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Shakespeare Unit: Term 2 2017Syllabus

Outcomes

EN3-1A communicates effectively for a variety of audiences and purposes using increasingly challenging topics, ideas, issues and language forms and features

EN3-3A uses an integrated range of skills, strategies and knowledge to read, view and comprehend a wide range of texts in different media and technologies

EN3-5B discusses how language is used to achieve a widening range of purposes for a widening range of audiences and contexts

EN3-7C thinks imaginatively, creatively, interpretively and critically about information and ideas and identifies connections between texts when responding to and composing texts

EN3-8D identifies and considers how different viewpoints of their world, including aspects of culture, are represented in texts

EN3-9E recognises, reflects on and assesses their strengths as a learner

Teaching and Learning

Each morning: Students study the Scene-Speare text along with the vocabulary translation of words. By the end of the week, students take turns at dramatizing the scene.Monday: Students select and begin a learning task relevant to their interests.Thursday: Students continue work on and publish their Shakespeare task.

Assessment and Feedback

Students will be assessed on

Studied Texts Websites

Macbeth (2015 film rated M) Just Macbeth! by Andy Griffiths goo.gl/h7Fd1u Romeo and Juliet (interactive graphic novel by Classical Comics) goo.gl/klNKWp Scene-Speare! Shakespearean Scenes for Student Actors goo.gl/IqoA6E Shakespeare Unbound (ABC Splash Website) goo.gl/l2u1nM The Wonderful World of Will (Bell Shakespeare Performance) goo.gl/jHhHDk History of English (YouTube Clip by OuLearn) goo.gl/r411xV The Complete Works of William Shakespeare Abridged (Youtube clip) goo.gl/YYpl8Z William Shakespeare Biography (YouTube clip) goo.gl/Esvr9T

Globe Education http://teach.shakespearesglobe.com/ Globe Player TV https://globeplayer.tv Shakespeare Study Unit ABC

Splash splash.abc.net.au/home#!/topic/1091248/shakespeare Shakespeare Unbound ABC

Splash splash.abc.net.au/home#!/digibook/1403896/shakespeare-unbound Read Write Think Student Interactives www.readwritethink.org/search/?

resource_type=16 Shakespeare's Globe Website www.shakespearesglobe.com/ Shakespeare by the British Council learnenglish.britishcouncil.org/en/shakespeare Shakespeare's Monologues www.shakespeare-monologues.org/plays/ William Shakespeare

Biography learnenglishkids.britishcouncil.org/en/short-stories/william-shakespeare

Learning Sequence Overview1. All about William Shakespeare - students will explore the life, times, significance and death of one of the greatest writers in the English language and the world's pre-eminent dramatist.2. Macbeth (a comparison of story and theme) - students will compare the original story and plot of Macbeth to that of the 2015 film and Andy Griffith's Just Macbeth!. Students will build

an understanding of how stories can be reshaped to fit a new medium and generation while still containing the dramatic essence that was prominent in so many of Shakespeare's plays.3. Romeo and Juliet (a study of language) - using the Classical Comics digital graphic novel, students will read the story of Romeo and Juliet and analyse/translate Shakespearian language

into modern context.4. The Wonderful World of Will (appreciating) - students will watch and participate in lessons delivered by the Bell Shakespeare theatre company.

Developed by Mitchell Welham 2017 NSW Department of Education

http://learnenglishkids.britishcouncil.org/en/short-stories/william-shakespeare

http://www.shakespeare-monologues.org/plays/

https://learnenglish.britishcouncil.org/en/shakespeare

http://www.shakespearesglobe.com/

http://www.readwritethink.org/search/?resource_type=16

http://www.readwritethink.org/search/?resource_type=16

http://splash.abc.net.au/home#!/digibook/1403896/shakespeare-unbound

http://splash.abc.net.au/home#!/topic/1091248/shakespeare

https://globeplayer.tv/

http://teach.shakespearesglobe.com/

https://goo.gl/Esvr9T

https://goo.gl/YYpl8Z

https://goo.gl/r411xV

https://goo.gl/jHhHDk

https://goo.gl/l2u1nM

https://goo.gl/IqoA6E

https://goo.gl/klNKWp

https://goo.gl/h7Fd1u

William Shakespeare The Globe Theatre Themes, Characters and

Scenes

Who was William Shakespeare?

Why is he so significant?

What is some information about his life?

What is the globe theatre?

What was it like to watch one of Shakespeare’s plays?

How did the Globe influence modern cinemas and theatres?

What are Shakespeare’s

famous texts?

How can we decipher some of Shakespeare’s

scenes?

What themes are common in

Shakespeare’s works?

Learning Activities Create a Bio-Cube on William Shakespeare and upload it as

a PDF to your website. Create a 10 question Kahoot on William Shakespeare. Your

Kahoot must include multiple choice questions and pictures. 5 questions must be about William Shakespeare himself with the other 5 questions about his plays.

Find some images/paintings of William Shakespeare. Create your own portrait of him. Frame it with black paper and hang it in the classroom.

Learning Activities Have students reproduce the original Globe theatre in any way

they like (drawing, 3D model, painting etc). Teach students about how an audience behaved and were treated

when watching a performance. Have students develop a short play of their own which encourages the audience to participate and interact with the actors.

Learning Activities Have students randomly choose two scene by scene

synopsis of Shakespeare’s plays, In partners, have them complete a compare and contrast (Venn diagram) about the differences and similarities between the two.

Use Shakespeare Unbound (ABC Splash) and Shakespeare Globe Education clips to view and analysis some of Shakespeare’s most famous scenes. Discuss as a class.

Find examples of costumes and makeup for Shakespeare’s plays. Create your own for a character from a scene you’ve studied in class.

Influence on English Language

Shakespeare (Stage 3

exposure unit)http://teach.shakespearesglobe.com/

https://globeplayer.tv


Contemporary Shakespeare

What are some of the words Shakespeare

invented?

How do we translate Shakespeare vocabulary?

What is the ingoing impact of Shakespeare today?

What are some modern movies/books etc that contemporise Shakespeare?

How can we compare modern takes to the classics?

Learning Activities Shakespeare invented over 1700 of our common words.

Find at least 3 websites that contain examples of these words. Then write out the entire alphabet. Next to each letter, write one word for that letter that Shakespeare invented. e.g. A – accused, B – bandit ….

The Washington Post Word Play invitational is a yearly competition. Using a random word generator online, create additional meanings for everyday words. Create a list of 10. e.g. kidnapping – an adult who decides to nap in a kid like fashion.

Learning Activities Watch various Scenes from Macbeth film (2016) and

compare to scenes of the original play (focus on the scene when Macbeth kills the King).

Read the book Just Macbeth! by Andy Griffiths. Watch the 2011 film Gnomeo & Juliet.

Romeo and Juliet (comic)

Watch a Shakespeare Performance

LondonHow can we use visual literacy to enhance

our understanding of Shakespeare? What roles do the characters

play in the story? How do I appreciate and understand the story being told?





http://teach.shakespearesglobe.com/

Learning Activities Answer various comprehension questions relating to each

scene. Complete character profiles including their love interests,

motives, relationship with other characters and motivation in the story.

Compare two families like the Capulets and Veronas.

Learning Activities Using https://globeplayer.tv download and watch a Globe Theatre

production of Shakespeare’s plays. The Globe Education site also has additional resources to help with lesson plan ideas and discussions. The website also has synopsis on all plays.

Learning Activities What were the three different types of playhouses in

London? Have students research this question and answer it. They also need to provide illustrations or information regarding their appearance. They also need to state who built them and list information about the first playhouse ever built.

Construct a diagram with supporting facts about London’s landmarks between 1500 and 1650.



Week Text Lesson Resources Reg.

Week 1

Scene-Speare: Romeo And Juliet Act 2 Scene 5 (two women)

Background: This moment takes place after the famous balcony scene (Act II scene two). Juliet and Romeo, the children of fierce enemies, have fallen in love and decide to marry. Juliet is waiting for her Nurse to return with news from Romeo: namely, where and when will they marry? Read the scene between Romeo and the Nurse (Act II scene four) to see how this is set up.

Character: Juliet is high class; the Nurse is low class. When Juliet talks about love she’s very romantic, whereas the Nurse only sees the physical, the “looks” of Romeo.

Juliet is “not yet fourteen.” She is basically a prisoner in her home and cannot leave her house at will, so she needs the Nurse's help. At the end of the scene the Nurse asks Juliet if she has “leave” (permission) to go to church. How does this inability to control her own destiny affect Juliet? Has this ever bothered her before?

When the Nurse enters she has just returned from seeing Romeo. She has the information Juliet is waiting for, so why is she so slow to share the news?What is she thinking? Is she just being playful, or does she have another motive? Is she focused on making Juliet happy? Is she worried about the consequences of the illicit marriage?

At the end of the scene the Nurse calls herself a “drudge,” a servant who “toils” in Juliet’s delight. She must be somewhat aware of what could happen if Juliet’s father finds out. Or is she completely devoted to her charge? Does she enjoy the secrecy of the proposed marriage?

Whatever you decide will influence the way you play the character.

When the Nurse moans about her back, she is asking Juliet to rub it. When she says “a’t’other” she wants Juliet to rub the other side. Is the Nurse exaggerating her condition? Or is she genuinely exhausted?

What is the relationship between the Nurse and Juliet? Juliet probably has spent more time with the Nurse than her own mother. Does she like the Nurse? Is the Nurse Juliet’s only friend? Notice that Juliet has to back down and sweet-talk the Nurse in order to get anything out of her.

Tips: Quite a fun scene. Lots of contrasting energy. The Nurse has what Juliet wants. For some reason (your choice) the Nurse will not share Romeo’s response right away. Even though Juliet is bursting to hear the news she must wait patiently at a time when she is not patient at all!

This scene is a great acting exercise: Juliet is agitated and anxious underneath but must be outwardly calm so she doesn’t upset the Nurse. Read the full monologue prior to this conversation to get a sense of Juliet’s emotional state. How will you show both emotions? What physical actions can you use? Is there a point where Juliet can no longer be polite and the text comes bursting out? “Where is my mother” would be a good place for this.

For Juliet, this is a scene of hope. She is very excited. Does she ever consider that the news from Romeo might be bad?

Vocabulary:perchance maybe jaunt journey warrant vouch for poultice concoction used to treat

soreslouring frowning;

scowlingdost do a' t' other on the other henceforward from now on

nimble-pinion'd agile bird's wing stay the circumstance wait for the details

Marry, come up a reproach coil trouble; fuss

hie go with haste drudge servant trow know shrift confessionwanton playful cell bedroom

Romeo and Juliet (Classical Comics) Focus Comprehension: Act One Character Study: Romeo and Juliet Reg:



Week 2

Scene-Speare: Henry IV Part One Act 1 Scene 2 (two men)

Background: King Henry IV must deal with a civil war as his enemies try to seize the throne. He must also deal with a son who has no interest in becoming king. This scene marks our introduction to Prince Henry (aka Hal). It shows the lower-class life Hal has chosen to live, and the low-life characters (specifically Falstaff) with whom he associates.

Character: Prince Henry is a high-class character who chooses a low-class life. Falstaff is low-class through and through.

Falstaff talks openly and without shame in this scene about being a thief who “take purses by the moon.” At this point in the play, Prince Henry and Falstaff are good friends.

Falstaff says Prince Henry is so tricky that he is able to “corrupt a saint.” Henry comes across as sly and lowbrow; not princely at all. To get further insight into Prince Henry’s character read the monologue at the very end of Act I scene two. This speech shows a different side of his personality. His low-life lifestyle might be an act. How does the monologue affect the way Prince Henry acts in this scene?

Falstaff is often described as a fat man. He is older than Prince Henry. He thinks a lot of himself and often brags of his accomplishments throughout the play.

Tips: This scene has been edited. Read the full scene.

This is a fun scene full of witty wordplay. Because the scene uses a lot of slang, it’s especially important you understand what you’re saying. Make sure if there’s a word or phrase you don’t understand (and it’s not in the vocabulary list) that you look it up!

Prince Henry seems to be deliberately acting this way to spite his father. At this point it doesn’t seem like he wants to be king. Have you ever acted in a way you knew your parents wouldn't like?

Who has the upper-hand in this scene? Who is the high-status character? Who is the low-status character? Who thinks they are in charge? How can you show this physically?What is Prince Henry's reaction to Falstaff's suggestion that Henry is "able to corrupt a saint"? Does he laugh? Is he scornful? Is Falstaff’s suggestion serious or a joke?

Vocabulary:sack wine wag joker lay by hands up gib cat tom cat

capons fatted roosters

troth truth gallows place where criminals are hanged

lugged led around by a chain

leaping-houses brothels roundly get to the point fobbed cheated, robbed Moor-ditch open sewersuperfluous useless Diana...moon descriptive words for

"thief"'sblood by God's Blood; an

exclamationprithee ask you; from "pray thee"

Phoebus sun god countenance face iteration

repetition vocation a job for which one is especially suited

Romeo and Juliet (Classical Comics) Focus Comprehension: Act Two Character Study: Mercutio and Tybalt Reg:



Week 3

Scene-Speare: A Midsummer Night's Dream Act 3 Scene 2 (one woman, one man)

Background: Helena loves Demetrius. Demetrius loves Hermia. Hermia loves Lysander. Lysander loves Hermia.

Hermia’s father wants Hermia to marry Demetrius. To escape this, Hermia and Lysander run away into the woods. In order to gain Demetrius’ favour, Helena tells Demetrius where Hermia has gone. Demetrius chases after Hermia, and Helena chases after Demetrius.

This is how the four “lovers” of A Midsummer Night’s Dream end up in the forest. At this point in the play, Lysander, under a spell, has wandered away from Hermia, who is now frantically searching for him. Demetrius has found Hermia and is trying to convince her to forget Lysander and come with him. Naturally, this doesn’t go over too well.

Character: Hermia is a young woman of Athens. She is in love with Lysander. In previous scenes, such as Act I scene one, Hermia has the veneer of a soft-spoken romantic heroine. But after being alone in the forest, the cracks are beginning to show. She is quite open about her negative feelings for Demetrius.

Is Hermia being sincere when she fears Demetrius has killed Lysander? Or is she being overdramatic? She is not thinking clearly because Lysander has never left her before. She does not believe Lysander would leave her of his own free will.

Demetrius acts like a little boy in this scene. He sulks when he doesn’t get his way. Demetrius doesn’t hear Hermia’s insults; he just wants to be with her. Read Act II scene three to see Demetrius treat Helena the same way that Hermia treats Demetrius.

Tips: Read Act I scene one to see the introduction of these characters.

The most important thing to have in this scene is variety. Don’t have the two characters scream at each other from beginning to end.Remember: even though he doesn’t behave gallantly or romantically, Demetrius is still in love. How does this affect his actions?

Notice how Hermia changes tactics: she tries to sweet-talk Demetrius, if only briefly. Use these quieter moments to give the scene peaks and valleys.

Keep in mind the physical nature of the scene. Hermia has been running through the forest searching for Lysander. How does that affect her breathing? Is she in good shape? Or is she gasping for air? Is Demetrius fit?

Vocabulary:rebuke scold cur dog, worthless

personmisprised mood misplaced anger aught all

chide scold henceforth from now on Antipodes Australia and New Zealand

adder snake

her brother the sun durst dared

Romeo and Juliet (Classical Comics) Focus Comprehension: Act Three Character Study: Paris and Benvolio Reg:



Week 4

Scene-Speare: The Taming Of The Shrew Act 2 Scene 1 (one woman, one man)

Background: Baptista has two daughters: the unpleasant "shrew" Katherine, and the pleasant Bianca. Bianca has many suitors, but Baptista has decided no one will marry Bianca until Katherine is married first.

Enter Petruchio, a man from Verona, who is actively looking for a rich wife. When he hears the wealthy Baptista wants to marry off Katherine, Petruchio agrees to woo her, much to everyone’s surprise. Nobody believes Petruchio will succeed.This scene marks the first meeting between the two characters.

Character: In some editions, Katherine is known as Katherina.

Katherine is Baptista’s oldest daughter. She generally acts in an un-ladylike manner. She is verbally and physically violent to anyone who gets near her. She beats up her sister at the beginning of this scene. But what must it be like to be known as a shrew and to know that your sister is more popular and prettier than you? Have you ever been in that kind of situation? What is going on underneath Katherine’s brash exterior?

Katherine is also quite smart, keeping up with Petruchio's clever wordplay.

Petruchio comes across as a confident character from the first second he’s on stage (Act I scene two). In the moment before, Petruchio tells the audience he is going to say the opposite of whatever Kate says: “Say that she rail, why then I’ll tell her plain she sings as sweetly as a nightingale.” This is his plan to win her over.

It has been said that Petruchio is a cruel bully. Do you believe this? Or is it just an act? Does Petruchio have the capacity to love Katherine? Or is he purely in it for the money? Whatever you decide will inform the way you play the character.

Tips: This scene represents a great battle of wits. The pace should be quick and lively as the two characters spar back and forth. There are many puns in the scene: make sure you understand what is being said.

No one has ever spoken to Kate in this way. Not only does Petruchio verbally fight with her, he also pays her a great many compliments. Katherine is well- aware of how she is perceived, so how do the compliments affect the way she responds to Petruchio? Does she think he is mocking her? Does she ever believe him? What is her gut reaction the first time he mentions he’s here to woo her?

Don’t neglect the physical action of the scene. Think of the way Kate physically moves around Petruchio. Does Petruchio attempt to invade Katherine's personal space? Does she try to keep her distance?

What is Kate doing during Petruchio’s long speech that begins “No, not a whit.” Does he have a hold of her? Is she constantly trying to get away and he blocks her? How does he keep her in the room? Or does she go after him and it is Petruchio who has to stay out of the way?Petruchio says Baptista has already agreed to give Katherine to him. In fact, Baptista tells Petruchio he must win Katherine over before Baptista will consent to the marriage.This scene has been edited. Read the full scene.

Vocabulary:danties are all

katesA 'cate' is a delicacy. swain a young country boy;

unsophisticatedchafe annoy halt limp

moveable Something that can be moved. Also a small piece of furniture, which plays into the next line about the "join'd stool."

buzzard a stupid person tarry stay whom thou keep'st

command

give orders to your servants (instead of to me)

made to bear Made to carry weight. The next line refers to women having children.

scape escape coy aloof Dian Diana, goddess of chastity

jade a tired animal; something that can't bear weight extempore improvised

Romeo and Juliet (Classical Comics) Focus Comprehension: Act Four Character Study: Paris and Benvolio Reg:



Week 5

Scene-Speare: Much Ado About Nothing Act 1 Scene 1 (two men)Background: A war has ended and the victors come to visit Leonato, governor of Messina. Claudio, a young lord, has just laid eyes on Leonato’s daughter, Hero, and falls madly in love. This is based purely on looks – she doesn’t even speak!

Claudio pulls Benedick, another gentleman, aside to ask his opinion of the lovely Hero.

Character: Claudio is a young lord from Florence. He is a complete romantic. He falls in love with Hero before he is even introduced to her. He is also a dedicated fighter, described in the play as “noble” and as having “borne himself beyond the promise of his age.” (Act I scene one)

Claudio takes things at face value. He sees Hero and declares that she is beautiful. Later on in the play, he thinks he sees her cheating on him. Instead of asking Hero for an explanation, he makes an incorrect assumption and acts accordingly.

Benedick is a confirmed bachelor and the jokester of the group. He rarely says anything serious. Claudio repeatedly asks Benedick to be serious because he's aware of Benedick's nature.Benedick doesn’t appear to have a high opinion of women. Later in the scene he says, “That a woman conceived me, I thank her; that she brought me up, I likewise give her most humble thanks: but that I will have a rechate winded in my forehead, or hang my bugle in an invisible baldrick, all women shall pardon me. Because I will not do them the wrong to mistrust any, I will do myself the right to trust none; and the fine is, for the which I may go the finer, I will live a bachelor.”

He thinks even less of marriage. When he talks about men wearing “his cap with suspicion,” he alludes to a belief that all married men are cuckolds - men with unfaithful wives. The cap is theoretically hiding horns - the symbol of a cuckold.

Tips: There are two different tones in this scene: The incurable romantic and the confirmed bachelor. Allow these tones to clash as each character pursues their objective. Claudio wants to get to know Hero, and Benedick wants nothing to do with women.

Claudio is trying to have a private conversation with Benedick. How can Benedick counter this by toying with Claudio's objective?

What is Benedick’s emotional and physical reaction when he asks Claudio if he’s going to “turn husband?” Claudio is calm and sweet in this moment. How will Benedick react? With horror? Shock? Laughter? Physical agitation?

Vocabulary:

noted her not took no special notice of her commendatio

nrecommendation brown normal complexion (a pale complexion was

thought of as beautiful)three-score

sixty

low short flouting Jack one who mocksVulcan

The blacksmith of the gods.(It would have been a joke to call "Vulcan" a carpenter)

go to go away, get out of here

I'faith in faith Sundays The day a man would be expected to spend time with his wife.

yokeA wooden bar used to join animals (such as oxen) for work. Used here as an unflattering symbol for the bond of marriage.

Romeo and Juliet (Classical Comics) Focus Comprehension: Act Five Character Study: Nurse and Friar Laurence Reg:



Week 6

Scene-Speare: Twelfth Night Act 3 Scene 4 (group scene)

Background: Malvolio works for Olivia. He is the steward (or manager) of her household. He enjoys bossing the other servants around.

Earlier in the play Malvolio chastises Maria, a maid, in front of her friends. This is the final straw for Maria. She devises a plan to humiliate Malvolio. She writes a letter from Olivia, indicating Olivia's supposed love for someone who fits Malvolio's description.

The letter gives a number of instructions for this “someone” to follow in order to gain Olivia’s love. The instructions ask the "someone" to wear yellow stockings, to wear garters crossed at the knee, to be surly with the servants, and to always smile, no matter what.

Character: Olivia is a wealthy noble woman. She is mourning the death of her brother and seems to enjoy being miserable. She has never seen Malvolio act the way he does in this scene.

Malvolio is normally straight-laced and dour. He thinks himself above everyone else. Read Act I scene five for an example of Malvolio’s typical behaviour. Everything Malvolio does in this scene is against his nature. He acts so out-of-character Olivia assumes he is mad.

Maria also works for Olivia. She is clever enough to deduce that Malvolio is secretly in love with Olivia, which is why her scheme is a success. Maria is also a bit vengeful. She enjoys witnessing Malvolio's misfortune and doesn't regret her actions. (Act II scene three)

Tips: Remember that Maria knows exactly what’s wrong with Malvolio. Does she have to restrain herself from laughing? She should have a hard time keeping a straight face. How can you show the audience that Maria is in on the joke, while Olivia is not? Because she doesn't have a lot of lines, Maria must convey her feelings through her actions.

The lines Malvolio says in quotes are lines from Maria’s falsified letter. What if Maria mouthed the words of the letter along with Malvolio?

Read Act II scene three to see Maria hatch the plan to humiliate Malvolio. Then read Act II scene five to see the letter Malvolio “finds.”

Focus on how Malvolio behaves out-of-character emotionally, verbally and physically. He says the cross-gartering is cutting off his circulation. His awkward movements must terrify Olivia to the point where she thinks he’s mad.

At the end of the scene, Olivia says she would not have Malvolio come to harm “for the half of my dowry.” Why only half?

Vocabulary:in's in his this...cross-gartering the garters are cutting off his

circulationoft often daws crows

hither here the eye of one he means Olivia at your request Dare you ask me a question?

commended

recommended

how now greetings

how dost thou how do you (how are you) midsummer madness a time associated with insanity

miscarry come to harm



Week 7

Scene-Speare: Othello Act 4 Scene 2 (group Scene)

Background: Othello and Desdemona have married. Othello’s right-hand man, Iago, is determined to drive a wedge between the couple for no other reason than to be evil. Iago lies to Othello that Desdemona has been unfaithful.

At this point in the play, Othello seethes with jealousy and the innocent Desdemona is baffled by his behaviour. In the moment before, Othello calls Desdemona a whore and insists she confess to the affair.

Character: Emilia is a low-brow character who often speaks her mind. She doesn’t care that she’s speaking out against her boss. Notice Emilia has no trouble saying the word "whore." Desdemona is so innocent, she can't even utter the word. Desdemona has no idea what she could have done to be called such a name. What other differences can you find between Emilia and Desdemona?

By this point in the play Desdemona is a broken woman, yet she remains unwavering in her love and trust. She trusts Iago completely in this scene. What does that say about her personality?

Read Act I scene three to see a different side ofDesdemona.

Emilia knows Desdemona is innocent and suspects someone else is involved. But you must decide whether Emilia herself is innocent. Is she a willing partner in Iago’s plan? Read Act III scene three where Emilia gives Desdemona’s handkerchief to Iago, which in turn is used to “prove” Desdemona’s adultery to Othello.

Or is Emilia oblivious to Iago’s plan? Does she even suspect Iago? She becomes quite passionate in this scene over Desdemona’s innocence. Is she passionate because she’s “acting” and overdoing it? Or does she truly feel this way?

Iago is a good actor in this scene. His true nature is the exact opposite of how he shows himself here. Throughout the play he never explains why he does what he does. He just wants to see people suffer. What does he feel when Desdemona kneels in front of him?

Tips: Iago has planned Othello’s and Desdemona’s destruction. While he’s being kind to Desdemona, find a moment to show his evil side; he’s enjoying her pain. The challenge is to show his goodness to Desdemona and his evilness to the audience. For example, he could smile behind Desdemona’s back, while saying sad words.

Read the moment before Iago enters to understand Emilia’s and Desdemona’s emotional state of mind. This conversation should start with a bang.

How do Iago and Emilia act around each other? Their actions will be determined by your opinion of Emilia's place in the scheme. Create some background for this couple.

Give Iago a moment alone onstage at the end of the scene. Show his true reaction to Desdemona’s distress.

Vocabulary:callat prostitute beshrew curse cogging cheating scurvy vile

forsook renounced for't for it cozening deceitful thou'ldst you wouldhalter noose speak within

doorbe quiet knave dishonest man go to get out of here

The Moor Othello seamy side without

inside out forswear deny ‘twere it were

abhor me fills me with disgust

warrant guarantee



Week 9

Scene-Speare: As You Like It Act 3 Scene 2 (two women)Background: Rosalind has been banished from court by her uncle, Duke Frederick. She runs away to Arden Forest, accompanied by her cousin Celia. Because it’s not safe for two women to travel alone, Rosalind is disguised as a boy: Ganymede.

Orlando, another young man from court, has also run to the forest because he has found out his brother Oliver wants to kill him.

Rosalind and Orlando met at court recently and fell in love. While in the forest, Orlando has been writing bad love poetry about Rosalind and is hanging it on trees. He doesn't recognize Rosalind/Ganymede through her disguise.

This scene takes place in the forest. Rosalind learns that Orlando has been writing the love poetry for her, and freaks out.

Character: Celia is more feminine than Rosalind, disguise aside. She is reserved and poised. But she also has some wit; it’s just mostly overshadowed by Rosalind’s. Celia is a loyal friend, evidenced by the fact that she chose to run away with Rosalind.

Rosalind is cynical about the love poetry, but changes on a dime when she learns Orlando is the poet. She instantly becomes a lovesick fool when she discovers her crush on Orlando is mutual. She is sensible one moment and a babbling idiot the next. This is in sharp contrast to the practical, smart woman, who knows love is silly. Rosalind is a human heroine. She has faults.

Tips: Read all of Act II scene three for more of Orlando’s love poetry.

For most of the play, Rosalind is in charge. In this scene, the shoe is on the other foot: Celia knows who has been writing the poems and Rosalind does not. Let Celia enjoy having the upper-hand, just as Rosalind should seem off- balance.

This conversation has been edited for length. In the full version, Celia teases Rosalind for much longer.The energy of the characters changes once Rosalind learns about Orlando. She goes into a completely different speed. She’s quite agitated, while Celia is calm. Use these opposing energies in the scene. Focus on the change in Rosalind’s physical action. Remember, she is dressed like a boy, is supposed to be acting like a boy, but in this moment she is anything but.

How does Rosalind say Orlando’s name? Is she full of disbelief? Full of love? Full of fear? What happens to Rosalind when she sees Orlando enter? Have you ever been in a similar situation?

How will you end the scene? Rosalind wants Celia to “slink by and note him.” What is Celia’s reaction to this? Does she comply? Does she laugh?

Vocabulary:Ind India trow know petitionary earnest to the point of begging apace quickly

synod council Change you colour? Are you blushing? hooping yelling; whoopingGargantua's a medieval giant

known for his huge appetite

bear carry prithee ask you (“pray thee”) caparisoned

dressedatomies minute particles

resolve the propositions

answer the questions

curvetsUsually refers to a leaping horse. Celia means Rosalind’s tongue is out of control.

Jove's treeThe oak – king of all the trees. Jove is another name for Jupiter, king of the Roman gods.



Week 10

Scene-Speare: Twelfth Night Act 2 Scene 4 (one woman, one man)

Background: Viola has been in a shipwreck and ends up in Illyria. Knowing that it is dangerous to travel alone as a woman, she disguises herself as Cesario, a boy. She goes to work for Duke Orsino, who is in love with a woman named Olivia. Olivia wants nothing to do with Orsino.In this scene, the Duke and Viola discuss Orsino’s love for Olivia. Viola is in love with Orsino but cannot admit it for obvious reasons.

Character: Viola is a practical character, even when she is in love. She is of high class and must pretend she is of lower class, particularly around her boss. Does she succeed at this?

At the end of the scene, Viola says that she is “all the daughters of (her) father’s house and all the brothers too.” She fears her brother died in the shipwreck, and hasn’t had time to mourn him properly (another example of her practicality). Notice how anxious she is to leave after revealing this. What is she afraid of doing?Contrast the quiet manner in which Viola expresses her grief with Olivia's more public approach throughout the play.

Orsino is a wealthy Duke. He’s also very self-centred. He’s obsessed with catching Olivia. Is he really in love with her, or is he more in love with the notion of love? He describes Olivia as “sovereign cruelty,” which seems an odd way to describe someone you love.

Orsino is used to getting what he wants. Do you think that, if he ever succeeded in getting Olivia, he’d no longer want her? In this scene he says he will never give up. Is it because he’s in love or because he’s used to getting what he wants?

There is another side to Orsino we don’t get to see. In Act I scene two he is referred to as “a noble Duke in nature and in name.” In Act I scene five Olivia herself describes Orsino as “virtuous” and “a gracious person.” This would indicate that Orsino is currently acting out of character.

Tips: This scene has been edited. Read the full scene.Decide how Viola carries herself when she’s pretending to be a boy. What physical and vocal changes does she make?

Orsino is an exaggerated character, but he can’t be too over-the-top because we have to believe Viola finds him attractive. What does Viola see in Orsino? Would Orsino win you over?

Both Viola and Orsino feel love in this scene, but express it differently. Orsino is an extrovert, wearing his emotions on his sleeve, while Viola is introverted as she must hide her true feelings.

When Viola refers to her “sister” she is actually talking about herself. Make this clear to the audience, without letting Orsino catch on.

There is a moment where Viola is just about to tell Orsino her true feelings (“Ay, but I know –”). Allow the real Viola to surface for a brief second, before she must put the mask of Cesario on once again.

Vocabulary:My life upon’t I’ll bet my life sovereign supreme nature pranks her her natural

beautysurfeit,

cloymentboth mean “excess”

thine your bestow'd given as a gift

sooth truth damask pink

bide no denay don't take no for an answer


Scene-Speare Texts


ROMEO AND JULIET ACT 2 SCENE 5JULIET paces back and forth.

JULIET: The clock struck nine when I did send the nurse; In half an hour she promised to return.Perchance she cannot meet him: that's not so.O, she is lame! Love's heralds should be thoughts, Which ten times faster glide than the sun's beams, Driving back shadows over louring hills: Therefore do nimble-pinion'd doves draw love, And therefore hath the wind-swift Cupid wings.O God, she comes!

The NURSE enters, groaning and moaning.

JULIET: O honey nurse, what news?Hast thou met with him? O Lord, why look'st thou sad? Though news be sad, yet tell them merrily;If good, thou shamest the music of sweet news By playing it to me with so sour a face.

NURSE: I am a-weary, give me leave awhile:Fie, how my bones ache! What a jaunt have I!

JULIET: I would thou hadst my bones, and I thy news:Nay, come, I pray thee, speak; good, good nurse, speak.

NURSE: Jesu, what haste? Can you not stay awhile?Do you not see that I am out of breath?

JULIET: How art thou out of breath, when thou hast breath To say to me that thou art out of breath?The excuse that thou dost make in this delay Is longer than the tale thou dost excuse.Is thy news good, or bad? Answer to that; Say either, and I'll stay the circumstance: Let me be satisfied, is't good or bad?

NURSE: Well, you have made a simple choice; you know not how to choose a man: Romeo! No, not he; though his face be better than any man's, yet his leg excels all men's; and for a hand, and a foot, and a body, though they be not to be talked on, yet they are past compare. He is not the flower of courtesy, but, I'll warrant him, as gentle as a lamb. Go thy ways, wench; serve God. What, have you dined at home?

JULIET: No, no! But all this did I know before.What says he of our marriage? What of that?

NURSE: Lord, how my head aches! What a head have I!It beats as it would fall in twenty pieces.My back a' t' other side, O, my back, my back! Beshrew your heart for sending me about,To catch my death with jaunting up and down!

JULIET: I' faith, I am sorry that thou art not well.Sweet, sweet, sweet nurse, tell me, what says my love?

NURSE: Your love says, like an honest gentleman,And a courteous, and a kind, and a handsome, And, I warrant, a virtuous - Where is your mother?

JULIET: Where is my mother! Why, she is within;Where should she be? How oddly thou repliest! 'Your love says, like an honest gentleman, Where is your mother?'


NURSE: O God's lady dear!Are you so hot? Marry, come up, I trow; Is this the poultice for my aching bones? Henceforward do your messages yourself.

JULIET: Here's such a coil! Come, what says Romeo? NURSE: Have you got leave to go to shrift to-day?JULIET: I have.

NURSE: Then hie you hence to Friar Laurence' cell; There stays a husband to make you a wife:Now comes the wanton blood up in your cheeks, They'll be in scarlet straight at any news.Hie you to church; I must another way, To fetch a ladder, by the which your loveMust climb a bird's nest soon when it is dark: I am the drudge and toil in your delight,But you shall bear the burden soon at night. Go; I'll to dinner: hie you to the cell.

JULIET: Hie to high fortune! Honest nurse, farewell.She hugs the NURSE tightly and exits.


HENRY IV PART ONE ACT 1 SCENE 2FALSTAFF and PRINCE HENRY are lounging.

FALSTAFF: Now, Hal, what time of day is it, lad?PRINCE HENRY: Thou art so fat-witted, with drinking of old sack

and unbuttoning thee after supper and sleeping upon benches after noon, that thou hast forgotten to demand that truly which thou wouldst truly know. What a devil hast thou to do with the time of the day? Unless hours were cups of sack and minutes capons and clocks the tongues of bawds and dials the signs of leaping-houses and the blessed sun himself a fair hot wench in flame-coloured taffeta, I see no reason why thou shouldst be so superfluous to demand the time of the day.

FALSTAFF: Indeed, you come near me now, Hal; for we that take purses go by the moon and the seven stars, and not by Phoebus, he,' that wandering knight so fair.' And, I prithee, sweet wag, when thou art king, as, God save thy grace, majesty I should say, for grace thou wilt have none.

PRINCE HENRY: What, none?FALSTAFF: No, by my troth, not so much as will serve to

prologue to an egg and butter.PRINCE HENRY: Well, how then? Come, roundly, roundly.FALSTAFF: Marry, then, sweet wag, when thou art king, let not us

that are squires of the night's body be called thieves of the day's beauty: let us be Diana's foresters, gentlemen of the shade, minions of the moon; and let men say we be men of good government, being governed, as the sea is, by our noble and chaste mistress the moon, under whose countenance we steal.

PRINCE HENRY: Thou sayest well, and it holds well too; for the fortune of us that are the moon's men doth ebb and flow like the sea,being governed, as the sea is, by the moon. As, for proof, now: a purse of gold most resolutely snatched on Monday night and most dissolutely spent on Tuesday morning; got with swearing 'Lay by' and spent with crying 'Bring in;' now in as low an ebb as the foot of the ladder and by and by in as high a flow as the ridge of the gallows.

FALSTAFF: But, I prithee, sweet wag, shall there be gallows standing in England when thou art king? And resolution thus fobbed as it is with the rusty curb of old father antic the law? Do not thou, when thou art king, hang a thief.

PRINCE HENRY: No: thou shalt.FALSTAFF: Shall I? O rare! By the Lord, I'll be a brave judge.PRINCE HENRY: Thou judgest false already: I mean, thou shalt

have the hanging of the thieves and so become a rare hangman.

FALSTAFF: Well, Hal, well; and in some sort it jumps with my humour as well as waiting in the court, I can tell you.

PRINCE HENRY: For obtaining of suits?FALSTAFF: Yea, for obtaining of suits, whereof the hangman hath

no lean wardrobe. 'Sblood, I am as melancholy as a gib cat or a lugged bear.

PRINCE HENRY: Or an old lion, or a lover's lute. FALSTAFF: Yea, or the drone of a Lincolnshire bagpipe.


PRINCE HENRY: What sayest thou to a hare, or the melancholy of Moor-ditch?

FALSTAFF: Thou hast the most unsavoury similes and art indeed the most comparative, rascalliest, sweet young prince. But, Hal, I prithee, trouble me no more with vanity. I would to God thou and I knew where a commodity of good names were to be

bought. An old lord of the council rated me the other day in the street about you, sir, but I marked him not; and yet he talked very wisely, but I regarded him not; and yet he talked wisely, and in the street too.

PRINCE HENRY: Thou didst well; for wisdom cries out in the streets, and no man regards it.

FALSTAFF: O, thou hast damnable iteration and art indeed able to corrupt a saint. Thou hast done much harm upon me, Hal; God forgive thee for it! Before I knew thee, Hal, I knew nothing; and now am I, if a man should speak truly, little better than one of the wicked. I must give over this life, and I will give it over: by the Lord, and I do not, I am a villain: I'll be damned for never a king's son in Christendom.

PRINCE HENRY: Where shall we take a purse to-morrow, Jack?FALSTAFF: Zounds, where thou wilt, lad! I’ll make one. An I do not,

call me villain and baffle me.PRINCE HENRY: I see a good amendment of life in thee – from

praying to purse-taking.FALSTAFF: Why, Hal, ‘tis my vocation. ‘Tis no sin for a man to

labour in his vocation.— END —


A MIDSUMMER NIGHT'S DREAM ACT 3 SCENE 2HERMIA enters on the run, followed by DEMETRIUS.

DEMETRIUS: O, why rebuke you him that loves you so?Lay breath so bitter on your bitter foe.

HERMIA: Now I but chide; but I should use thee worse, For thou, I fear, hast given me cause to curse. If thou hast slain Lysander in his sleep,Being o'er shoes in blood, plunge in the deep, And kill me too.The sun was not so true unto the dayAs he to me: would he have stolen away From sleeping Hermia? I'll believe as soonThis whole earth may be bored and that the moon May through the centre creep and so displease Her brother's noontide with Antipodes.It cannot be but thou hast murder'd him;So should a murderer look, so dead, so grim.

DEMETRIUS: So should the murder'd look, and so should I, Pierced through the heart with your stern cruelty: Yet you, the murderer, look as bright, as clear,As yonder Venus in her glimmering sphere.

HERMIA: What's this to my Lysander? Where is he? Ah, good Demetrius, wilt thou give him me?

DEMETRIUS: I had rather give his carcass to my hounds. HERMIA: Out, dog! Out, cur! Thou drivest me past the bounds

Of maiden's patience. Hast thou slain him, then?Henceforth be never number'd among men! O, once tell true, tell true, even for my sake! Durst thou have look'd upon him being awake,And hast thou kill'd him sleeping? O brave touch! Could not a worm, an adder, do so much? An adder did it; for with doubler tongue Than thine, thou serpent, never adder stung.

DEMETRIUS: You spend your passion on a misprised mood: I am not guilty of Lysander's blood;Nor is he dead, for aught that I can tell.

HERMIA: I pray thee, tell me then that he is well. DEMETRIUS: An if I could, what should I get therefore? HERMIA: A privilege never to see me more.

And from thy hated presence part I so:See me no more, whether he be dead or no.

She exits on the run.

DEMETRIUS: There is no following her in this fierce vein: Here therefore for a while I will remain.So sorrow's heaviness doth heavier growFor debt that bankrupt sleep doth sorrow owe: Which now in some slight measure it will pay, If for his tender here I make some stay.

— END —


THE TAMING OF THE SHREW ACT 2 SCENE 1KATHERINE enters very cautiously. PETRUCHIO sits smiling at her.

PETRUCHIO: Good morrow, Kate; for that's your name, I hear. KATHERINE: Well have you heard, but something hard of hearing:

They call me Katherine that do talk of me.PETRUCHIO: You lie, in faith; for you are call'd plain

Kate, And bonny Kate and sometimes Kate the curst; But Kate, the prettiest Kate in ChristendomKate of Kate Hall, my super-dainty Kate,For dainties are all Kates, and therefore, Kate, Take this of me, Kate of my consolation; Hearing thy mildness praised in every town, Thy virtues spoke of, and thy beauty sounded, Yet not so deeply as to thee belongs,Myself am moved to woo thee for my wife.

KATHERINE: Moved! In good time: let him that moved you hither Remove you hence: I knew you at the firstYou were a moveable.

PETRUCHIO: Why, what's a moveable? KATHERINE: A join'd-stool.PETRUCHIO: Thou hast hit it: come, sit on me. KATHERINE: Asses are made to bear, and so are you. PETRUCHIO: Women are made to bear, and so are you. KATHERINE: No such jade as you, if me you mean.PETRUCHIO: Alas, good Kate, I will not burden thee;

For, knowing thee to be but young and light -

KATHERINE: Too light for such a swain as you to catch; And yet as heavy as my weight should be.

PETRUCHIO: Should be! Should buzz! KATHERINE: Well ta'en, and like a buzzard.PETRUCHIO: O slow-wing'd turtle! Shall a buzzard take thee? KATHERINE: Ay, for a turtle, as he takes a buzzard.PETRUCHIO: Come, come, you wasp; i' faith, you are too angry. KATHERINE: If I be waspish, best beware my sting.PETRUCHIO: My remedy is then, to pluck it out. KATHERINE: Ay, if the fool could find it where it lies,PETRUCHIO: Who knows not where a wasp does wear his sting?

In his tail.KATHERINE: In his tongue. PETRUCHIO: Whose tongue?KATHERINE: Yours, if you talk of tails: and so farewell.PETRUCHIO: What, with my tongue in your tail? Nay, come,

Kate, come; you must not look so sour.KATHERINE: It is my fashion, when I see a crab.

She goes to leave. He grabs her.


PETRUCHIO: Nay, hear you, Kate: in sooth you scape not so. KATHERINE: I chafe you, if I tarry: let me go.PETRUCHIO: No, not a whit: I find you passing

gentle. 'Twas told me you were rough and coy and sullen, And now I find report a very liar;For thou are pleasant, gamesome, passing courteous, But slow in speech, yet sweet as spring-time flowers: Thou canst not frown, thou canst not look askance,Nor bite the lip, as angry wenches will, Nor hast thou pleasure to be cross in talk,But thou with mildness entertain'st thy wooers, With gentle conference, soft and affable.Why does the world report that Kate doth limp? O slanderous world! Kate like the hazel-twigIs straight and slender and as brown in hue As hazel nuts and sweeter than the kernels. O, let me see thee walk: thou dost not halt.

KATHERINE: Go fool, and whom thou keep'st command. PETRUCHIO: Did ever Dian so become a grove

As Kate this chamber with her princely gait?O, be thou Dian, and let her be Kate;And then let Kate be chaste and Dian sportful!

KATHERINE: Where did you study all this goodly speech? PETRUCHIO: It is extempore, from my mother-wit.KATHERINE: A witty mother! Witless else her son. PETRUCHIO: Am I not wise?KATHERINE: Yes; keep you warm.PETRUCHIO: Marry, so I mean, sweet Katharine, in thy

bed: And therefore, setting all this chat aside,Thus in plain terms: your father hath consented That you shall be my wife; your dowry 'greed on; And, will you, nill you, I will marry you.Thou must be married to no man but me; For I am he am born to tame you Kate, And bring you from a wild Kate to a Kate Conformable as other household Kates.Here comes your father: never make denial; I must and will have Katherine to my wife.

— END —


MUCH ADO ABOUT NOTHING ACT 1 SCENE 1CLAUDIO and BENEDICK enter together. CLAUDIO looks around before speaking, as if he doesn't want the conversation overheard.

CLAUDIO: Benedick, didst thou note the daughter of Signior Leonato? BENEDICK: I noted her not; but I looked on her.CLAUDIO: Is she not a modest young lady?BENEDICK: Do you question me, as an honest man should do,

for my simple true judgment? Or would you have me speak after my custom, as being a professed tyrant to their sex?

CLAUDIO: No; I pray thee speak in sober judgment.BENEDICK: Why, i' faith, methinks she's too low for a

high praise, too brown for a fair praise and too little for a great praise: only this commendation I can afford her, that were she other than she is, shewere unhandsome; and being no other but as she is, I do not like her.

CLAUDIO: Thou thinkest I am in sport: I pray thee tell me truly how thou likest her.

BENEDICK: Would you buy her that you inquire after her? CLAUDIO: Can the world buy such a jewel?BENEDICK: Yea, and a case to put it into. But speak you

this with a sad brow? Or do you play the flouting Jack, to tell us Cupid is a good hare-finder and Vulcan a rare carpenter? Come, in what key shall a man take you, to go in the song?

CLAUDIO: In mine eye she is the sweetest lady that ever I looked on.

BENEDICK: I can see yet without spectacles and I see no such matter: there's her cousin, an she were notpossessed with a fury, exceeds her as much in beauty as the first of May doth the last of December. But I hope you have no intent to turn husband, have you?

CLAUDIO: I would scarce trust myself, though I had sworn the contrary, if Hero would be my wife.

BENEDICK: Is't come to this? In faith, hath not the world one man but he will wear his cap with suspicion? Shall I never see a bachelor of three-score again? Go to, i' faith; an thou wilt needs thrust thy neck into a yoke, wear the print of it and sigh away Sundays. Look, Don Pedro is return’d to seek you.

— END —


TWELFTH NIGHT ACT 3 SCENE 4OLIVIA and MARIA enter.

OLIVIA: Where is Malvolio? He is sad and civil,And suits well for a servant with my fortunes: Where is Malvolio?

MARIA: He's coming, madam, but in very strange manner.He is sure possessed, madam.

OLIVIA: Why, what's the matter? Does he rave?MARIA: No, madam, he does nothing but smile. Your

ladyship were best to have some guard about you if he come, for sure, the man is tainted in's wits.

OLIVIA: Go call him hither.MARIA exits.

OLIVIA: I am as mad as he,If sad and merry madness equal be.

MARIA enters, with MALVOLIO.

OLIVIA: How now, Malvolio! MALVOLIO: Sweet lady, ho, ho. OLIVIA: Smilest thou?

I sent for thee upon a sad occasion.MALVOLIO: Sad, lady! I could be sad: this does make

some obstruction in the blood, this cross-gartering; but what of that? If it please the eye of one, it is with me as the very true sonnet is, 'Please one, and please all.'

OLIVIA: Why, how dost thou, man? What is the matter with thee?

MALVOLIO: Not black in my mind, though yellow in my legs. It did come to his hands, and commands shall be executed: I think we do know the sweet Roman hand.

OLIVIA: Wilt thou go to bed, Malvolio?MALVOLIO: To bed! Ay, sweet-heart, and I'll come to thee.OLIVIA: God comfort thee! Why dost thou smile so and kiss

thy hand so oft?MARIA: How do you, Malvolio?MALVOLIO: At your request! Yes, nightingales answer daws.MARIA: Why appear you with this ridiculous boldness

before my lady?MALVOLIO: 'Be not afraid of greatness:' 'twas well writ. OLIVIA: What meanest thou by that, Malvolio?MALVOLIO: 'Some are born great,' OLIVIA: Ha!MALVOLIO: 'Some achieve greatness,' OLIVIA: What sayest thou?MALVOLIO: 'And some have greatness thrust upon them.' OLIVIA: Heaven restore thee!MALVOLIO: 'Remember who commended thy yellow

stockings,'OLIVIA: Thy yellow stockings!MALVOLIO: 'And wished to see thee cross-gartered.' OLIVIA: Cross-gartered!


MALVOLIO: 'Go to thou art made, if thou desirest to be so;' OLIVIA: Am I made?

MALVOLIO: 'If not, let me see thee a servant still.' OLIVIA: Why, this is very midsummer madness. Good

Maria, let this fellow be looked to. Where's my cousin Toby? Let some of my people have a special care of him: I would not have him miscarry for the half of my dowry.

They run off, leaving MALVOLIO alone.

— END —


OTHELLO ACT 4 SCENE 2IAGO: What is your pleasure, madam?

How is't with you?DESDEMONA: I cannot tell. Those that do teach young

babes Do it with gentle means and easy tasks:He might have chid me so; for in good faith I am a child to chiding.

IAGO: What's the matter, lady?EMILIA: Alas, Iago, my lord hath so bewhored her.

Thrown such despite and heavy terms upon her, As true hearts cannot bear.

DESDEMONA: Am I that name, Iago? IAGO: What name, fair lady?DESDEMONA: Such as she says my lord did say I was.EMILIA: He call'd her whore: a beggar in his drink

Could not have laid such terms upon his callat.IAGO: Why did he so?DESDEMONA: I do not know; I am sure I am none such. IAGO: Do not weep, do not weep. Alas the day!EMILIA: Hath she forsook so many noble

matches, Her father and her country and her friends,To be call'd whore? Would it not make one weep?

DESDEMONA: It is my wretched fortune. IAGO: Beshrew him for't!

How comes this trick upon him?DESDEMONA: Nay, heaven doth know.

EMILIA: I will be hang'd, if some eternal villain, Some busy and insinuating rogue,Some cogging, cozening slave, to get some office, Have not devised this slander; I'll be hang'd else.

IAGO: Fie, there is no such man; it is impossible.DESDEMONA: If any such there be, heaven pardon him! EMILIA: A halter pardon him! And hell gnaw his bones!

Why should he call her whore? Who keeps her company? What place? What time? What form? What likelihood?The Moor's abused by some most villanous knave, Some base notorious knave, some scurvy fellow. O heaven, that such companions thou'ldst unfold, And put in every honest hand a whipTo lash the rascals naked through the world Even from the east to the west!

IAGO: Speak within door.EMILIA: O, fie upon them! Some such squire he

was That turn'd your wit the seamy side without, And made you to suspect me with the Moor.

IAGO: You are a fool; go to. DESDEMONA: O good Iago,

What shall I do to win my lord again?


Good friend, go to him; for, by this light of heaven, I know not how I lost him. Here I kneel:If e'er my will did trespass 'gainst his love, Either in discourse of thought or actual deed, Or that mine eyes, mine ears, or any sense, Delighted them in any other form;

Or that I do not yet, and ever did,And ever will - though he do shake me off To beggarly divorcement - love him dearly,Comfort forswear me! Unkindness may do much; And his unkindness may defeat my life,

But never taint my love. I cannot say 'whore:' It does abhor me now I speak the word;To do the act that might the addition earnNot the world's mass of vanity could make me.

IAGO: I pray you, be content; 'tis but his humour: The business of the state does him offence, And he does chide with you.

DESDEMONA: If 'twere no other - IAGO: 'Tis but so, I warrant.

Go in, and weep not; all things shall be well.— END —


AS YOU LIKE IT ACT 3 SCENE 2ROSALIND enters, reading from a piece of paper.

ROSALIND: From the east to western Ind, No jewel is like Rosalind.Her worth, being mounted on the wind, Through all the world bears Rosalind. All the pictures fairest linedAre but black to Rosalind. Let no fair be kept in mind But the fair of Rosalind.

CELIA enters from a different direction.

CELIA: (reading) Thus Rosalind of many parts By heavenly synod was devised,Of many faces, eyes and hearts, To have the touches dearest prized.Heaven would that she these gifts should have, And I to live and die her slave.(to ROSALIND) Didst thou hear these verses?

ROSALIND: O, yes, I heard them all, and more too; for some of them had in them more feet than the verses would bear.

CELIA: That's no matter: the feet might bear the verses.ROSALIND: Ay, but the feet were lame and could not bear

themselves without the verse and therefore stood lamely in the verse.

CELIA: Trow you who hath done this? ROSALIND: Is it a man?CELIA: And a chain, that you once wore, about his neck.

Change you colour? ROSALIND: I prithee, who? CELIA: Is it possible?

ROSALIND: Nay, I prithee now with most petitionary vehemence, tell me who it is.

CELIA: O wonderful, wonderful, and most wonderful wonderful!And yet again wonderful, and after that, out of all hooping!

ROSALIND: Good my complexion! Dost thou think, though I am caparisoned like a man, I have a doublet and hose in my disposition? One inch of delay more is a South-sea of discovery; I prithee, tell me who is it quickly, and speak apace.

CELIA: It is young Orlando, that tripped up the wrestler's heels and your heart both in an instant.

ROSALIND: Nay, but the devil take mocking: speak, sad brow and true maid.

CELIA: I' faith, coz, 'tis he. ROSALIND: Orlando?CELIA: Orlando.ROSALIND: Alas the day! What shall I do with my doublet

and hose? What did he when thou sawest him? What said he? How looked he? Wherein went he? What makes him here? Did he ask for me? Where remains he? How parted he with thee? And when shalt thou see him again? Answer me in one word.


CELIA: You must borrow me Gargantua's mouth first: 'tis a word too great for any mouth of this age's size. To say ay and no to these particulars is more than to answer in a catechism.

ROSALIND: But doth he know that I am in this forest and in man's apparel? Looks he as freshly as he did the day he wrestled?

CELIA: It is as easy to count atomies as to resolve the propositions of a lover; but take a taste of my finding him, and relish it with good observance. I found him under a tree, like a dropped acorn.

ROSALIND: It may well be called Jove's tree, when it drops forth such fruit.

CELIA: Give me audience, good madam. ROSALIND: Proceed.CELIA: There lay he, stretched along, like a wounded knight.ROSALIND: Though it be pity to see such a sight, it well

becomes the ground.CELIA: Cry 'holla' to thy tongue, I prithee; it curvets unseasonably.

He was furnished like a hunter.ROSALIND: O, ominous! He comes to kill my heart.CELIA: I would sing my song without a burden: thou

bringest me out of tune.ROSALIND: Do you not know I am a woman? When I

think, I must speak. Sweet, say on.CELIA: You bring me out. Soft! Comes he not here? ROSALIND: 'Tis he: slink by, and note him.

— END —


TWELFTH NIGHT ACT 2 SCENE 4ORSINO and VIOLA enter together.

ORSINO: My life upon’t, young though thou art, thine eye Hath stay’d upon some favour that it loves;Hath it not, boy?

VIOLA: A little, by your favour. ORSINO: What kind of woman is’t? VIOLA: Of your complexion.ORSINO: She is not worth thee, then. What years, i’ faith? VIOLA: About your years, my lord.ORSINO: Too old, by heaven. Let still the woman

take An elder than herself, so wears she to him,So sways she level in her husband’s heart: For, boy, however we do praise ourselves, Our fancies are more giddy and unfirm,More longing, wavering, sooner lost and worn, Than women’s are.

VIOLA: I think it well, my lord.ORSINO: Then, let thy love be younger than

thyself, Or thy affection cannot hold the bent;For women are as roses, whose fair flower Being once display’d, doth fall that very hour.

VIOLA: And so they are: alas, that they are so;To die, even when they to perfection grow!

ORSINO: Once more, Cesario,Get thee to yond same sovereign cruelty: Tell her, my love, more noble than the world, Prizes not quantity of dirty lands;The parts that fortune hath bestow'd upon her, Tell her, I hold as giddily as fortune;But 'tis that miracle and queen of gems That nature pranks her in attracts my soul.

VIOLA: But if she cannot love you, sir? ORSINO: I cannot be so answer'd.VIOLA: Sooth, but you must.

Say that some lady, as perhaps there is, Hath for your love a great a pang of heart As you have for Olivia: you cannot love her;You tell her so; must she not then be answer'd?

ORSINO: There is no woman's sidesCan bide the beating of so strong a passion As love doth give my heart; no woman's heart So big, to hold so much; they lack retention Alas, their love may be call'd appetite,No motion of the liver, but the palate, That suffer surfeit, cloyment and revolt; But mine is all as hungry as the sea,And can digest as much: make no compare Between that love a woman can bear me And that I owe Olivia.

VIOLA: Ay, but I know - ORSINO: What dost thou know?


VIOLA: Too well what love women to men may owe: In faith, they are as true of heart as we.My father had a daughter loved a man, As it might be, perhaps, were I a woman, I should your lordship.

ORSINO: And what's her history?VIOLA: A blank, my lord. She never told her love,

But let concealment, like a worm i' the bud,Feed on her damask cheek: she pined in thought, And with a green and yellow melancholyShe sat like patience on a monument, Smiling at grief. Was not this love indeed?

We men may say more, swear more: but indeed Our shows are more than will; for still we prove Much in our vows, but little in our love.

ORSINO: But died thy sister of her love, my boy? VIOLA: I am all the daughters of my father's house,

And all the brothers too: and yet I know not.Sir, shall I to this lady?

ORSINO: Ay, that's the theme.To her in haste; give her this jewel; say,My love can give no place, bide no denay.

— END —


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