries the throne offstage in preparation for the next scene.

The heath, before a hovel.

KING LEAR, fascinated by the madman, slowly approaches

EDGAR moves stage right, flapping his arms like wings.

Enter GLOUCESTER from stage left, with a torch. He comes to center stage. The men form a line from stage rightto left:

KING LEAR resists, moving stage right to converse silently with

STAGEHANDS set bench (for bed), lengthwise, downstage center.

A tent in the French camp.

Enter NARRATOR from stage rear, coming downstage right.

bedside as he sleeps.

CORDELIA leans over and kisses her father’s head. He stirs and then sits up, facing out. CORDELIA sits next to him.

The British camp near Dover.

REGAN doubles over, dropping her cup.

Re-enter HERALD from stage right; he crosses to stage left and faces out, reading from a paper.

Enter EDGAR from stage right, masked.

Enter a GENTLEMAN, running in from stage left and holding a bloody knife. He comes center stage.

REGAN; the bodies are placed center stage.

Re-enter KING LEAR from stage rear with the lifeless CORDELIA in his arms. He lays her down on the bed.

(See Performance Notes.)

As ALL speak, the dead rise to standing positions, forming a line.

CHARACTERS IN THE PLAY

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!

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

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

My loving lord, Dumaine is mortified:

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

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

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

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

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

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

How well this yielding rescues thee from shame!

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

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

Sir, the contempts thereof are as touching me.

A letter from the magnificent Armado.

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

In what manner?

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

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

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.”

Not a word of Costard yet.

Peace!

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

No words!

Of other men’s secrets, I beseech you.

“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-spiritedswain, that base minnow of thy mirth,”—

Me.

“that unlettered small-knowing soul,”—

Me.

“that shallow vassal,”—

Still me?

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

O me!

With a wench.

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

But, sirrah, what say you to this?

Sir, I confess the wench.

Did you hear the proclamation?

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

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

I had rather pray a month with mutton and porridge.

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

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

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

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

KING LEAR
CHARACTERS IN THE PLAY