Archive for the ‘Shakespeare’ Category
Shakespeare Extracts:
Faculty of Teacher Training – English Department
Course Title: Advanced English Language IV
Instructor: Dr. Rod
E-mail: sjrod55@gmail.com
Merchant of Venice – Act IV
ACT IV
SCENE I. Venice. A court of justice.
Enter the DUKE, the Magnificoes, ANTONIO, BASSANIO, GRATIANO, SALERIO, and others
DUKE
What, is Antonio here?
ANTONIO
Ready, so please your grace.
DUKE
I am sorry for thee: thou art come to answer
A stony adversary, an inhuman wretch
uncapable of pity, void and empty
From any dram of mercy.
ANTONIO
I have heard
Your grace hath ta’en great pains to qualify
His rigorous course; but since he stands obdurate
And that no lawful means can carry me
Out of his envy’s reach, I do oppose
My patience to his fury, and 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.
SALERIO
He is ready at the door: he comes, my lord.
Enter SHYLOCK
DUKE
Make room, and let him stand before our face.
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;
And where thou now exact’st the penalty,
Which is a pound of this poor merchant’s flesh,
Thou wilt not only loose the forfeiture,
But, touch’d with human gentleness and love,
Forgive a moiety of the principal;
Glancing an eye of pity on his losses,
That have of late so huddled on his back,
Enow to press a royal merchant down
And pluck commiseration of his state
From brassy bosoms and rough hearts of flint,
From stubborn Turks and Tartars, never train’d
To offices of tender courtesy.
We all expect a gentle answer, Jew.
SHYLOCK
I have possess’d your grace of what I purpose;
And by our holy Sabbath have I sworn
To have the due and forfeit of my bond:
If you deny it, let the danger light
Upon your charter and your city’s freedom.
You’ll ask me, why I rather choose to have
A weight of carrion flesh than to receive
Three thousand ducats: I’ll not answer that:
But, say, it is my humour: is it answer’d?
What if my house be troubled with a rat
And I be pleased to give ten thousand ducats
To have it baned? What, are you answer’d yet?
Some men there are love not a gaping pig;
Some, that are mad if they behold a cat;
And others, when the bagpipe sings i’ the nose,
Cannot contain their urine: for affection,
Mistress of passion, sways it to the mood
Of what it likes or loathes. Now, for your answer:
As there is no firm reason to be render’d,
Why he cannot abide a gaping pig;
Why he, a harmless necessary cat;
Why he, a woollen bagpipe; but of force
Must yield to such inevitable shame
As to offend, himself being offended;
So can I give no reason, nor I will not,
More than a lodged hate and a certain loathing
I bear Antonio, that I follow thus
A losing suit against him. Are you answer’d?
BASSANIO
This is no answer, thou unfeeling man,
To excuse the current of thy cruelty.
SHYLOCK
I am not bound to please thee with my answers.
BASSANIO
Do all men kill the things they do not love?
SHYLOCK
Hates any man the thing he would not kill?
BASSANIO
Every offence is not a hate at first.
SHYLOCK
What, wouldst thou have a serpent sting thee twice?
ANTONIO
I pray you, think you question with the Jew:
You may as well go stand upon the beach
And bid the main flood bate his usual height;
You may as well use question with the wolf
Why he hath made the ewe bleat for the lamb;
You may as well forbid the mountain pines
To wag their high tops and to make no noise,
When they are fretten with the gusts of heaven;
You may as well do anything most hard,
As seek to soften that–than which what’s harder?–
His Jewish heart: therefore, I do beseech you,
Make no more offers, use no farther means,
But with all brief and plain conveniency
Let me have judgment and the Jew his will.
BASSANIO
For thy three thousand ducats here is six.
SHYLOCK
What judgment shall I dread, doing
Were in six parts and every part a ducat,
I would not draw them; I would have my bond.
DUKE
How shalt thou hope for mercy, rendering none?
SHYLOCK
What judgment shall I dread, doing no wrong?
You have 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: shall I say to you,
Let them be free, marry them to your heirs?
Why sweat they under burthens? let their beds
Be made as soft as yours and let their palates
Be season’d with such viands? You will answer
‘The slaves are ours:’ so do I answer you:
The pound of flesh, which I demand of him,
Is dearly bought; ’tis mine and I will have it.
If you deny me, fie upon your law!
There is no force in the decrees of Venice.
I stand for judgment: answer; shall I have it?
BASSANIO
Why dost thou whet thy knife so earnestly?
SHYLOCK
To cut the forfeiture from that bankrupt there.
GRATIANO
Not on thy sole, but on thy soul, harsh Jew,
Thou makest thy knife keen; but no metal can,
No, not the hangman’s axe, bear half the keenness
Of thy sharp envy. Can no prayers pierce thee?
SHYLOCK
No, none that thou hast wit enough to make.
GRATIANO
O, be thou damn’d, inexecrable dog!
And for thy life let justice be accused.
Thou almost makest me waver in my faith
To hold opinion with Pythagoras,
That souls of animals infuse themselves
Into the trunks of men: thy currish spirit
Govern’d a wolf, who, hang’d for human slaughter,
Even from the gallows did his fell soul fleet,
And, whilst thou lay’st in thy unhallow’d dam,
Infused itself in thee; for thy desires
Are wolvish, bloody, starved and ravenous.
SHYLOCK
Till thou canst rail the seal from off my bond,
Thou but offend’st thy lungs to speak so loud:
Repair thy wit, good youth, or it will fall
To cureless ruin. I stand here for law.
=====================================================================
Soft!
The Jew shall have all justice; soft! no haste:
He shall have nothing but the penalty.
GRATIANO
O Jew! an upright judge, a learned judge!
PORTIA
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 thou cut’st more
Or less than a just pound, be it but so much
As makes it light or heavy in the substance,
Or the division of the twentieth part
Of one poor scruple, nay, if the scale do turn
But in the estimation of a hair,
Thou diest and all thy goods are confiscate.
GRATIANO
A second Daniel, a Daniel, Jew!
Now, infidel, I have you on the hip.
PORTIA
Why doth the Jew pause? take thy forfeiture.
SHYLOCK
Give me my principal, and let me go.
BASSANIO
I have it ready for thee; here it is.
PORTIA
He hath refused it in the open court:
He shall have merely justice and his bond.
GRATIANO
A Daniel, still say I, a second Daniel!
I thank thee, Jew, for teaching me that word.
SHYLOCK
Shall I not have barely my principal?
PORTIA
Thou shalt have nothing but the forfeiture,
To be so taken at thy peril, Jew.
SHYLOCK
Why, then the devil give him good of it!
I’ll stay no longer question.
Romeo and Juliet Act II
SCENE II. Capulet’s orchard.
Enter ROMEO
ROMEO
He jests at scars that never felt a wound.
JULIET appears above at a window
But, soft! what light through yonder window breaks?
It is the east, and Juliet is the sun.
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief,
That thou her maid art far more fair than she:
Be not her maid, since she is envious;
Her vestal livery is but sick and green
And none but fools do wear it; cast it off.
It is my lady, O, it is my love!
O, that she knew she were!
She speaks yet she says nothing: what of that?
Her eye discourses; I will answer it.
I am too bold, ’tis not to me she speaks:
Two of the fairest stars in all the heaven,
Having some business, do entreat her eyes
To twinkle in their spheres till they return.
What if her eyes were there, they in her head?
The brightness of her cheek would shame those stars,
As daylight doth a lamp; her eyes in heaven
Would through the airy region stream so bright
That birds would sing and think it were not night.
See, how she leans her cheek upon her hand!
O, that I were a glove upon that hand,
That I might touch that cheek!
JULIET
Ay me!
ROMEO
She speaks:
O, speak again, bright angel! for thou art
As glorious to this night, being o’er my head
As is a winged messenger of heaven
Unto the white-upturned wondering eyes
Of mortals that fall back to gaze on him
When he bestrides the lazy-pacing clouds
And sails upon the bosom of the air.
JULIET
O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I’ll no longer be a Capulet.
ROMEO
[Aside] Shall I hear more, or shall I speak at this?
JULIET
‘Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What’s Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What’s in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call’d,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.
ROMEO
I take thee at thy word:
Call me but love, and I’ll be new baptized;
Henceforth I never will be Romeo.
JULIET
What man art thou that thus bescreen’d in night
So stumblest on my counsel?
ROMEO
By a name
I know not how to tell thee who I am:
My name, dear saint, is hateful to myself,
Because it is an enemy to thee;
Had I it written, I would tear the word.
JULIET
My ears have not yet drunk a hundred words
Of that tongue’s utterance, yet I know the sound:
Art thou not Romeo and a Montague?
ROMEO
Neither, fair saint, if either thee dislike.
JULIET
How camest thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb,
And the place death, considering who thou art,
If any of my kinsmen find thee here.
ROMEO
With love’s light wings did I o’er-perch these walls;
For stony limits cannot hold love out,
And what love can do that dares love attempt;
Therefore thy kinsmen are no let to me.
JULIET
If they do see thee, they will murder thee.
ROMEO
Alack, there lies more peril in thine eye
Than twenty of their swords: look thou but sweet,
And I am proof against their enmity.
JULIET
I would not for the world they saw thee here.
ROMEO
I have night’s cloak to hide me from their sight;
And but thou love me, let them find me here:
My life were better ended by their hate,
Than death prorogued, wanting of thy love.
JULIET
By whose direction found’st thou out this place?
ROMEO
By love, who first did prompt me to inquire;
He lent me counsel and I lent him eyes.
I am no pilot; yet, wert thou as far
As that vast shore wash’d with the farthest sea,
I would adventure for such merchandise.
JULIET
Thou know’st the mask of night is on my face,
Else would a maiden blush bepaint my cheek
For that which thou hast heard me speak to-night
Fain would I dwell on form, fain, fain deny
What I have spoke: but farewell compliment!
Dost thou love me? I know thou wilt say ‘Ay,’
And I will take thy word: yet if thou swear’st,
Thou mayst prove false; at lovers’ perjuries
Then say, Jove laughs. O gentle Romeo,
If thou dost love, pronounce it faithfully:
Or if thou think’st I am too quickly won,
I’ll frown and be perverse an say thee nay,
So thou wilt woo; but else, not for the world.
In truth, fair Montague, I am too fond,
And therefore thou mayst think my ‘havior light:
But trust me, gentleman, I’ll prove more true
Than those that have more cunning to be strange.
I should have been more strange, I must confess,
But that thou overheard’st, ere I was ware,
My true love’s passion: therefore pardon me,
And not impute this yielding to light love,
Which the dark night hath so discovered.
ROMEO
Lady, by yonder blessed moon I swear
That tips with silver all these fruit-tree tops–
JULIET
O, swear not by the moon, the inconstant moon,
That monthly changes in her circled orb,
Lest that thy love prove likewise variable.
ROMEO
What shall I swear by?
JULIET
Do not swear at all;
Or, if thou wilt, swear by thy gracious self,
Which is the god of my idolatry,
And I’ll believe thee.
ROMEO
If my heart’s dear love–
JULIET
Well, do not swear: although I joy in thee,
I have no joy of this contract to-night:
It is too rash, too unadvised, too sudden;
Too like the lightning, which doth cease to be
Ere one can say ‘It lightens.’ Sweet, good night!
This bud of love, by summer’s ripening breath,
May prove a beauteous flower when next we meet.
Good night, good night! as sweet repose and rest
Come to thy heart as that within my breast!
ROMEO
O, wilt thou leave me so unsatisfied?
JULIET
What satisfaction canst thou have to-night?
ROMEO
The exchange of thy love’s faithful vow for mine.
JULIET
I gave thee mine before thou didst request it:
And yet I would it were to give again.
ROMEO
Wouldst thou withdraw it? for what purpose, love?
JULIET
But to be frank, and give it thee again.
And yet I wish but for the thing I have:
My bounty is as boundless as the sea,
My love as deep; the more I give to thee,
The more I have, for both are infinite.
Nurse calls within
I hear some noise within; dear love, adieu!
Anon, good nurse! Sweet Montague, be true.
Stay but a little, I will come again.
Exit, above
Macbeth Act I
ACT I
SCENE I. A desert place.
Thunder and lightning. Enter three Witches
First Witch
When shall we three meet again
In thunder, lightning, or in rain?
Second Witch
When the hurlyburly’s done,
When the battle’s lost and won.
Third Witch
That will be ere the set of sun.
First Witch
Where the place?
Second Witch
Upon the heath.
Third Witch
There to meet with Macbeth.
First Witch
I come, Graymalkin!
Second Witch
Paddock calls.
Third Witch
Anon.
ALL
Fair is foul, and foul is fair:
Hover through the fog and filthy air.
Exeunt
SCENE II. A camp near Forres.
Alarum within. Enter DUNCAN, MALCOLM, DONALBAIN, LENNOX, with Attendants, meeting a bleeding Sergeant
DUNCAN
What bloody man is that? He can report,
As seemeth by his plight, of the revolt
The newest state.
MALCOLM
This is the sergeant
Who like a good and hardy soldier fought
‘Gainst my captivity. Hail, brave friend!
Say to the king the knowledge of the broil
As thou didst leave it.
Sergeant
Doubtful it stood;
As two spent swimmers, that do cling together
And choke their art. The merciless Macdonwald–
Worthy to be a rebel, for to that
The multiplying villanies of nature
Do swarm upon him–from the western isles
Of kerns and gallowglasses is supplied;
And fortune, on his damned quarrel smiling,
Show’d like a rebel’s whore: but all’s too weak:
For brave Macbeth–well he deserves that name–
Disdaining fortune, with his brandish’d steel,
Which smoked with bloody execution,
Like valour’s minion carved out his passage
Till he faced the slave;
Which ne’er shook hands, nor bade farewell to him,
Till he unseam’d him from the nave to the chaps,
And fix’d his head upon our battlements.
DUNCAN
O valiant cousin! worthy gentleman!
Sergeant
As whence the sun ‘gins his reflection
Shipwrecking storms and direful thunders break,
So from that spring whence comfort seem’d to come
Discomfort swells. Mark, king of Scotland, mark:
No sooner justice had with valour arm’d
Compell’d these skipping kerns to trust their heels,
But the Norweyan lord surveying vantage,
With furbish’d arms and new supplies of men
Began a fresh assault.
DUNCAN
Dismay’d not this
Our captains, Macbeth and Banquo?
Sergeant
Yes;
As sparrows eagles, or the hare the lion.
If I say sooth, I must report they were
As cannons overcharged with double cracks, so they
Doubly redoubled strokes upon the foe:
Except they meant to bathe in reeking wounds,
Or memorise another Golgotha,
I cannot tell.
But I am faint, my gashes cry for help.
DUNCAN
So well thy words become thee as thy wounds;
They smack of honour both. Go get him surgeons.
Exit Sergeant, attended
Who comes here?
Enter ROSS
MALCOLM
The worthy thane of Ross.
LENNOX
What a haste looks through his eyes! So should he look
That seems to speak things strange.
ROSS
God save the king!
DUNCAN
Whence camest thou, worthy thane?
ROSS
From Fife, great king;
Where the Norweyan banners flout the sky
And fan our people cold. Norway himself,
With terrible numbers,
Assisted by that most disloyal traitor
The thane of Cawdor, began a dismal conflict;
Till that Bellona’s bridegroom, lapp’d in proof,
Confronted him with self-comparisons,
Point against point rebellious, arm ‘gainst arm.
Curbing his lavish spirit: and, to conclude,
The victory fell on us.
DUNCAN
Great happiness!
ROSS
That now
Sweno, the Norways’ king, craves composition:
Nor would we deign him burial of his men
Till he disbursed at Saint Colme’s inch
Ten thousand dollars to our general use.
DUNCAN
No more that thane of Cawdor shall deceive
Our bosom interest: go pronounce his present death,
And with his former title greet Macbeth.
ROSS
I’ll see it done.
DUNCAN
What he hath lost noble Macbeth hath won.
Exeunt
SCENE III. A heath near Forres.
Thunder. Enter the three Witches
First Witch
Where hast thou been, sister?
Second Witch
Killing swine.
Third Witch
Sister, where thou?
First Witch
A sailor’s wife had chestnuts in her lap,
And munch’d, and munch’d, and munch’d:–
‘Give me,’ quoth I:
‘Aroint thee, witch!’ the rump-fed ronyon cries.
Her husband’s to Aleppo gone, master o’ the Tiger:
But in a sieve I’ll thither sail,
And, like a rat without a tail,
I’ll do, I’ll do, and I’ll do.
Second Witch
I’ll give thee a wind.
First Witch
Thou’rt kind.
Third Witch
And I another.
First Witch
I myself have all the other,
And the very ports they blow,
All the quarters that they know
I’ the shipman’s card.
I will drain him dry as hay:
Sleep shall neither night nor day
Hang upon his pent-house lid;
He shall live a man forbid:
Weary se’nnights nine times nine
Shall he dwindle, peak and pine:
Though his bark cannot be lost,
Yet it shall be tempest-tost.
Look what I have.
Second Witch
Show me, show me.
First Witch
Here I have a pilot’s thumb,
Wreck’d as homeward he did come.
Drum within
Third Witch
A drum, a drum!
Macbeth doth come.
ALL
The weird sisters, hand in hand,
Posters of the sea and land,
Thus do go about, about:
Thrice to thine and thrice to mine
And thrice again, to make up nine.
Peace! the charm’s wound up.
Enter MACBETH and BANQUO
MACBETH
So foul and fair a day I have not seen.
BANQUO
How far is’t call’d to Forres? What are these
So wither’d and so wild in their attire,
That look not like the inhabitants o’ the earth,
And yet are on’t? Live you? or are you aught
That man may question? You seem to understand me,
By each at once her chappy finger laying
Upon her skinny lips: you should be women,
And yet your beards forbid me to interpret
That you are so.
MACBETH
Speak, if you can: what are you?
First Witch
All hail, Macbeth! hail to thee, thane of Glamis!
Second Witch
All hail, Macbeth, hail to thee, thane of Cawdor!
Third Witch
All hail, Macbeth, thou shalt be king hereafter!
BANQUO
Good sir, why do you start; and seem to fear
Things that do sound so fair? I’ the name of truth,
Are ye fantastical, or that indeed
Which outwardly ye show? My noble partner
You greet with present grace and great prediction
Of noble having and of royal hope,
That he seems rapt withal: to me you speak not.
If you can look into the seeds of time,
And say which grain will grow and which will not,
Speak then to me, who neither beg nor fear
Your favours nor your hate.
First Witch
Hail!
Second Witch
Hail!
Third Witch
Hail!
First Witch
Lesser than Macbeth, and greater.
Second Witch
Not so happy, yet much happier.
Third Witch
Thou shalt get kings, though thou be none:
So all hail, Macbeth and Banquo!
First Witch
Banquo and Macbeth, all hail!
MACBETH
Stay, you imperfect speakers, tell me more:
By Sinel’s death I know I am thane of Glamis;
But how of Cawdor? the thane of Cawdor lives,
A prosperous gentleman; and to be king
Stands not within the prospect of belief,
No more than to be Cawdor. Say from whence
You owe this strange intelligence? or why
Upon this blasted heath you stop our way
With such prophetic greeting? Speak, I charge you.
Witches vanish
William Shakespeare Plays
William Shakespeare – the Complete Works
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The Plays of William Shakespeare
The plays written by the great Bard are listed below by category and alphabetical order. The section relating to the Chronology of Plays provides a list of when plays were written and published. This section provides access to the plot summary of each play, pictures, key dates, characters, history and the full script of every one of William Shakespeare’s plays.
History themed Plays
Click a link below to access full scripts and information about Shakespeare’s Plays
- King Henry IV Part 1 – play by William Shakespeare
- King Henry IV Part 2 – a Shakespearean play
- King Henry V – play by William Shakespeare
- King Henry VI Part 1 – play by William Shakespeare
- King Henry VI Part 2 – a Shakespearean play
- King Henry VI Part 3 – a Shakespearean play
- King Henry VIII – play by William Shakespeare
- King John – play by William Shakespeare
- Richard II – play by William Shakespeare
- Richard III – play by William Shakespeare
Tragedy themed Plays
Click a link below to access full scripts and information about Shakespeare’s Plays
- Antony and Cleopatra – play by William Shakespeare
- Coriolanus – a Shakespearean play
- Hamlet – play by William Shakespeare
- Julius Caesar – play by William Shakespeare
- King Lear – play by William Shakespeare
- Macbeth – play by William Shakespeare
- Othello – play by William Shakespeare
- Romeo and Juliet – play by William Shakespeare
- Timon of Athens – a Shakespearean play
- Titus Andronicus – a Shakespearean play
Comedy themed Plays
Click a link below to access full scripts and information about Shakespeare’s Plays
- Alls Well That Ends Well – play by William Shakespeare
- As You Like It – play by William Shakespeare
- Comedy of Errors – play by William Shakespeare
- Cymbeline – a Shakespearean play
- Love’s Labour’s Lost – a Shakespearean play
- Measure for Measure – play by William Shakespeare
- Merchant of Venice – play by William Shakespeare
- Merry Wives of Windsor – play by William Shakespeare
- Midsummer Nights Dream – play by William Shakespeare
- Much Ado About Nothing – play by William Shakespeare
- Pericles, Prince of Tyre – a Shakespearean play
- Taming of the Shrew – play by William Shakespeare
- The Tempest – play by William Shakespeare
- Troilus and Cressida – a Shakespearean play
- Twelfth Night – play by William Shakespeare
- Two Gentlemen of Verona – a Shakespearean play
- Winter’s Tale – a Shakespearean play
Registration of Plays
Plays were required to be registered prior to publication. It was important that plays were regulated as playwrights used the stage as a forum to express their own views on religion and politics. Registration provided an opportunity to invoke a form of censorship and the means to suppress too much freedom of thought and criticism of the crown and public affairs.
Information provided about the plays
The Bard never published any of his plays and therefore none of the original manuscripts have survived. Eighteen unauthorised versions of his plays were, however, published during his lifetime in quarto editions by unscrupulous publishers (there were no copyright laws protecting Shake-speare and his works during the Elizabethan era). A collection of his works did not appear until 1623 (a full seven years after Shakespeare’s death on April 23, 1616) when two of his fellow actors, John Hemminges and Henry Condell, posthumously recorded his work and published 36 of William’s plays in the First Folio. Some dates are therefore approximate other dates are substantiated by historical events, records of performances and the dates plays appeared in print.
The Characters and Scripts
These enduring works feature many famous and well loved characters. The text and scripts convey vivid impressions. The language used today is, in many ways, different to that used in the 16th century Elizabethan era and this is often reflected in the script and text used in the plays. It is therefore not surprising that we have no experience or understanding of some of the words contained in the text / script of the various works. We have therefore included a Shakespearean Dictionary for most of the more obscure words used in the script of his plays, some of which are obsolete in modern language or Dictionaries. Make a note of any unusual words that you encounter whilst reading the scripts and check their definition in the Dictionary by clicking Dictionary at the top of the page to access Elizabethan Dictionary – Guide to language and words used in the Elizabethan era.
Chronology of Plays
The section relating to the Chronology of Plays provides a list of when plays were written and published. This section provides access to the plot summary of each of the plays, pictures, key dates, characters, history and the full script of every one of William Shake-speare’s plays.
Chronology of Plays – First performance and publications
Editions of Plays
This selection of Collections of Shake-speare conveys the number of different editions of the Plays of the Bard that have been published. Editions may vary in content and variations are generally detailed and explained in the modern forewords.1623 The First Folio (F1)
1632 The Second Folio (F2)
1663 The Third Folio (F3) Second issue of the F3 in the following year includes Pericles.
1685 The Fourth Folio (F4)
1709 Nicholas Rowe’s edition
1723-25 Alexander Pope’s edition.
1733 Lewis Theobald’s edition.
1734-5 Robert Walker’s small-format editions of the individual plays
1734-6 Jacob Tonson
1743-4 Thomas Hanmer’s edition.
1747 William Warburton’s edition.
1765 Samuel Johnson’s edition.
1767-8 Edward Capell’s edition.
1773 George Stevens’s revision of Samuel Johnson’s edition.
1773-4 John Bell’s edition – Based on the prompt books then being used in the London theatres.
1778 Isaac Reed’s revision of Stevens’s Johnson edition.
1790 Edmond Malone’s edition.
1791-1802 J. & J. Boydell’s edition.
1795 First American edition published at Philadelphia.
1807 Francis Douce’s edition
1821 A revised edition of Malone, prepared by James Boswell.
1822-23 Pickering edition.
1838-43 Charles Knight’s edition.
1859-60 Mary Cowden Clarke’s edition.
1863-6 Clark, Wright and Glover Cambridge University Press edition.
1870-1911 William J. Rolfe edition
1899-1931 W. J. Craig and R. H. Case’s ‘The Arden Shakespeare’.
1921-66 John Dover Wilson and Arthur Quiller-Couch’s ‘New Cambridge Shakespeare’.
1937-59 George B. Harrison’s ‘Penguin Shakespeare’.
1951 Peter Alexander’s edition.
1956-67 Alfred Harbage’s ‘Pelican Shakespeare’.
1974 G. Blakemore Evans’s ‘Riverside Shakes-peare’.The edition most widely used among US colleges
1986 Stanley Wells and Gary Taylor’s ‘Oxford Shakespeare’.
1995- Richard Proudfoot, Ann Thompson and David Scott Kastan’s revision of the Arden (now known as ‘Arden 3’).
Plays and the Globe Theatre
Plays were big!! There was money to be made!! There was a constant demand for new material!! Rivalry between the Theatres Playhouses was enormous!! As soon as plays were written they was immediately produced – printing followed productions! So the actors initially used ‘foul papers’ or prompts. Rival theater companies would send their members to attend plays to produce unauthorised copies of plays – notes were made and copied as quickly as possible. In Shakespeare’s time copyright did not exist. Alternative versions of Shakespearean plays were produced! These unauthorised and inferior text copies of Shakespeare’s plays are called Quarto Texts.
The success of the Elizabethan theaters, including that of the Globe, was such that other forms of Elizabethan entertainment were being seriously affected. In 1591 the growing popularity of theatres led to a law closing all theaters on Thursdays so that the bull and bear bating industries would not be neglected! Many of the plays of the Great Playwright were first featured in the Globe Theatre of London.
Comedies, Histories and Tragedies
William Shakespeare Plays
Merchant of Venice – Complete Script
Picture – The Globe Theatre which was the
venue of many first performances of
William Shakespeare’s plays
Text / Script of Merchant of Venice
a play by William Shakespeare
Merchant of Venice the play by William Shakespeare
Cast and characters in The Merchant of Venice by William Shakespeare
Index of plays by William Shakespeare
Introduction – Full , free online text – Merchant of Venice
This section contains the free online text of Merchant of Venice the famous Shakespearean play. The enduring works of the great Bard feature many famous and well loved characters. The full online text and script of Merchant of Venice convey vivid impressions. The language used today is, in many ways, different to that used in the 16th century Elizabethan era and this is often reflected in the script and text used in Shakespearean plays. It is therefore not surprising that we have no experience or understanding of some of the words contained in the text / script of Merchant of Venice. We have therefore included a free online Shakespeare Dictionary for most of the more obscure words used in the script and text of his plays, some of which are obsolete in modern language or Dictionaries. Make a note of any unusual words or text that you encounter whilst reading the online text of the play and then check their definition in the free online Shakespeare Dictionary.
Script / Text of Merchant of Venice
The script of the play is extremely long. To reduce the time to load the script of the play, and for ease in accessing specific sections of the script, we have separated the text into Acts. Please click on the appropriate links to access the Act of your choice.
William Shakespeare never published any of his plays and therefore none of the original manuscripts have survived. Eighteen unauthorised versions of his plays were, however, published during his lifetime in quarto editions by unscrupulous publishers (there were no copyright laws protecting Shakespeare and his works during the Elizabethan era). A collection of his works did not appear until 1623 ( a full seven years after Shakespeare’s death on April 23, 1616) when two of his fellow actors, John Hemminges and Henry Condell, posthumously recorded his work and published 36 of William’s plays in the First Folio.
Script of Merchant of Venice a play by William Shakespeare
Romeo and Juliet – Full Scripts.
Romeo and Juliet
by William S
hakespeare
Romeo & Juliet play, complete original script, full text, with annotations translated into modern language, plus and adapted modernized version, annotated translations
Original Script
(Word doc 279kb)
Shakespeare’s complete original script based on the Second Quarto of 1599, with corrections and alternate text shown from the First Quarto of 1597, Third Quarto of 1609, Fourth Quarto of 1622, First Folio of 1623, and later editions. Spelling and punctuation are modernized (American) with some indications of pronunciation. Stage directions are clarified. Side notes are given for vocabulary, figurative language, and allusions. This script may be downloaded and used for free for education and performance. Editor: David Hundsness.
Adapted Script (ready to read)
(Word doc 142kb)
Adapted Script (unabridged)
(Word doc 308kb)
This is an adapted version of the play using Shakespeare’s original language. It is shortened to under two hours, cutting scenes that are typically slow to modern audiences. Dated references are minimized so the story may be set anytime and anywhere. A Wedding Ceremony and Juliet’s Funeral are created from cut-and-pasted lines, and some scenes are altered for dramatic impact (all from the original script, of course). The unabridged version shows all cut lines in gray text, so you can easily restore lines and make your own edits. The first version is easier to read. Adapted by David Hundsness. This adaptation may be used for free in part or whole for performance, even for profit; I ask only that you contact me at scripts@hundsness.com to let me know who is using it, and give credit to David Hundsness and http://www.hundsness.com where appropriate.
Review by Austin Live Theatre: "This is no Reader’s Digest edition. The adapter did a scrupulous, ethical job of fileting the original text, preserving the story line and the essentials of the characters. Almost all of the most memorable lines of verse were retained. Purists would certainly object to his reducing the text by 30 to 40 percent, adroitly stitching together scenes while adhering to original texts and crafting both a brief marriage scene in Friar Laurence’s chambers and a funeral for Juliet. But none of this diminishes a whit the power of Shakespeare’s language or plot. The adaptation is directly in the centuries-old tradition of moving the bard to the audience."
Original Editions
(Word doc 874kb)
Side-by-side comparison of the First Quarto of 1597, Second Quarto of 1599, and First Folio of 1623 with original spelling and punctuation. Sources:
http://ise.uvic.ca/Annex/DraftTxt/Rom/index.html
scripts@hundsness.com
We need a new home
Dr Rod’s English Blog has become a huge success, but we are totally frustrated by our limitations of being a Blog. The Blog acted really great in the beginning but as we have grown and our readership increased from 50 to over 19000 in 4 months we realize we need a different format and to offer many other things that we just cannot do.
We have identified areas where students from across the world need to work together – to collaborate, so see other kids work. We have seen teachers crying out for varied resources as well as original ideas. We never thought of our self as UNIQUE, yet we have become so. Every day I get letters asking for help on essays, exams, Shakespeare and hundreds of other things and yet many have to go unanswered.
So we need HELP! We cannot do this by a Blog any longer. I know Front Page and can work well with that. I would love to develop this site into an open resource linking together students of all ages from Year 5 through University. But they cannot search through Blog entries after Blog entries. So please, if there is anyone out there who can help us with a dedicated site – sorry we have NO money! And can help us get going for three months before the new school year begins PLEASE contact us here!
Write today! The possibilities are endless and the audience as you can see in UNIVERSAL not just USA, Europe but from Mongolia to Lesotho, Columbia to Yemen, Russia, Hong Kong, the lists is over 120 different countries. If your company today can help us PLEASE let me know.
Thanks Dr. Rod
We need a new home
Dr Rod’s English Blog has become a huge success, but we are totally frustrated by our limitations of being a Blog. The Blog acted really great in the beginning but as we have grown and our readership increased from 50 to over 19000 in 4 months we realize we need a different format and to offer many other things that we just cannot do.
We have identified areas where students from across the world need to work together – to collaborate, so see other kids work. We have seen teachers crying out for varied resources as well as original ideas. We never thought of our self as UNIQUE, yet we have become so. Every day I get letters asking for help on essays, exams, Shakespeare and hundreds of other things and yet many have to go unanswered.
So we need HELP! We cannot do this by a Blog any longer. I know Front Page and can work well with that. I would love to develop this site into an open resource linking together students of all ages from Year 5 through University. But they cannot search through Blog entries after Blog entries. So please, if there is anyone out there who can help us with a dedicated site – sorry we have NO money! And can help us get going for three months before the new school year begins PLEASE contact us here!
Write today! The possibilities are endless and the audience as you can see in UNIVERSAL not just USA, Europe but from Mongolia to Lesotho, Columbia to Yemen, Russia, Hong Kong, the lists is over 120 different countries. If your company today can help us PLEASE let me know.
Thanks Dr. Rod
We need a new home
Dr Rod’s English Blog has become a huge success, but we are totally frustrated by our limitations of being a Blog. The Blog acted really great in the beginning but as we have grown and our readership increased from 50 to over 19000 in 4 months we realize we need a different format and to offer many other things that we just cannot do.
We have identified areas where students from across the world need to work together – to collaborate, so see other kids work. We have seen teachers crying out for varied resources as well as original ideas. We never thought of our self as UNIQUE, yet we have become so. Every day I get letters asking for help on essays, exams, Shakespeare and hundreds of other things and yet many have to go unanswered.
So we need HELP! We cannot do this by a Blog any longer. I know Front Page and can work well with that. I would love to develop this site into an open resource linking together students of all ages from Year 5 through University. But they cannot search through Blog entries after Blog entries. So please, if there is anyone out there who can help us with a dedicated site – sorry we have NO money! And can help us get going for three months before the new school year begins PLEASE contact us here!
Write today! The possibilities are endless and the audience as you can see in UNIVERSAL not just USA, Europe but from Mongolia to Lesotho, Columbia to Yemen, Russia, Hong Kong, the lists is over 120 different countries. If your company today can help us PLEASE let me know.
Thanks Dr. Rod
Macbeth Summary – Erinda Y 10
Here is Erinda’s PowerPoint of the 2006 version movie of Macbeth. In her presentation Erinda highlights the main points from the movie and how it interprets the original Shakespearean drama and takes it from Scotland to urban Australia.
Study Guides ~ Cummings
Cummings Study Guides are perhaps some of the best available ‘FREE’ on the internet today. Here is a comprehensive list – linked back to the Cummings Study guide Site.
Index of Study Guides: Plays, Novels, Poems, Essays, Definitions
.
‘ Enis Notes’ ~ Macbeth in a nutshell!
Macbeth Act 1
Act 1- Scene 1
Three Witches meet in a desert place with thunder, lightening and rain. They vow to meet again when some mighty battle is over before the sun sets on the heath. They will meet with Macbeth. There is something murky, something terrible in…..
Act1- Scene2
1. The sergeant describes a battle in the war between: Norway and Scotland.
2. Who were the heroes in the battle? Macbeth and Banquo.
3. The Thane of Cawdor was a Traitor. King Duncan sentenced him to death and gave his title to Lord of Ross.
4. What do we learn about Macbeth’s character in this scene?
He is considered a strong and brave man and with those characteristics he is honourable.
Act 1- Scene 3
1. What do the witches predict for Macbeth?
a) He will become Thane of Cawdor.
b) He will become king.
2. What do they predict for Banquo?
They predict that his sons are going to become king.
3. Explain the dramatic irony in the witches’ first prediction.
The dramatic irony in the Witches prediction that Macbeth will be "Thane of Cawdor" lies in the fact that the audience knows from the previous scene that King Duncan has already given the title to Macbeth, making the prophecy true – though Macbeth is not yet aware of the fact.
4. When the predictions come true immediately, what does Macbeth think about the other predictions?
He is very surprised about the accuracy of the witches’ predictions and starts to believe that the witches predicts were actually going to happen.
5. What does Macbeth plan to do about the possibility of becoming king?
Macbeth whispers to Banquo that, at a later time, he would like to speak to him privately about what has transpired.
Act 1- Scene 4
King Duncan greets Macbeth and Banquo returning from battle. Duncan is in such good spirits he decides to name his successor.
1. To whom does King Duncan give the tile Prince of Cumberland?
He gives the title of Cumberland to his son, Malcolm.
2. What does Macbeth think about this?
He announces his joy but he knows that Malcolm stands in the way of the crown now.
Act 1- Scene 5
1. Lady Macbeth reads a letter. Who sent it to her?
The letter was sent to her by Macbeth.
2. Lady Macbeth says to Macbeth: “Yet do I fear thy nature. It is too full O’the milk of human kindness to catch the nearest way.” What does she mean by this?
She thinks the time is right to murder the king but she also thinks Macbeth is too kind for this, so she fears it.
3. What message does the servant give to Lady Macbeth?
The servant gives news that Macbeth is approaching.
4. Explain Lady Macbeth’s soliloquy (lines 44-58)
She resolves to put her natural femininity aside so that she can do the bloody deeds necessary to seize the crown.
5. Macbeth arrives. What do he and Lady Macbeth have to discuss?
They discuss the king’s forthcoming visit.
6. What advice does Lady Macbeth give her husband?
She tells her husband to have patience and leave everything to her.
Act 1- Scene 6
King Duncan arrives at Macbeth’s palace along with Banquo, Lennox, Macduff, Ross, Angus, his sons and attendants.
Act 1- Scene 7
In this soliloquy Macbeth is thinking over the plot to kill King Duncan. He is having second thoughts.
1. List four reasons Macbeth finds to talk himself out of committing the murder. (Lines 1-27)
a) Killing Duncan will result in vengeance.
b) There are compelling reasons against the murder.
c) Heaven itself will abhor the deed.
d) Only ambition pushes him on to do so.
2. How does Lady Macbeth convince him to go through with the murder?
Lady Macbeth accuses him of being a coward and lacks a great deal of manliness. She says she would kill her own child rather than break such promises.
Act 2- Scene 1
Macbeth and Banquo meet up at the court at Macbeth’s castle. When Banquo mentions that he had a dream about the Weird Sisters, Macbeth wants to discuss his desire to become king of Scotland. Banquo also wants the prediction made about him to be fulfilled, but he is not willing to do anything dishonourable to make it happen. He says he is loyal to the king.
1. Banquo leaves and Macbeth is left with his thoughts. Explain Macbeth’s soliloquy and his feelings as he goes to commit the murder.
He starts imagining a dagger floating in the air. He tries to grasp the dagger but he cannot. He sees the dagger blood-stained and awful images of what might happen go into his head.
2. What does the ringing of the bell mean?
The ringing of the bell means that Duncan is dead.
Act 2- Scene 2
1. After Macbeth murders King Duncan he agonizes over something. What is it?
a) He is obsessed with his inability to say “amen.”
b) He will never sleep again.
c) By a voice crying that he has murdered sleep.
2. What mistakes does Lady Macbeth scold Macbeth for? (She later fixes it.)
She tells him to smear the blood on the guards to make it look like they did it and then bring back the dagger but he didn’t.
Act 2- Scene 3
1. Explain how comic relief is provided by the porter’s speech.
Porter images himself as a hell Gate keeper and talks about admitting a greedy farmer, a liar, and a cheap tailor. He says this is the effect of too much drinking to Macduff.
2. What has Macbeth done when he says: “O, yet I do repent me of my fury?”
3. What are Malcolm and Donalbain?
Malcolm and Donalbain are Duncan’s sons.
4. What do they decide to do after King Duncan is murdered? Why?
They decide to resolve by fleeing so Malcolm goes to England while Donalbain goes to Ireland.
5. Explain the dramatic irony when Macduff says: “O gentle lady!” ‘Tis not for you to hear what I can speak…
Macduff considers Lady Macbeth gentle and thinks that this is too horrifying for a woman to hear.
6. What does Banquo decide to do, and why do you think he did not accuse Macbeth of the murder?
Banquo decides to investigate the murder but he does not think Macbeth did it because he knows that Macbeth would not have the guts to do such a thing, even though he did.
Act 2- Scene 4
Ross and an old man are riding along discussing the terrible murder. Along comes Macduff. He suspects Macbeth because he has killed the only ones who could lead them to the murder.
1. Where is the coronation to be held?
Scone
Act 3- Scene 1
1. What does Banquo reveal to us in his opening speech?
In their conversation Macbeth learns that Banquo is going on a mission and Fleance (Banquo’s son) will be going with him. Macbeth wishes Banquo a safe trip and tells him be sure to return in time for the coronation feast that evening. Macbeth is again left with thoughts. –Line 47-71 comprises the third of Macbeth’s four soliloquies in the play. This one shows his uneasy state of mind and his determination to thwart or block the witches’ prophecy that Banquo will be the father of kings.
Banquo shoes his fear that Macbeth has become king by using evil means.
2. Complete the following paraphrase of Macbeth’s soliloquy by filling in the blanks.
To be the king means nothing unless I am secure in the position. I have deep fears about Banquo and his loyal nature. Banquo is not only daring and courageous, but he has wisdom to guide him to act in safety. Banquo is the only one I fear and my own genius is rebuked by him just as Mark Antony was by Caesar. He challenged the sisters when they put the name of king upon me, and told them to speak to him; then they like a prophet hailed him as the father to line of kings. The witches said that I would become king but have no successor in my blood. If this is true, then I have defiled my mind, murdered the gracious Duncan disturbed all of my peace and my eternal jewel. I have given to the common enemy of man. I did all of this to make way for the seeds of Banquo to be kings. Rather than let that happen I will fight against fate to the death!
Macbeth proceeds to hire some murderers to attack and kill Banquo and his son, Fleance, on the road.
Act 3- Scene 2
Lady Macbeth emerges as a lonely, pathetic figure. She no longer takes a lead in making plans; her husband now assumes the role. Her close relationship with Macbeth no longer exists. (She knows nothing of Macbeth’s plan to murder Banquo and Fleance.) Macbeth has become a prisoner of evil who suffers from the fear of discovery by day and the torments of nightmares by night. The ill-gotten crown has brought only mental anguish to Macbeth and Lady Macbeth.
1. What do you think Macbeth means when he says, “Things bad begun make strong themselves by ill.”?
He hints that bad things are going to happen.
Act 3- Scene 3
1. What went wrong with Macbeth’s plot to have Banquo and Fleance murdered?
They managed to successfully murder Banquo but Fleance managed to escape.
2. How does this relate to the witches’ prophecy?
The witches said that Banquo’s son would be king and he managed to escape which means that the prophecy could be real.
Act 3- Scene 4
1. What two things does Macbeth now plan to do? Why?
a) To visit the witches because he was curious about the prophecy.
b) To kill anyone in his way to keep the title as king.
Act 4- Scene 1
Macbeth seeks counsel from the weird sisters who show him a series of apparitions:
1. Explain the message given to Macbeth by each of the following apparitions.
a) An Armed Head – forecasts Macbeth’s eventual fate in the hands of MacDuff.
b) A Bloody Child – the death of Macduff’s child.
c) A Child Crowned, with a tree in his hand – Malcolm’s victory.
2. How does this make Macbeth feel?
He feels very angry.
Finally the witches show Eight Kings, the last with a glass in his hand; GHOST OF BANQUO following.
3. Explain the irony in the following statement by Macbeth;
“Infected by the air whereon they ride
And damn’d all those that trust them!…”
He is talking about himself. He says he trusts the witches and all those who do are damned.
4. What does Macbeth decide to do next?
He decides to kill every member of Macduff’s family.
Act 4- Scene 2: Macduff’s Castle
Lady Macduff converses with her son. She is upset because her husband has gone off to England leaving his family unprotected.
1. What happens to them?
Lady Macduff and her son are talking about what would happen if MacDuff died. Then a messenger comes and warns them of danger. A murderer then comes and kills Lady Macbeth’s son.
Act 4- Scene 3
Malcolm, King Duncan’s son, and Macduff are discussing plans to return to Scotland with an army to overthrow Macbeth…
Ross enters with news of Duncan’s family.
1. How does Macduff respond to this news?
At first, he didn’t believe it but when it sunk in he wanted revenge.
2. What does he vow to do?
Macduff, now with the help of Malcolm and the King of England he will overthrow Macbeth.
Act 4- Scene 1: Essay
Three witches are all gathered around making a magic brew. It is a dark room with only one candle to light it. There are shelves with disgusting things everywhere. The witches are standing over the cauldron saying the magic words and placing the right ingredients inside. They put in slow-worm sting, young owl wings, mummified corpse’s stomach and throat, roots of poisonous plant, piece of poisonous tree, eye of newt, toe of frog, wool of bat, tongue of dog, lizard’s leg, scale of dragon, tooth of wolf, shark, liver of Jews, gall of goat, nose of Turks, Tartars lips, finger of a new born baby ditch-delivered by a prostitute. They boil the things together mixing it with a huge wooden spoon and laughing that evil laugh. The steam would come out an unusual colour and the witches would drink it, the stew as red as blood.
Act 5- Scene 1
1. What visions plague Lady Macbeth?
The visions of blood-stained hands that wouldn’t come off plagued Lady Macbeth.
2. How does Lady Macbeth’s condition differ from Macbeth’s at the time?
She was having regrets about the killing of King Duncan while Macbeth wasn’t and continued to kill people in his way.
Act 5- Scene 2
1. Explain the conversation of these Scottish lords: Menteith, Caithness, Angus, and Lennox.
Outside the castle, a group of Scottish lords discusses the military situation: the English army approaches, led by Malcolm, and the Scottish army will meet them near Birnam Wood, apparently to join forces with them. The “tyrant,” as Lennox and the other lords call Macbeth, has fortified Dunsinane Castle and is making his military preparations in a mad rage.
Act 5- Scene 3
1. What does Macbeth’s opening speech tell us?
That Macbeth is frightened now that they are after him but he is trying to convince himself that he should not fear.
2. What does Macbeth’s speech to Seyton tell us?
That Macbeth is prepared for war and is not thinking of backing out.
3. What is Macbeth resolve to do?
He plans to go to war and that the doctor should cure Lady Macbeth.
Act 5- Scene 4
1. What news does Seyton bring to Macbeth?
Seyton brings the news of the queen’s death (Lady Macbeth).
2. How does he express futility of life?
He expresses it by saying that life is “a tale / Told by an idiot, full of sound and fury, / Signifying nothing.” He is saying that life is not all it’s cracked up to be.
Act 5- Scene 6
1. What happens here?
Outside the castle, the battle commences. Malcolm orders the English soldiers to throw down their boughs and draw their swords.
Act 5- Scene 7
1. Explain the final scene.
On the battlefield, Macbeth strikes those around him vigorously, insolent because no man born of woman can harm him. He slays Lord Siward’s son and disappears in the fray. Macbeth is captured. He is taken and his head cut off. The King is Dead ~ Long Live the King!
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