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ABOUT BELL Bell Shakespeare is Australia’s national theatre company specialising in Shakespeare SHAKESPEARE and the classics. The company was founded by John Bell AO in 1990 with the aim of making Shakespeare and live performance accessible to all Australians, regardless of geographic location or socio-economic disadvantage. Bell Shakespeare is proud to deliver Australian theatre’s most comprehensive and wide-reaching education program, which operates in 89% of Australian electorates and is delivered to more than 80,000 students and teachers face to face each year. The national program includes in-school performances by The Players, student workshops, Artist in Residence, community and outreach work, engagement with refugee and Indigenous communities, the Regional Teacher Mentorship, scholarships for regional students, work experience, and a renowned Juvenile Justice program. Bell Shakespeare uses Shakespeare as a vehicle for self-reflection and transformation: as Ophelia says in Hamlet, “We know what we are, but know not what we may be.”

ABOUT WORDS, Macbeth, Juliet and a Fool find themselves in a strange place following the WORDS, WORDS conclusion of their plays. Their lives have ended but they need to move on, and they only have a copy of The Complete Works of William Shakespeare to help them. As they dive into the book and reflect on their own lives and the choices they made, they discover the true power of Shakespeare’s language. A lively exploration, interrogation and celebration of language and words, told with power and humour by Shakespeare’s characters. Words, Words, Words will take your students on an entertaining and informative journey of epic proportions across Shakespeare’s canon, via the vehicle of literary techniques. Whether it’s dramatic irony, prose and verse structure, sonnets, soliloquies, or iambic pentameter, we’ll decode and demystify what’s on the page, on the stage. Do your students know their stichomythia from their anaphora? Words, Words, Words is the perfect companion to classroom study, demonstrating language analysis in action. Words, Words, Words will tour to all states and territories across Australia, including metropolitan cities, regional towns and remote communities.

Cover photo © Clare Hawley

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CREATIVE TEAM

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CAST TEAM VERONA

VIOLETTE OLIVER EMILY

TEAM MANTUA

JAKE JEM JEREMI

CREATIVES SCRIPT VOICE AND AND CREW TEXT COACH By Joanna Erskine BANNER DESIGN Jess Chambers STAGE MANAGER Design by Christopher Doyle & Co Paisley Williams DIRECTOR Keiren Smith Suzanne Pereira MOVEMENT DIRECTOR Nigel Poulton

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BACKGROUND

KEY CHARACTERS While Words, Words, Words is a fictional story, it features real characters from IN WORDS, Shakespeare’s plays. It is useful to have an understanding of these characters WORDS, WORDS in the context of their own plays, in advance of the performance. MACBETH Stars, hide your fires / Let not light see my black and deep desires.

Act 1, Scene 4

Macbeth is a noble Thane in the Scottish army who becomes King of Scotland through dark deeds and the ambitious pursuit of power. After Macbeth receives a prophecy from three witches that he will one day be King, he takes fate into his own hands with the help of his wife, Lady Macbeth. His ambition drives him to murder King Duncan to take his crown, but he is not content and continues to murder and hurt those he sees as a threat to his crown. Macbeth and Lady Macbeth’s strong union fractures, and both are plagued with guilt for their actions. King Duncan’s son, Malcolm, leads a rival army to take down Macbeth who is killed. Malcolm takes the crown with the promise of order restored to Scotland. Macbeth undergoes a significant transformation in the play. The first report of him comes from the wounded captain, “For brave Macbeth – well he deserves that name.” (Act 1, Scene 2) Macbeth first appears in Act 1, Scene 3 accompanied by his friend and companion, Banquo, who clearly holds him in high regard. When Macbeth receives the witches’ prophecies he does “start and seem to fear” (Act 1, Scene 3) them but his instinct is to dismiss things that are dark and threatening. It is important to note that Macbeth’s drive to usurp the crown begins with the witches’ prophecies and therefore it is not entirely clear whether he would have taken the same path if he hadn’t encountered the witches on the blasted heath. By Act 5 the audience questions whether they are observing the same man that was described in Act 1 as “brave”, “honourable” and “too full of the milk of human kindness” (Act 1, Scene 5). Even as early as the 1700’s, critics were writing about Macbeth’s extraordinary change in character. William Richardson stated in 1743 that Macbeth begins the play as ‘valiant, dutiful to his sovereign, mild, gentle and ambitious without guilt’, and ends his journey as ‘false, disloyal, barbarous and vindictive’. Macbeth spends the first half of the play in moral contemplation, recoiling at the very thought of wrongdoing. In the second half of the play he is driven by violent matter-of-factness, as soon as a bloody thought comes into his head he acts on it, “Be it thought and done” (Act 4, Scene 1). Many believe Lady Macbeth’s insights into Macbeth’s character to be more trustworthy than that of other characters in the play, as she knows him intimately. She states that he is “too full of the milk of human kindness” to act maliciously, and that he could stare “the ornament of life” (Act 1, Scene 7) or the crown, in the face and still not seize it. However, we do see evidence that Macbeth is ambitious. On hearing of Malcolm’s ascension to be next in line for the throne, Macbeth lets the audience know of his “black and deep desires” (Act 1, Scene 4), and in his letter to Lady Macbeth we learn that he is not only “rapt in the wonder of it” (Act 1, Scene 5)

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but also “burned in desire.” (Act 1, Scene 5) We observe ambition in Macbeth, but his thoughts don’t transfer into actual plans. The idea of murdering King Duncan comes from Lady Macbeth and when faced with the actuality of it, Macbeth realises that he has “no spur to prick the sides of (his) intent” (Act 1, Scene 7), and that “vaulting ambition” is not a good enough motive for murder. Lady Macbeth challenges his love and his manhood, informs him that this act will make him “so much more the man” (Act 1, Scene 7) and even stirs up memories of a lost child. With this Macbeth is convinced to murder Duncan, though it is not clear which tactic of Lady Macbeth’s had the biggest impact on his decision. Macbeth immediately regrets killing King Duncan. Even prior to the act he hallucinates, “Is this a dagger which I see before me” (Act 2, Scene 1) and struggles to control his thoughts. After the murder he is instantly regretful and says that he will never sleep again. He dramatises the “sorry sight” (Act 2, Scene 2) of the blood on his hands as something “great Neptune’s oceans” cannot wash away, begins to hear voices and acts erratically, killing Duncan’s two guards without consulting his wife. Once crowned, Macbeth’s paranoia grows, “full of scorpions is my mind” (Act 3, Scene 2), and he becomes increasingly estranged from his wife, “be innocent of the knowledge dearest chuck” (Act 3, Scene 2). Behaviour that once seemed inconceivable to Macbeth, “I am afraid to think what I have done” (Act 2, Scene 2), becomes commonplace. He arranges the murders of his friend Banquo and Macduff’s wife and children. Macbeth can now suppress contemplation but his subconscious guilt starts to surface. It emerges in the vision of Banquo’s ghost, which sends Macbeth into a public display of guilt, madness, irrationality and a fear of losing his manhood: “Why so, being gone, I am a man again.” (Act 3, Scene 4) Macbeth’s increasing anxiety and disconnection from reality is highlighted by his return visit to the witches. He receives further prophecies, convinces himself that he is invincible, and his strength and confidence now lies in the witches’ riddle-like predictions. In his final demise Macbeth shows little humanity, yet at the same time all the humanity one can imagine. He cannot muster remorse for his actions or his wife’s death, yet poetically muses on the pointlessness of his existence: Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

Act 5, Scene 5

Macbeth can be thought of as an anti-hero, or as a tragic hero who falls at the hand of personal moral weaknesses. His fatal flaw is usually considered to be his ambition. Unlike Romeo, Othello or Brutus, Macbeth does not contemplate suicide when his situation is grim, in fact he rails against it: “Why should I play the Roman fool and die on mine own sword?” (Act 5, Scene 10). At the end of the play,

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Macbeth has lost everything except his sword and his military skill, and neither can protect him.

JULIET A rose by any other word would smell as sweet

Act 2, Scene 2

Juliet is the only daughter of Lord and Lady Capulet. She is just 13 when she is told by her mother that girls of her age must marry, as Lady Capulet did herself. Juliet is not interested in the idea of marriage at all – “It is an honour that I dream not of” (Act 1, Scene 3). Paris, an eligible suitor in Verona, would like to marry Juliet and while Juliet’s parents agree to the match, initially Capulet says Juliet is too young to marry – “Let two more summers wither in their pride, ere we may think her ripe to be a bride.” (Act 1, Scene 2) Lord Capulet agrees that Paris should woo Juliet and “get her heart”, and Lady Capulet asks that Juliet give Paris her consideration. Knowing little of love and marriage, Juliet tells her mother that she will try to love Paris if it will please them, but is not particularly interested in the idea of marriage at all. “I’ll look to like, if looking liking move; / But no more deep will I endart mine eye / Than your consent gives strength to make it fly.” (Act 1, Scene 3) However, at the Capulet ball, instead of giving attention to Paris, Juliet meets and falls for Romeo. Having not been interested in love until this point, Juliet easily slips into heightened romantic language with Romeo, and significantly, the young lovers’ first words to each other form a sonnet. They speak in religious metaphors, signifying the depth of their instant connection. Neither Romeo nor Juliet are aware of the other’s true identity when they meet, and certainly not that they are from rival families. Unlike Romeo, Juliet has no friends of her own age. Her closest ally is the Nurse who has known and cared for her since birth, and is the only person Juliet tells about her love for Romeo. Juliet is isolated and sheltered within the world of the Capulets. In the few days between meeting Romeo and her death, Juliet is transformed from child to woman. She questions the fickle nature of the Montague and Capulet feud, perhaps for the first time, and cannot understand why she cannot love someone simply because of a name. “What’s in a name? That which we call a rose / By any other word would smell as sweet.” (Act 2, Scene 2) Her secret marriage to Romeo forces her already distant relationship with her parents to worsen, and her independence begins to grow. Juliet severs her ties to the Nurse when she deserts her in Act 3. Juliet shows immense strength in response to her predicament and even manages to curse her lost bond with the Nurse, “Ancient damnation, O most wicked fiend” (Act 3, Scene 5). Juliet also bravely stands up to her father and mother when they arrange her marriage to Paris: Is there no pity sitting in the clouds That sees into the bottom of my grief?—

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O sweet my mother, cast me not away! Delay this marriage for a month, a week. Or, if you do not, make the bridal bed In that dim monument where Tybalt lies.

Act 3, Scene 5

When Juliet can no longer turn to the Nurse for help, she turns to the Friar. In seeking his help she shows how much she has transformed in such a short time - “Be not so long to speak. I long to die / If what thou speak’st speak not of remedy.” (Act 4, Scene 1) She is a determined woman, speaking her mind and showing her desperation, what she is prepared to do. Juliet also begins to show great maturity in her new relationship. She is able to criticise Romeo’s actions and decisions, while being profoundly in love with him. She keeps her wits about her and does not blindly follow Romeo after he kills Tybalt. She demonstrates immense courage, strength and willpower in her choices and actions. Juliet releases herself from her parents’ command by following the Friar’s plan, which will reunite her with Romeo in the Capulet tomb. Waking to find Romeo’s dead body, Juliet chooses the path of suicide, not out of loss and weakness, but out of intense love for Romeo.

FOOL The Fool is a fictional character based on a number of Shakespeare’s Fools. The Fool does not remember who they are, and is therefore without an identity. While Macbeth and Juliet grapple with their past lives in order to move forward, the Fool tries to define who they are by searching The Complete Works of William Shakespeare. They try on various Fool characters from the book, yet are never quite sure which one they are. Because the Fool has spent so much time with the Complete Works, their mind is riddled with Shakespeare quotes. This means that whenever the Fool opens their mouth, a line of Shakespeare usually comes out to suit any occasion. The Fool’s mind is so riddled with the voices of Shakespeare’s characters, that they can’t remember their own voice. In this way, the Fool is a bit like a chameleon, in that they can turn in an instant from witty wisecracks to serious and cutting remarks. As with many of Shakespeare’s Fools, the Fool can appear silly or dim-witted, but is actually the most intelligent character in the room. The Fool is a great observer of human behaviour and makes frequent comment on the behaviours and actions of Macbeth and Juliet. While Macbeth finds the Fool frustrating and beneath him, talking down to the Fool, Juliet befriends the Fool. She shows the Fool a kindness that they have, perhaps, never been shown by another person. The Fool has a brilliant mind for language and understands deeply how Shakespeare uses words to create character and meaning. While Macbeth and Juliet piece together their lives and past decisions, the Fool is able to explain to them how their

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language reflects or drives their actions. The Fool has a direct relationship with the audience and is the only character who speaks directly to us, pauses the action and comments on it. The Fool has a major turning point when they realise that they may not be a Fool at all, and that they could be any character in the Complete Works – a king, a queen, a soldier, a lover, the options are vast and overwhelming. They realise that whatever their character may be, they will only ever be someone else’s Fool, and never on their own individual path. As opposed to Macbeth and Juliet, the Fool does not leave the stage, and their journey towards identity will continue.

OTHER KEY ROMEO CHARACTERS Teach me how I should forget to think FEATURED IN Act 1, Scene 1 WORDS, WORDS, WORDS Romeo is the only son of Lord and Lady Montague. Today, the name ‘Romeo’ is synonymous with love and lovers. In the play, Romeo’s passion drives him to kill himself when he believes that Juliet is dead. It is the overwhelming power of Romeo’s love that clouds his character, making him far more complex than his peers. His intensity of emotion is reflected in his conviction and extreme actions throughout the play. Love compels him to steal into the Capulet garden to see Juliet, anger compels him to fight and to kill, and despair compels him to suicide. Romeo is a lover of women, a lover of poetry and a lover of love itself. However, he also philosophically struggles with love at the start of play, and the pain it causes him. He is not present at the opening family fight, and when informed of it he shows disapproval of the long-standing feud and even suggests that there is a fine line between love and hate, “Here’s much to do with hate, but more with love… O brawling love, O loving hate...” (Act 1, Scene 1). His love is by no means a simple or straightforward matter. At the beginning of the play, Romeo pines for Rosaline, “Out of her favour where I am in love” (Act 1, Scene 1), proclaims her beauty, “O, she is rich in beauty” (Act 1, Scene 1) and explains her lack of interest in him, “She is too fair, too wise, wisely too fair/ To merit bliss by making me despair” (Act 1, Scene 2). He continues in his outburst on love, and in proclaiming the extremities of his emotion, Romeo unwittingly foreshadows the tragic events of the final act, “Do I live dead, that live to tell it now.” (Act 1, Scene 1) Romeo’s love for Rosaline disappears the instant he sees Juliet, and he can’t help but express the immensity of his newfound feelings in ardent poetry, “Forswear it, sight! For I ne’er saw true beauty till this night.” (Act 1, Scene 5) Romeo’s love for poetry was present in his language in Act 1, Scene 1, however his manner of speech here could suggest his emotion is somewhat put on or artificial. He talks of love in a heightened, formal, distant manner and, most importantly, it is a love for someone we never even meet. Perhaps initially he is a self-indulgent and inexperienced teenager, but after meeting Juliet, he knows he has found something far greater, and that he has found his match. Juliet even compliments him, saying “You kiss by th’ book”, (Act 1, Scene 5). His love for Juliet develops beyond the mere crush he felt for Rosaline and Juliet’s clarity of observation challenges Romeo beyond superficial love, resulting in an intense passion. This is revealed through the development of his language later in the play, “O my love, my wife! Death, that hath

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sucked the honey of thy breath, hath had no power yet upon thy beauty.” (Act 5, Scene 3) Romeo has an extremely close relationship with the Friar, who acts as his guide and mentor and is much more present in Romeo’s life than his own parents. Romeo relies on the Friar’s trusted guidance throughout the play, until the final act when he takes life, and death, into his own hands. LADY MACBETH What’s done is done.

Act 3, Scene 2

Lady Macbeth is one of Shakespeare’s best-known and most complex female characters. She is strong, intelligent and clearly has a loving and trustworthy relationship with her husband, who intimately calls her his “dearest partner of greatness” (Act 1, Scene 5). In the opening act Macbeth not only shares all his dealings with her, but also allows her to take charge of their social progression: “leave all the rest to me” (Act 1, Scene 5). Lady Macbeth indicates that she has previously lost a child, “I have given suck, and know how tender ‘tis to love the babe that milks me” (Act 1, Scene 7), which brings up questions about past traumas in their relationship. She plots the murder of King Duncan with her husband and pushes him to continue with the deed despite his doubt and reluctance. In this patriarchal society of medieval Scotland, Lady Macbeth can only progress by attaching herself to the rise of her husband: there is no place for her to have ambitions of her own. After receiving Macbeth’s news of the witches’ prophecies and Duncan’s arrival, Lady Macbeth is quick to action. She immediately aligns herself with dark “spirits” and begs them to: “Unsex me here” (Act 1, Scene 4), wishing to shed all qualities traditionally thought of as feminine. John Bell notes, like many literary critics, that Lady Macbeth lacks imagination. She can see no other repercussions of their bloody deed than the social advancement that she desires. She sees only the practical, believes that “a little water” (Act 2, Scene 2) will wash the deed clean from their hands, and even suggests to Macbeth that he will be fine if he simply does not “think” on what he has done. The only sign of Lady Macbeth wavering from their goal, prior to the murder, is when she informs the audience that she would have killed King Duncan herself, but that he reminded her too much of her own father. Despite Lady Macbeth’s initial bravado, she does not manage to maintain her strength and composure. While Macbeth parlays his guilt into a string of brutal murders, Lady Macbeth’s guilt drives her into depression and madness. She is devastated by her husband’s cold distance from her and doesn’t feel content in her new position: “Nought’s had, all’s spent / Where our desire is got without content.” (Act 3, Scene 2) When we last see her she is sleepwalking through the castle, wiping imagined blood from her hands: “Out, damned spot! Out, I say!” (Act 5, Scene 1) This moment is the climax of her madness and her subsequent

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death is not seen on stage, but is reported to Macbeth by Seyton. Its absence from the text leaves the details of her death to the imagination of the audience.

HAMLET The time is out of joint: O cursed spite, That ever I was born to set it right!

Act 1, Scene 5

Hamlet is the young Prince of Denmark. At the opening of the play, he has returned home following the unexpected death of his father, the King. His mother, Gertrude has remarried with his uncle Claudius, making him the new King. Hamlet is visited by the ghost of his late father who informs him that Claudius was responsible for his death. Hamlet’s father tells him to avenge his murder, setting in motion a protracted journey of revenge, in which Hamlet questions life, death and life after death. Hamlet fulfils the archetypical roles of Renaissance Prince and revenging protagonist with such distinctiveness and complexity that centuries of individuals have felt as if he is speaking directly to, or even about them. This is in spite of the fact that, within the confines of the play, we never get to meet the person we might think of as the real Hamlet. That is, when the play begins his personality is already marred by grief and repressed anger, so the audience never has the opportunity to see who he was when he was full of hope for his life. Watching Hamlet is observing the emergence of the modern, fully intellectually and emotionally engaged human being. His identity as a student of Germany’s Wittenberg University is carefully defined by Shakespeare early in the play, laying the ground for the depth of his philosophical contemplation as the saga unfolds. Wittenberg was the seat of ‘humanist’ thought. The ‘humanist’ is optimistic that human understanding has endless scope and that the power of thought can be developed toward a full understanding of the purpose of life. Hamlet expands beyond the received wisdom of the humanist, however. He vigorously debates ethics, metaphysics and human behaviours throughout the play but it can be argued that he grows to reject humanism. He replaces his search for wisdom and insight with the thought that life in fact has no purpose, and an acceptance that death cannot be understood, only experienced. Hamlet’s great contradictions, such as his paralysis in revenging his father as opposed to his wild rashness at the ‘wrong’ moments, are what give the play its eternal appeal.

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SHAKESPEARE’S FOOLS

SHAKESPEARE’S Shakespeare’s audiences revered the role of the fool. Even at his most simplistic FOOLS and bumbling the fool was not only much loved, but also very closely scrutinised – in all his various iterations. And there were a few. The role and the style of Shakespeare’s fools changed throughout his career according to the actor in the role, and Shakespeare’s desire to innovate. Shakespeare’s first, and best-known comic actor was Will Kemp. Kemp was an extraordinarily gifted physical performer and a hit with audiences which made him incredibly valuable to the Lord Chamberlain’s Men. But Kemp, and therefore most of Shakespeare’s early fools, were more like bumbling clowns than insightful satirists. He was expert at performing pratfalls and physical transformations or humiliations. Early in his career Shakespeare created for Kemp clowns like Bottom from A Midsummer Night’s Dream, and Falstaff from Henry IV. And Kemp revelled in these roles. So much so that his performance in Henry IV prompted audiences to demand his return to the stage, prompting Shakespeare to write the first ever blockbuster spin-off, The Merry Wives of Windsor, simply as an excuse to allow Kemp to reprise his role as Falstaff. However, Kemp was also reputedly a bit too confident in his own celebrity. There are reports of a falling out between he and Shakespeare in the period around the writing of Hamlet, and there is a popular opinion that Hamlet’s criticism of “ambitious” clowns was a pointed rebuke of Kemp. Either way, Kemp partied ways with the Lord Chamberlain’s Men in 1599 and tried to cash in on his profile by staging various stunts and public performances. Sadly, outside the orbit of Shakespeare’s company, Kemp faded into obscurity. The departure of Kemp precipitated a change in the types of fools Shakespeare created. Kemp was succeeded at the Lord Chamberlain’s Men by Robert Armin. And where Kemp found comedy in his physical prowess, tumbling and bumbling about the stage, Armin took a much more verbal and intellectual approach to comedy. The fools Shakespeare wrote for Armin, sometimes called ‘allowed fools’, are often employed as court jesters. They are usually the wisest character in the play, and importantly they are allowed to speak truth to those in power without fear of retribution. Where another character might face severe punishment, even death, for highlighting the shortcomings of his superiors, the allowed fool has free rein. It was Armin who brought to life As You Like It’s Touchstone, the first of Shakespeare’s jesters, and this development continued through Feste in Twelfth Night and of course The Fool in King Lear. While still comical in many ways, these characters were certainly not laughable and could never be described as “bumbling.” Pratfalls gave way to cunning jests and stinging satirical barbs, but they also displayed a much more melancholy disposition. Through their world-weariness and cynicism they cultivated an almost other worldly insight into the corruption and poor judgement of the ruling class, and indeed humanity in general.

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SELECTED FOOLS IN SHAKESPEARE’S PLAYS Early fools (1589–1598) Dromio of Ephesus & Dromio of Syracuse – The Comedy of Errors Launce – The Two Gentlemen of Verona Peter – Romeo and Juliet Bottom – A Midsummer Night’s Dream Costard – Love’s Labours Lost Launcelot Gobbo – The Merchant of Venice Falstaff – Henry IV Parts 1 & 2/The Merry Wives of Windsor Dogberry – Much Ado About Nothing

Late fools (1599–1613) Touchstone – As You Like It Feste – Twelfth Night Lavache – All’s Well That Ends Well Pompey – Measure for Measure The Fool – King Lear The Porter – Macbeth Autolycus – The Winter’s Tale Trinculo – The Tempest

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SHAKESPEARE’S A snapshots of Fools across Shakespeare’s canon in Bell Shakespeare productions. FOOLS IN PRODUCTION

The Fool (Peter Carroll) and King Lear (John Bell) in King Lear, 2010 (dir. Marion Potts) © Wendy McDougall

Bottom (Owen Little) in A Midsummer Night’s Dream, 2016 (dir. James Evans) © Prudence Upton

Dogberry (Max Gillies) in Much Ado About Nothing, 2011 (dir. John Bell) © Wendy McDougall

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Feste (Max Cullen) in Twelfth Night, 2010 (dir. Lee Lewis) © Brett Boardman

Touchstone (Gareth Davies) and Jaques (John Bell) in As You Like It, 2015 (dir. Peter Evans) © Rush

Falstaff (John Bell) in Henry IV Part 1 and 2, 2013 (dir. John Bell) © Lisa Tomasetti

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Trinculo (Arky Michael) in The Tempest, 2015 (dir. John Bell) © Prudence Upton

The Clown (Darren Gilshenan) in Antony and Cleopatra, 2001 (dir. John Bell) © Heidrun Löhr

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COMMON PHRASES IN SHAKESPEARE’S PLAYS

COMMON Shakespeare’s language has had such an impact on the English language PHRASES IN that many phrases from his plays have become part of our common speech. SHAKESPEARE’S Newspaper headlines regularly feature Shakespeare quotes. Regular conversations PLAYS include quotes from Shakespeare plays. In fact, Shakespeare is often quoted without the speaker even realising. Here is a list of phrases that appear in Shakespeare’s plays and that are commonly spoken today. There are many more! A wild goose chase

Romeo and Juliet I have been in such a pickle

The Tempest I must be cruel, only to be kind

Hamlet Laugh oneself into stitches

Twelfth Night For goodness’ sake

Henry VIII Neither here nor there

Othello One fell swoop

Macbeth The be-all and the end-all

Macbeth Mum’s the word

Henry VI, Part II All that glisters is not gold

The Merchant of Venice Eaten out of house and home

Henry IV, Part II Knock knock! Who’s there?

Macbeth With bated breath

The Merchant of Venice In my heart of hearts

Hamlet Too much of a good thing

As You Like It

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It’s Greek to me

Julius Caesar A heart of gold

Henry V Break the ice

The Taming of the Shrew We are such stuff as dreams are made on

The Tempest Lie low

Much Ado About Nothing I will wear my heart upon my sleeve

Othello Made of sterner stuff

Julius Caesar Dead as a doornail

Henry VI, Part II Not slept one wink

Cymbeline Foregone conclusion

Othello The world’s mine oyster

The Merry Wives of Windsor Naked truth

Love’s La b o ur’s Lo st Faint-hearted

Henry VI, Part I Send him packing

Henry IV Melted into thin air

The Tempest Own flesh and blood

Hamlet Truth will out

The Merchant of Venice Give the devil his due

Henry IV, Part I

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Though this be madness, yet there is method in’t

Hamlet Salad days

Antony and Cleopatra Spotless reputation

Richard II Full circle

King Lear All of a sudden

The Taming of the Shrew Come what, come may

Macbeth Neither rhyme nor reason

The Comedy of Errors

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LANGUAGE TECHNIQUES FEATURED IN WORDS, WORDS, WORDS

L ANGUAGE ANAPHORA TECHNIQUES The deliberate repetition of words or sequences of words at the beginning of lines FEATURED IN or phrases for effect. As well as emphasising ideas, the rhythm of anaphora makes WORDS, WORDS, the words memorable and signals that the character speaking is intent on their point WORDS being heard. Example: JULIET Well, do not swear: although I joy in thee, I have no joy of this contract tonight: It is too rash, too unadvised, too sudden; Too like the lightning, which doth cease to be Ere one can say ‘It lightens.’

Romeo and Juliet, Act 2, Scene 2

Juliet uses anaphora in explaining to Romeo the reasons why they should not pursue their relationship and organise a swift marriage. The hard consonant ‘T’ sound and repetition of “too” creates a listing effect, and a stark contrast to the heightened romance of their language for the majority of the scene.

ANTITHESIS A device in which two opposite things or ideas are placed side by side for contrasting effect. Shakespeare used antithesis extensively in his plays, especially in soliloquies. Placing these opposites in close proximity to each other emphasises their difference and is reflective of the tensions and complexities within the plays and characters. Examples: WITCHES Fair is foul, and foul is fair.

Macbeth, Act 1, Scene 1

HAMLET To be, or not to be, that is the question

Hamlet, Act 3, Scene 1

ASIDE A remark or comment directed to the audience by a character, that is not heard by any other character on stage. An aside is usually an unspoken thought or comment on the action, that a character could not or would not voice in front of other characters.

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Example: KING CLAUDIUS But now, my cousin Hamlet, and my son,-- HAMLET [Aside] A little more than kin, and less than kind.

Hamlet, Act 1, Scene 2

Hamlet’s aside instantly establishes a connection with the audience that will continue for the duration of the play, as well as giving insight to his true feelings towards his uncle that he cannot show openly.

DRAMATIC IRONY A device in which the audience’s understanding or knowledge surpasses that of the character or characters on stage. Shakespeare employs the device throughout his plays for different effect. Examples: In comedy, dramatic irony may be used for humorous effect. For example, in A Midsummer Night’s Dream we know that the young lovers have been put under a spell, yet they do not. Their confusion provides great amusement for the audience. In tragedy however, the effect of dramatic irony can be heartbreaking for the audience. For example, at the end of Romeo and Juliet, the audience knows that Juliet is in fact alive when Romeo believes she is dead. In Othello, the audience is forced to watch Iago convince Othello that his wife, Desdemona, is unfaithful even though we know she is not. Shakespeare understood very well the impact of dramatic irony for an audience, in that while we have the information, we cannot inform the characters or change their fate in any way.

IAMBIC PENTAMETER The most common form of verse that Shakespeare used to write his plays. Iambic pentameter translates to the ‘rhythm of five iambs.’ An iamb is a unit of two syllables – one soft, one strong – and sounds similar to a heartbeat. Words that are iambs include begin, hello, goodbye, because, delay, and away. In speaking the iamb, the emphasis is naturally on the second syllable, not the first. Each line of iambic pentameter is ten syllables long, and rhythmically sounds like: Duh duh, duh duh, duh duh, duh duh, duh duh. Examples: ROMEO But soft, what light through yonder window breaks?

Romeo and Juliet, Act 2 Scene 2

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RICHARD III Now is the winter of our discontent

Richard III, Act 1, Scene 1

ORSINO If music be the food of love play on

Twelfth Night, Act 1, Scene 1

The rhythm of iambic pentameter helps us make sense of the words the characters speak, with important syllables stressed. When characters speak regular iambic pentameter, as in the examples above, we know that they are clear-headed and intentioned. However, Shakespeare breaks his own rules in iambic pentameter for deliberate effect, to reflect a character’s state of mind. For example, Hamlet’s often irregular iambic pentameter: HAMLET To be, or not to be, that is the question Whether ‘tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles,

H a m let, Act 3, Scene 1

The first four lines have eleven syllables, giving each line an extra beat, sometimes referred to as a ‘weak’ ending. The rest of Hamlet’s speech is uneven, with lines of varied syllables. In this soliloquy Hamlet is uncertain, conflicted and unsure of his next move and the meter reflects this. It sounds off-kilter to the audience. Contrast this with Romeo’s clear, regular meter when he sees Juliet at her window. In this way, Shakespeare uses meter and verse in the place of stage directions and gives us insight into character state of mind.

IMAGERY Using figurative language to describe or represent feelings, thoughts, experiences or things, commonly visual images. Shakespeare was a master of imagery, creating vivid visual images in the mind of his audience through words, particularly in his tragedies. Often, Shakespeare uses repetition of imagery, such as in Macbeth where images of blood abound, long after the literal blood has been spilled. This amplifies Macbeth’s dark deeds and emphasises Macbeth and Lady Macbeth’s feelings of guilt.

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Examples: MACBETH I am in blood Stepp’d in so far, that should I wade no more, Returning were as tedious as go o’er.

Macbeth, Act 3, Scene 4

MACBETH Will all great Neptune’s ocean wash this blood Clean from my hand? No, this my hand will rather The multitudinous seas incarnadine, Making the green one red.

Macbeth, Act 2, Scene 2

LADY MACBETH Here’s the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh!

Macbeth, Act 5, Scene 1

SOLILOQUY A speech by a character that is shared only with the audience, and no other character on stage. The character may be talking to themselves, or talking directly to the audience, though the effect is a shared private moment with the audience. In a soliloquy, a character will often share their true feelings and intentions, or thoughts and concerns that they have not shared with any other characters. In some cases, characters may witness a soliloquy though the speaker does not know they are in earshot, such as Juliet’s soliloquy at her window that is overheard by Romeo. Examples: MACBETH Is this a dagger which I see before me, The handle toward my hand? Come, let me clutch thee. I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible

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To feeling as to sight? Or art thou but A dagger of the mind, a false creation, Proceeding from the heat-oppressed brain?

Macbeth, Act 2, Scene 1

JULIET Come, night; come, Romeo; come, thou day in night; For thou wilt lie upon the wings of night Whiter than new snow on a raven’s back. Come, gentle night, come, loving, black-brow’d night, Give me my Romeo; and, when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun.

Romeo and Juliet, Act 3, Scene 2

SONNET A sonnet is a poem consisting of fourteen lines, written with a specific rhyme scheme and structure. Shakespeare wrote sonnets in iambic pentameter, so that each line has ten syllables. The first twelve lines of a sonnet are divided into three quatrains of four lines each. The final two lines of the sonnet takes the form of a rhyming couplet. The rhyme scheme followed for the three quatrains and couplet is abab-cdcd-efef-gg. In a sonnet, the writer presents and explores an argument, theme or problem in the opening three quatrains, and then resolves the argument quickly in the final couplet. Shakespeare wrote 154 sonnets, but the form originated in 13th century Italy and has been used by writers throughout history. Sonnet writing continues to be popular to this day. Examples: SONNET 130 My mistress’ eyes are nothing like the sun; Coral is far more red than her lips’ red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head.

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I have seen roses damask’d, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground: And yet, by heaven, I think my love as rare As any she belied with false compare. Interestingly, when Romeo and Juliet first meet, their first lines to each other form a sonnet. There are fourteen lines exactly from first words to first kiss. We can infer what Shakespeare meant by doing this, but we can assume that it is a deliberate technique. The two lovers speaking instantly to each other in quite a difficult, very romantic verse structure, signals that their love and their meeting is significant. ROMEO [To JULIET] If I profane with my unworthiest hand This holy shrine, the gentle sin is this: My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. JULIET Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this; For saints have hands that pilgrims’ hands do touch, And palm to palm is holy palmers’ kiss. ROMEO Have not saints lips, and holy palmers too? JULIET Ay, pilgrim, lips that they must use in prayer. ROMEO O, then, dear saint, let lips do what hands do;

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They pray, grant thou, lest faith turn to despair. JULIET Saints do not move, though grant for prayers’ sake. ROMEO Then move not, while my prayer’s effect I take.

Romeo and Juliet, Act 1, Scene 5

STICHOMYTHIA Dialogue in which a single line spoken by one character is answered by another character’s line that plays off the language of the first. Stichomythia is true wordplay, as if a tennis match with words. One character will serve a line of dialogue to another character who returns a similar line of text, with some pointed changes. Antithesis is used within stichomythia frequently, providing counterpoints between two characters and their argument. Examples: HERMIA I frown upon him, yet he loves me still. HELENA O that your frowns would teach my smiles such skill! HERMIA I give him curses, yet he gives me love. HELENA O that my prayers could such affection move! HERMIA The more I hate, the more he follows me. HELENA The more I love, the more he hateth me.

A Midsummer Night’s Dream, Act 1, Scene 1

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QUEEN GERTRUDE Hamlet, thou hast thy father much offended. HAMLET Mother, you have my father much offended. QUEEN GERTRUDE Come, come, you answer with an idle tongue. HAMLET Go, go, you question with a wicked tongue.

Hamlet, Act 3, Scene 4

SYMBOLISM A device in which symbols are used to represent ideas or qualities, beyond an object’s literal meaning. For example, the way an image of a heart symbolises love, or an image of a dove can symbolise peace. In this way, symbolism requires the audience to make the connection between the literal object and the meaning it conveys. Shakespeare used symbolism frequently to convey deeper meaning and ideas, making it a more sophisticated technique than merely describing something. Examples: MACBETH Is this a dagger which I see before me, The handle toward my hand? Come, let me clutch thee. I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible To feeling as to sight? Or art thou but A dagger of the mind, a false creation, Proceeding from the heat-oppressed brain?

Macbeth, Act 2, Scene 1

The dagger is a key symbol used by Shakespeare, in demonstrating Macbeth’s spiralling state of mind before he murders King Duncan. In this soliloquy, the dagger symbolises many things, be it the actual act of murder, guilt, Macbeth’s conscience, fear, fate or other ideas. The audience will infer their own meaning on the symbol, and therefore symbolism is open to interpretation.

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ROMEO AND JULIET SYNOPSIS

ROMEO AND There is a violent brawl on the streets of Verona, arising from the long-simmering JULIET tension between two noble families, the Montagues and the Capulets. Tired of SYNOPSIS seeing them endanger the populace, Prince Escalus bans further confrontation on pain of death. The young heir of the Montague family, Romeo, cares little for all this. He is obsessed with his love for a girl called Rosaline who will have nothing to do with him. His cousin Benvolio and friend Mercutio attempt to cheer him up. They encounter a servant of the Capulet household who unwittingly shows them an invitation to a masquerade ball at the Capulet house that night. When they read that Rosaline is attending the party, Benvolio and Mercutio suggest they all attend the party in disguise. They tell Romeo that he can then compare Rosaline with other young women, and discover there are many more women in the world to desire. Romeo doesn’t want to attend at first as he has had a foreboding dream, but Mercutio cleverly makes light of his fears and Romeo decides to go. At the Capulet household, Paris, a young relative of the Prince and an eligible bachelor, expresses interest in marrying the Capulet’s only child, Juliet. Juliet’s father, Lord Capulet, shows Paris respect, but expresses that he feels Juliet is too young to marry just yet – she is only 13. However, he tells Paris to woo Juliet and invites him to meet her at the party. Juliet’s mother, Lady Capulet, approves of the union, and she and Juliet’s Nurse tell Juliet about Paris’ intentions and plan for marriage. They encourage her to meet Paris at the party and see what she thinks of him. Juliet does not show interest in Paris or the idea of marriage at all, but promises to give Paris a chance, with her parent’s approval. At the ball, Romeo and Juliet see each other for the first time. They feel an instant attraction, share witty banter and have their first kiss, before even finding out who the other is. It is only later that they find that they are from rival families. Juliet’s cousin Tybalt recognises Romeo and is enraged that a Montague is at the Capulet party, but Lord Capulet forbids Tybalt from causing trouble and disrupting the party. Later, Romeo sneaks back into the Capulet grounds and overhears Juliet, at her window, declaring her love for him. Romeo jumps out of his hiding spot and declares his love for her as well. They decide to marry the next day. Romeo and Juliet are married in secret by their friend and adviser, Friar Lawrence. Juliet’s Nurse is the only other person who knows about their union. Later that afternoon, Romeo encounters Tybalt, who is still furious that Romeo was at the party and tries to pick a fight with him. When Romeo refuses to fight, secretly protecting his new wife, this angers Tybalt. Mercutio fights with Tybalt on Romeo’s behalf, and is killed. Enraged by the death of his friend, Romeo kills Tybalt. The Prince then banishes Romeo to Mantua, and says that he must never return to Verona again. Unaware of this, Juliet prepares to receive Romeo in her room for their wedding night. Friar Lawrence instils courage in the broken Romeo and tells him he should spend the night with Juliet, and escape to Mantua at dawn, where he will arrange for Juliet to follow. The Friar hopes that they may then start a new life together, away from Verona and the feuding families. The Nurse tells Juliet about Tybalt

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and Mercutio’s death, and Romeo’s banishment. Romeo and Juliet spend the night together, before he leaves early in the morning for Mantua. Juliet is distraught, and her parents mistake her weeping for Romeo for grief about Tybalt’s death. To bring her some joy, Lord Capulet decides to arrange Juliet’s immediate marriage to Paris. Juliet reacts in disbelief and anger, appealing to her father and mother to delay the wedding. Lord Capulet violently threatens to disown his daughter if she does not agree to the marriage. Juliet asks the Nurse for her advice, and she tells Juliet to marry Paris and forget Romeo. Determined to find another option, Juliet turns to Friar Lawrence. He gives her a potion to drink that will make her appear dead for 42 hours. He promises to send word to Romeo in Mantua to come and fetch her from the Capulet vault, where her family will lay her. Juliet drinks the potion and, believed dead by her family, is placed in the Capulet vault. But the Friar’s messenger fails to reach Romeo, who hears only that Juliet is dead. He visits an Apothecary to collect a poison so that he can return to Verona and die beside Juliet. Romeo travels by night to the Capulet tomb where he encounters Paris, who is mourning for Juliet. They fight and Paris is killed. Romeo breaks into the Capulet vault and sees Juliet, believing her dead. He drinks the poison and dies beside her. The Friar, who has discovered that his letter did not reach Romeo, hastens to rescue Juliet, who wakes as he enters. He tells her what has happened and that Romeo has killed himself. The Friar urges Juliet to leave with him, but she will not leave Romeo. Friar Lawrence flees. Wanting only to follow Romeo, Juliet stabs herself with his dagger and dies. The Prince arrives with the Montague and Capulet families where they find Romeo and Juliet dead. The Friar explains what has happened. The families finally realise the devastating impact of their generational war and prejudice, and the Montagues and Capulets say they will reconcile, once and for all.

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MACBETH SYNOPSIS

MACBETH Three witches meet on a heath, and plan an encounter with Macbeth, the Thane SYNOPSIS of Glamis, a Scottish general. Meanwhile, a captain reports to King Duncan that the Scottish forces have been victorious. He reports that Macbeth has fought valiantly and the Thane of Cawdor, one of the King’s men, has been named a traitor. Returning from war, Macbeth and Banquo are confronted by the witches who strangely predict that Macbeth will be promoted to Thane of Cawdor, and will one day become king. They also forecast that Banquo will be father to a line of kings. The witches disappear and the lords Ross and Angus arrive to inform Macbeth that he has been granted the title Thane of Cawdor, just as the witches predicted. Macbeth then contemplates the idea of becoming King. King Duncan greets Macbeth and Banquo with praise and tells Macbeth that he plans to visit Macbeth’s castle. To Macbeth’s dismay, Duncan honours his son Malcolm as the Prince of Cumberland, the next in line to the throne. Macbeth writes a letter to his wife, Lady Macbeth, informing her of what has happened, including the witches’ prophecies. On reading the letter and receiving news that the King is visiting their castle, she immediately envisages winning the crown for her husband through foul play. Lady Macbeth summons dark spirits to aid her carry out her plan and when her husband arrives she informs him of her idea to murder King Duncan. Macbeth is hesitant but agrees to the plan. Duncan arrives and Macbeth informs his wife that he will not go through with the murder. She challenges his loyalty, love and manhood, eventually convincing him to proceed. They plan to frame the guards for the murder. After midnight, Macbeth converses awkwardly with Banquo, then alone, hallucinates that a bloody dagger appears before him leading him to Duncan’s chamber. Macbeth overcomes his reluctance and doubts, and kills King Duncan, returning to his wife with the bloodied daggers. He is already hearing voices and regretting his actions. Lady Macbeth begrudgingly takes the daggers and plants them on Duncan’s sleeping guards, bloodying her own hands. The couple retire to bed and are disturbed by knocking at the castle gates. In the morning, Macduff arrives, has a brief exchange with the porter (doorman) and enters the castle to discover King Duncan is dead. He wakes everyone to alert them of the murder, and Macbeth and Lady Macbeth feign surprise. The King’s sons, Malcolm and Donalbain, fear they will be blamed for their father’s death and flee abroad. Soon after, Ross and Macduff reflect on what has happened and Macduff reports that Macbeth has been named the new King of Scotland. Even though Macbeth has gained the crown, he is plagued by the thoughts of losing it. He recalls the witches’ prophecy about Banquo’s children becoming kings. He arranges two murderers to kill Banquo and Banquo’s son, Fleance. Macbeth partially informs his wife of this but is beginning to hold back information from her. Banquo is killed but Fleance escapes. At dinner that night, Macbeth is visited by Banquo’s ghost and reacts to the vision in front of his guests with terror. He decides to return to the witches to learn more about his fate. The witches tell Macbeth that he should fear Macduff, that no man of woman born can harm him, and that he will never be defeated until Birnam Wood comes

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to his castle at Dunsinane. They also show him a line of eight kings descended from Banquo’s family. Lennox and another Lord discuss that Macduff has gone to England to convince Malcolm to join arms with him. They inform Macbeth that Macduff has fled to England and Macbeth plots an attack on Macduff’s family in revenge. Whilst lamenting that her husband has deserted her, Lady Macduff and her children are attacked and killed by Macbeth’s hired villains. In England, Macduff and Malcolm agree to fight together against Macbeth, forming a rebel army. Ross arrives and delivers the devastating news that Macduff’s entire family is dead. Back in Scotland, Lady Macbeth’s gentlewoman brings a doctor to observe her distracted sleepwalking. She is mentally unwell, imagines that she cannot cleanse her hands of Duncan’s blood and reveals information about the various murders. The Scottish nobles gather. Malcolm orders his men to camouflage themselves with tree branches to disguise their numbers for the attack, giving the appearance of Birnam Wood marching towards Dunsinane. Macbeth is told by a servant that Lady Macbeth has died, yet he is too distracted to even register her death. Despite the numbers turning against him, Macbeth continues to believe he is invincible. The rebel army storms Macbeth’s castle. Macduff confronts Macbeth and informs him that he was not naturally ‘born of a woman’ but by caesarean, fulfilling the witches’ final prophecy. Macduff kills Macbeth and presents his severed head to Malcolm, who is proclaimed King Of Scotland.

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TEXT FEATURED IN WORDS, WORDS, WORDS

AS YOU LIKE IT DUKE SENIOR I think he be transform’d into a beast; Jaques For I can no where find him like a man. Act 2, Scene 7 First Lord My lord, he is but even now gone hence: Here was he merry, hearing of a song. DUKE SENIOR If he, compact of jars, grow musical, We shall have shortly discord in the spheres. Go, seek him: tell him I would speak with him. Enter JAQUES First Lord He saves my labour by his own approach. DUKE SENIOR Why, how now, monsieur! what a life is this, That your poor friends must woo your company? What, you look merrily! JAQUES A fool, a fool! I met a fool i’ the forest, A motley fool; a miserable world! As I do live by food, I met a fool Who laid him down and bask’d him in the sun, And rail’d on Lady Fortune in good terms, In good set terms and yet a motley fool. ‘Good morrow, fool,’ quoth I. ‘No, sir,’ quoth he, ‘Call me not fool till heaven hath sent me fortune:’ And then he drew a dial from his poke, And, looking on it with lack-lustre eye, Says very wisely, ‘It is ten o’clock: Thus we may see,’ quoth he, ‘how the world wags: ‘Tis but an hour ago since it was nine, And after one hour more ‘twill be eleven; And so, from hour to hour, we ripe and ripe, And then, from hour to hour, we rot and rot; And thereby hangs a tale.’ When I did hear The motley fool thus moral on the time, My lungs began to crow like chanticleer, That fools should be so deep-contemplative, And I did laugh sans intermission An hour by his dial. O noble fool! A worthy fool! Motley’s the only wear. DUKE SENIOR What fool is this? JAQUES O worthy fool! One that hath been a courtier, And says, if ladies be but young and fair, They have the gift to know it: and in his brain, Which is as dry as the remainder biscuit After a voyage, he hath strange places cramm’d With observation, the which he vents In mangled forms. O that I were a fool!

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ROMEO AND ROMEO [To JULIET] If I profane with my unworthiest hand JULIET This holy shrine, the gentle sin is this: Romeo, Juliet My lips, two blushing pilgrims, ready stand Act 1, Scene 5 To smooth that rough touch with a tender kiss. JULIET Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this; For saints have hands that pilgrims’ hands do touch, And palm to palm is holy palmers’ kiss. ROMEO Have not saints lips, and holy palmers too? JULIET Ay, pilgrim, lips that they must use in prayer. ROMEO O, then, dear saint, let lips do what hands do; They pray, grant thou, lest faith turn to despair. JULIET Saints do not move, though grant for prayers’ sake. ROMEO Then move not, while my prayer’s effect I take. Thus from my lips, by yours, my sin is purged. JULIET Then have my lips the sin that they have took. ROMEO Sin from thy lips? O trespass sweetly urged! Give me my sin again. JULIET You kiss by the book. Nurse Madam, your mother craves a word with you. ROMEO What is her mother? Nurse Marry, bachelor, Her mother is the lady of the house, And a good lady, and a wise and virtuous I nursed her daughter, that you talk’d withal; I tell you, he that can lay hold of her Shall have the chinks. ROMEO Is she a Capulet? O dear account! my life is my foe’s debt. BENVOLIO Away, begone; the sport is at the best. ROMEO Ay, so I fear; the more is my unrest.

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MACBETH DUNCAN My plenteous joys, Macbeth Wanton in fulness, seek to hide themselves Act 1, Scene 4 In drops of sorrow. Sons, kinsmen, thanes, And you whose places are the nearest, know We will establish our estate upon Our eldest, Malcolm, whom we name hereafter The Prince of Cumberland; which honour must Not unaccompanied invest him only, But signs of nobleness, like stars, shall shine On all deservers. From hence to Inverness, And bind us further to you. MACBETH The rest is labour, which is not used for you: I’ll be myself the harbinger and make joyful The hearing of my wife with your approach; So humbly take my leave. DUNCAN My worthy Cawdor! MACBETH [Aside] The Prince of Cumberland! that is a step On which I must fall down, or else o’erleap, For in my way it lies. Stars, hide your fires; Let not light see my black and deep desires: The eye wink at the hand; yet let that be, Which the eye fears, when it is done, to see. Exit DUNCAN True, worthy Banquo; he is full so valiant, And in his commendations I am fed; It is a banquet to me. Let’s after him, Whose care is gone before to bid us welcome: It is a peerless kinsman.

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ROMEO AND ROMEO He jests at scars that never felt a wound. JULIET JULIET appears above at a window Romeo, Juliet Act 2, Scene 2 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.

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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.

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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 tonight 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 tonight: It is too rash, too unadvised, too sudden;

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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 tonight? 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 ROMEO O blessed, blessed night! I am afeard. Being in night, all this is but a dream, Too flattering-sweet to be substantial.

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MACBETH LADY Macbeth, MACBETH The raven himself is hoarse Lady Macbeth That croaks the fatal entrance of Duncan Act 2, Scene 2 Under my battlements. Come, you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top-full Of direst cruelty! make thick my blood; Stop up the access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose, nor keep peace between The effect and it! Come to my woman’s breasts, And take my milk for gall, you murdering ministers, Wherever in your sightless substances You wait on nature’s mischief! Come, thick night, And pall thee in the dunnest smoke of hell, That my keen knife see not the wound it makes, Nor heaven peep through the blanket of the dark, To cry ‘Hold, hold!’ Enter MACBETH Great Glamis! worthy Cawdor! Greater than both, by the all-hail hereafter! Thy letters have transported me beyond This ignorant present, and I feel now The future in the instant. MACBETH My dearest love, Duncan comes here tonight. LADY MACBETH And when goes hence? MACBETH Tomorrow, as he purposes. LADY MACBETH O, never Shall sun that morrow see! Your face, my thane, is as a book where men May read strange matters. To beguile the time, Look like the time; bear welcome in your eye, Your hand, your tongue: look like the innocent flower, But be the serpent under’t. He that’s coming Must be provided for: and you shall put This night’s great business into my dispatch; Which shall to all our nights and days to come Give solely sovereign sway and masterdom.

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MACBETH We will speak further. LADY MACBETH Only look up clear; To alter favour ever is to fear: Leave all the rest to me.

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MACBETH MACBETH If it were done when ‘tis done, then ‘twere well Macbeth It were done quickly: if the assassination Act 1, Scene 7 Could trammel up the consequence, and catch With his surcease success; that but this blow Might be the be-all and the end-all here, But here, upon this bank and shoal of time, We’d jump the life to come. But in these cases We still have judgment here; that we but teach Bloody instructions, which, being taught, return To plague the inventor: He’s here in double trust; First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself. Besides, this Duncan Hath borne his faculties so meek, hath been So clear in his great office, that his virtues Will plead like angels, trumpet-tongued, against The deep damnation of his taking-off; And pity, like a naked new-born babe, Striding the blast, or heaven’s cherubim, horsed Upon the sightless couriers of the air, Shall blow the horrid deed in every eye, That tears shall drown the wind. I have no spur To prick the sides of my intent, but only Vaulting ambition, which o’erleaps itself And falls on the other.

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MACBETH MACBETH Is this a dagger which I see before me, Macbeth The handle toward my hand? Come, let me clutch thee. Act 1, Scene 7 I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible To feeling as to sight? or art thou but A dagger of the mind, a false creation, Proceeding from the heat-oppressed brain? I see thee yet, in form as palpable As this which now I draw. Thou marshall’st me the way that I was going; And such an instrument I was to use. Mine eyes are made the fools o’ the other senses, Or else worth all the rest; I see thee still, And on thy blade and dudgeon gouts of blood, Which was not so before. There’s no such thing: It is the bloody business which informs Thus to mine eyes. Now o’er the one halfworld Nature seems dead, and wicked dreams abuse The curtain’d sleep; witchcraft celebrates Pale Hecate’s offerings, and wither’d murder, Alarum’d by his sentinel, the wolf, Whose howl’s his watch, thus with his stealthy pace. With Tarquin’s ravishing strides, towards his design Moves like a ghost. Thou sure and firm-set earth, Hear not my steps, which way they walk, for fear Thy very stones prate of my whereabout, And take the present horror from the time, Which now suits with it. Whiles I threat, he lives: Words to the heat of deeds too cold breath gives. A bell rings I go, and it is done; the bell invites me. Hear it not, Duncan; for it is a knell That summons thee to heaven or to hell.

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HAMLET Enter QUEEN GERTRUDE and POLONIUS Hamlet, Gertrude LORD Act 3, Scene 4 POLONIUS He will come straight. Look you lay home to him: Tell him his pranks have been too broad to bear with, And that your grace hath screen’d and stood between Much heat and him. I’ll sconce me even here. Pray you, be round with him. HAMLET [Within] Mother, mother, mother! QUEEN GERTRUDE I’ll warrant you, Fear me not: withdraw, I hear him coming. POLONIUS hides behind the arras Enter HAMLET HAMLET Now, mother, what’s the matter? QUEEN GERTRUDE Hamlet, thou hast thy father much offended. HAMLET Mother, you have my father much offended. QUEEN GERTRUDE Come, come, you answer with an idle tongue. HAMLET Go, go, you question with a wicked tongue. QUEEN GERTRUDE Why, how now, Hamlet! HAMLET What’s the matter now? QUEEN GERTRUDE Have you forgot me? HAMLET No, by the rood, not so: You are the queen, your husband’s brother’s wife; And--would it were not so!--you are my mother.

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MACBETH LADY Macbeth, Lady Macbeth MACBETH That which hath made them drunk hath made me bold; Act 2, Scene 2 What hath quench’d them hath given me fire. Hark! Peace! It was the owl that shriek’d, the fatal bellman, Which gives the stern’st good-night. He is about it: The doors are open; and the surfeited grooms Do mock their charge with snores: I have drugg’d their possets, That death and nature do contend about them, Whether they live or die. MACBETH [Within] Who’s there? what, ho! LADY MACBETH Alack, I am afraid they have awaked, And ‘tis not done. The attempt and not the deed Confounds us. Hark! I laid their daggers ready; He could not miss ‘em. Had he not resembled My father as he slept, I had done’t. Enter MACBETH My husband! MACBETH I have done the deed. Didst thou not hear a noise? LADY MACBETH I heard the owl scream and the crickets cry. Did not you speak? MACBETH When? LADY MACBETH Now. MACBETH As I descended? LADY MACBETH Ay. MACBETH Hark! Who lies i’ the second chamber? LADY MACBETH Donalbain. MACBETH This is a sorry sight. Looking on his hands LADY MACBETH A foolish thought, to say a sorry sight.

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MACBETH There’s one did laugh in’s sleep, and one cried ‘Murder!’ That they did wake each other: I stood and heard them: But they did say their prayers, and address’d them Again to sleep. LADY MACBETH There are two lodged together. MACBETH One cried ‘God bless us!’ and ‘Amen’ the other; As they had seen me with these hangman’s hands. Listening their fear, I could not say ‘Amen,’ When they did say ‘God bless us!’ LADY MACBETH Consider it not so deeply. MACBETH But wherefore could not I pronounce ‘Amen’? I had most need of blessing, and ‘Amen’ Stuck in my throat. LADY MACBETH These deeds must not be thought After these ways; so, it will make us mad. MACBETH Methought I heard a voice cry ‘Sleep no more! Macbeth does murder sleep’, the innocent sleep, Sleep that knits up the ravell’d sleeve of care, The death of each day’s life, sore labour’s bath, Balm of hurt minds, great nature’s second course, Chief nourisher in life’s feast,-- LADY MACBETH What do you mean? MACBETH Still it cried ‘Sleep no more!’ to all the house: ‘Glamis hath murder’d sleep, and therefore Cawdor Shall sleep no more; Macbeth shall sleep no more.’ LADY MACBETH Who was it that thus cried? Why, worthy thane, You do unbend your noble strength, to think So brainsickly of things. Go get some water, And wash this filthy witness from your hand. Why did you bring these daggers from the place? They must lie there: go carry them; and smear The sleepy grooms with blood. MACBETH I’ll go no more: I am afraid to think what I have done; Look on’t again I dare not.

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LADY MACBETH Infirm of purpose! Give me the daggers: the sleeping and the dead Are but as pictures: ‘tis the eye of childhood That fears a painted devil. If he do bleed, I’ll gild the faces of the grooms withal; For it must seem their guilt. Exit. Knocking within MACBETH Whence is that knocking? How is’t with me, when every noise appals me? What hands are here? ha! they pluck out mine eyes. Will all great Neptune’s ocean wash this blood Clean from my hand? No, this my hand will rather The multitudinous seas incarnadine, Making the green one red. Re-enter LADY MACBETH LADY MACBETH My hands are of your colour; but I shame To wear a heart so white. Knocking within I hear a knocking At the south entry: retire we to our chamber; A little water clears us of this deed: How easy is it, then! Your constancy Hath left you unattended. Knocking within Hark! more knocking. Get on your nightgown, lest occasion call us, And show us to be watchers. Be not lost So poorly in your thoughts. MACBETH To know my deed, ‘twere best not know myself. Knocking within Wake Duncan with thy knocking! I would thou couldst! Exeunt

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ROMEO AND JULIET Gallop apace, you fiery-footed steeds, JULIET Towards Phoebus’ lodging: such a wagoner Juliet As Phaethon would whip you to the west, Act 3, Scene 2 And bring in cloudy night immediately. Spread thy close curtain, love-performing night, That runaway’s eyes may wink and Romeo Leap to these arms, untalk’d of and unseen. Lovers can see to do their amorous rites By their own beauties; or, if love be blind, It best agrees with night. Come, civil night, Thou sober-suited matron, all in black, And learn me how to lose a winning match, Play’d for a pair of stainless maidenhoods: Hood my unmann’d blood, bating in my cheeks, With thy black mantle; till strange love, grown bold, Think true love acted simple modesty. Come, night; come, Romeo; come, thou day in night; For thou wilt lie upon the wings of night Whiter than new snow on a raven’s back. Come, gentle night, come, loving, black-brow’d night, Give me my Romeo; and, when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun. O, I have bought the mansion of a love, But not possess’d it, and, though I am sold, Not yet enjoy’d: so tedious is this day As is the night before some festival To an impatient child that hath new robes And may not wear them. O, here comes my nurse, And she brings news; and every tongue that speaks But Romeo’s name speaks heavenly eloquence.

JULIET What storm is this that blows so contrary? Is Romeo slaughter’d, and is Tybalt dead? My dear-loved cousin, and my dearer lord? Then, dreadful trumpet, sound the general doom! For who is living, if those two are gone? NURSE Tybalt is gone, and Romeo banished; Romeo that kill’d him, he is banished. JULIET O God! did Romeo’s hand shed Tybalt’s blood? NURSE It did, it did; alas the day, it did!

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JULIET O serpent heart, hid with a flowering face! Did ever dragon keep so fair a cave? Beautiful tyrant! fiend angelical! Dove-feather’d raven! wolvish-ravening lamb! Despised substance of divinest show! Just opposite to what thou justly seem’st, A damned saint, an honourable villain! O nature, what hadst thou to do in hell, When thou didst bower the spirit of a fiend In moral paradise of such sweet flesh? Was ever book containing such vile matter So fairly bound? O that deceit should dwell In such a gorgeous palace! NURSE There’s no trust, No faith, no honesty in men; all perjured, All forsworn, all naught, all dissemblers. Ah, where’s my man? give me some aqua vitae: These griefs, these woes, these sorrows make me old. Shame come to Romeo! JULIET Blister’d be thy tongue For such a wish! he was not born to shame: Upon his brow shame is ashamed to sit; For ‘tis a throne where honour may be crown’d Sole monarch of the universal earth. O, what a beast was I to chide at him! NURSE Will you speak well of him that kill’d your cousin? JULIET Shall I speak ill of him that is my husband?

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HAMLET HAMLET To be, or not to be, that is the question, Hamlet Whether ‘tis nobler in the mind to suffer Act 3, Scene 1 The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them? To die: to sleep; No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to, ‘tis a consummation Devoutly to be wish’d. To die, to sleep; To sleep: perchance to dream: ay, there’s the rub; For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause: there’s the respect That makes calamity of so long life; For who would bear the whips and scorns of time, The oppressor’s wrong, the proud man’s contumely, The pangs of despised love, the law’s delay, The insolence of office and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscover’d country from whose bourn No traveller returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o’er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action.

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MACBETH LADY Macbeth, Lady Macbeth MACBETH Nought’s had, all’s spent, Act 3, Scene 2 Where our desire is got without content: ‘Tis safer to be that which we destroy Than by destruction dwell in doubtful joy. Enter MACBETH How now, my lord! why do you keep alone, Of sorriest fancies your companions making, Using those thoughts which should indeed have died With them they think on? Things without all remedy Should be without regard: what’s done is done. MACBETH We have scotch’d the snake, not kill’d it: She’ll close and be herself, whilst our poor malice Remains in danger of her former tooth. But let the frame of things disjoint, both the worlds suffer, Ere we will eat our meal in fear and sleep In the affliction of these terrible dreams That shake us nightly: better be with the dead, Whom we, to gain our peace, have sent to peace, Than on the torture of the mind to lie In restless ecstasy. Duncan is in his grave; After life’s fitful fever he sleeps well; Treason has done his worst: nor steel, nor poison, Malice domestic, foreign levy, nothing, Can touch him further. LADY MACBETH Come on; Gentle my lord, sleek o’er your rugged looks; Be bright and jovial among your guests tonight. MACBETH So shall I, love; and so, I pray, be you: Let your remembrance apply to Banquo; Present him eminence, both with eye and tongue: Unsafe the while, that we Must lave our honours in these flattering streams, And make our faces vizards to our hearts, Disguising what they are. LADY MACBETH You must leave this. MACBETH O, full of scorpions is my mind, dear wife! Thou know’st that Banquo, and his Fleance, lives.

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LADY MACBETH But in them nature’s copy’s not eterne. MACBETH There’s comfort yet; they are assailable; Then be thou jocund: ere the bat hath flown His cloister’d flight, ere to black Hecate’s summons The shard-borne beetle with his drowsy hums Hath rung night’s yawning peal, there shall be done A deed of dreadful note. LADY MACBETH What’s to be done? MACBETH Be innocent of the knowledge, dearest chuck, Till thou applaud the deed. Come, seeling night, Scarf up the tender eye of pitiful day; And with thy bloody and invisible hand Cancel and tear to pieces that great bond Which keeps me pale! Light thickens; and the crow Makes wing to the rooky wood: Good things of day begin to droop and drowse; While night’s black agents to their preys do rouse. Thou marvell’st at my words: but hold thee still; Things bad begun make strong themselves by ill. So, prithee, go with me. Exeunt

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MACBETH DOCTOR I have two nights watched with you, but can perceive no Lady Macbeth, truth in your report. When was it she last walked? Doctor, Gentlewoman GENTLEWOMAN Since his majesty went into the field, I have seen her rise Act 5, Scene 1 from her bed, throw her night-gown upon her, unlock her closet, take forth paper, fold it, write upon’t, read it, afterwards seal it, and again return to bed; yet all this while in a most fast sleep. DOCTOR A great perturbation in nature, to receive at once the benefit of sleep, and do the effects of watching! In this slumbery agitation, besides her walking and other actual performances, what, at any time, have you heard her say? GENTLEWOMAN That, sir, which I will not report after her. DOCTOR You may to me: and ‘tis most meet you should. GENTLEWOMAN Neither to you nor any one; having no witness to confirm my speech. Enter LADY MACBETH, with a taper Lo you, here she comes! This is her very guise; and, upon my life, fast asleep. Observe her; stand close. DOCTOR How came she by that light? GENTLEWOMAN Why, it stood by her: she has light by her continually; ‘tis her command. DOCTOR You see, her eyes are open. GENTLEWOMAN Ay, but their sense is shut. DOCTOR What is it she does now? Look, how she rubs her hands. GENTLEWOMAN It is an accustomed action with her, to seem thus washing her hands: I have known her continue in this a quarter of an hour. LADY MACBETH Yet here’s a spot. DOCTOR Hark! she speaks: I will set down what comes from her, to satisfy my remembrance the more strongly. LADY MACBETH Out, damned spot! out, I say!--One: two: why,then, ‘tis time to do’t.--Hell is murky!--Fie, my lord, fie! a soldier, and afeard? What need we fear who knows it, when none can call our power to account?--Yet who would have thought the old man to have had so much blood in him. DOCTOR Do you mark that?

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LADY MACBETH The thane of Fife had a wife: where is she now?-- What, will these hands ne’er be clean?--No more o’ that, my lord, no more o’ that: you mar all with this starting. DOCTOR Go to, go to; you have known what you should not. GENTLEWOMAN She has spoke what she should not, I am sure of that: heaven knows what she has known. LADY MACBETH Here’s the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh! DOCTOR What a sigh is there! The heart is sorely charged. GENTLEWOMAN I would not have such a heart in my bosom for the dignity of the whole body. DOCTOR Well, well, well,-- GENTLEWOMAN Pray God it be, sir. DOCTOR This disease is beyond my practise: yet I have known those which have walked in their sleep who have died holily in their beds. LADY MACBETH Wash your hands, put on your nightgown; look not so pale.--I tell you yet again, Banquo’s buried; he cannot come out on’s grave. DOCTOR Even so? LADY MACBETH To bed, to bed! there’s knocking at the gate: come, come, come, come, give me your hand. What’s done cannot be undone.--To bed, to bed, to bed!

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MACBETH MACBETH Hang out our banners on the outward walls; Macbeth The cry is still ‘They come:’ our castle’s strength Act 5, Scene 5 Will laugh a siege to scorn: here let them lie Till famine and the ague eat them up: Were they not forced with those that should be ours, We might have met them dareful, beard to beard, And beat them backward home. A cry of women within What is that noise? SEYTON It is the cry of women, my good lord. Exit MACBETH I have almost forgot the taste of fears; The time has been, my senses would have cool’d To hear a night-shriek; and my fell of hair Would at a dismal treatise rouse and stir As life were in’t: I have supp’d full with horrors; Direness, familiar to my slaughterous thoughts Cannot once start me. Re-enter SEYTON Wherefore was that cry? SEYTON The queen, my lord, is dead. MACBETH She should have died hereafter; There would have been a time for such a word. Tomorrow, and tomorrow, and tovmorrow, Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more: it is a tale Told by an idiot, full of sound and fury, Signifying nothing.

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ROMEO AND JULIET O shut the door! and when thou hast done so, JULIET Come weep with me; past hope, past cure, past help! Juliet, Friar FRIAR Ah, Juliet, I already know thy grief; Act 4, Scene 1 It strains me past the compass of my wits: I hear thou must, and nothing may prorogue it, On Thursday next be married to this county. JULIET Tell me not, friar, that thou hear’st of this, Unless thou tell me how I may prevent it: If, in thy wisdom, thou canst give no help, Do thou but call my resolution wise, And with this knife I’ll help it presently. God join’d my heart and Romeo’s, thou our hands; And ere this hand, by thee to Romeo seal’d, Shall be the label to another deed, Or my true heart with treacherous revolt Turn to another, this shall slay them both: Therefore, out of thy long-experienced time, Give me some present counsel, or, behold, ‘Twixt my extremes and me this bloody knife Shall play the umpire, arbitrating that Which the commission of thy years and art Could to no issue of true honour bring. Be not so long to speak; I long to die, If what thou speak’st speak not of remedy. FRIAR Hold, daughter: I do spy a kind of hope, Which craves as desperate an execution. As that is desperate which we would prevent. If, rather than to marry County Paris, Thou hast the strength of will to slay thyself, Then is it likely thou wilt undertake A thing like death to chide away this shame, JULIET O shut the door! and when thou hast done so, Come weep with me; past hope, past cure, past help! FRIAR Ah, Juliet, I already know thy grief; It strains me past the compass of my wits: I hear thou must, and nothing may prorogue it, On Thursday next be married to this county. JULIET Tell me not, friar, that thou hear’st of this, Unless thou tell me how I may prevent it: If, in thy wisdom, thou canst give no help, Do thou but call my resolution wise, And with this knife I’ll help it presently. God join’d my heart and Romeo’s, thou our hands;

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And ere this hand, by thee to Romeo seal’d, Shall be the label to another deed, Or my true heart with treacherous revolt Turn to another, this shall slay them both: Therefore, out of thy long-experienced time, Give me some present counsel, or, behold, ‘Twixt my extremes and me this bloody knife Shall play the umpire, arbitrating that Which the commission of thy years and art Could to no issue of true honour bring. Be not so long to speak; I long to die, If what thou speak’st speak not of remedy. FRIAR Hold, daughter: I do spy a kind of hope, Which craves as desperate an execution. As that is desperate which we would prevent. If, rather than to marry County Paris, Thou hast the strength of will to slay thyself, Then is it likely thou wilt undertake A thing like death to chide away this shame, That copest with death himself to scape from it: And, if thou darest, I’ll give thee remedy. JULIET O, bid me leap, rather than marry Paris, From off the battlements of yonder tower; Or walk in thievish ways; or bid me lurk Where serpents are; chain me with roaring bears; Or shut me nightly in a charnel-house, O’er-cover’d quite with dead men’s rattling bones, With reeky shanks and yellow chapless skulls; Or bid me go into a new-made grave And hide me with a dead man in his shroud; Things that, to hear them told, have made me tremble; And I will do it without fear or doubt, To live an unstain’d wife to my sweet love.

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MACBETH ROSS Let not your ears despise my tongue for ever, Macduff, Ross, Malcolm Which shall possess them with the heaviest sound Act 4,, Scene 3 That ever yet they heard. MACDUFF Hum! I guess at it. ROSS Your castle is surprised; your wife and babes Savagely slaughter’d: to relate the manner, Were, on the quarry of these murder’d deer, To add the death of you. MALCOLM Merciful heaven! What, man! ne’er pull your hat upon your brows; Give sorrow words: the grief that does not speak Whispers the o’er-fraught heart and bids it break. MACDUFF My children too? ROSS Wife, children, servants, all That could be found. MACDUFF And I must be from thence! My wife kill’d too? ROSS I have said. MALCOLM Be comforted: Let’s make us medicines of our great revenge, To cure this deadly grief. MACDUFF He has no children. All my pretty ones? Did you say all? O hell-kite! All? What, all my pretty chickens and their dam At one fell swoop? MALCOLM Dispute it like a man. MACDUFF I shall do so; But I must also feel it as a man: I cannot but remember such things were, That were most precious to me. Did heaven look on, And would not take their part? Sinful Macduff, They were all struck for thee! naught that I am, Not for their own demerits, but for mine, Fell slaughter on their souls. Heaven rest them now! MALCOLM Be this the whetstone of your sword: let grief Convert to anger; blunt not the heart, enrage it. MACDUFF O, I could play the woman with mine eyes And braggart with my tongue! But, gentle heavens, Cut short all intermission; front to front Bring thou this fiend of Scotland and myself;

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Within my sword’s length set him; if he ‘scape, Heaven forgive him too! MALCOLM This tune goes manly. Come, go we to the king; our power is ready; Our lack is nothing but our leave; Macbeth Is ripe for shaking, and the powers above Put on their instruments. Receive what cheer you may: The night is long that never finds the day.

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MACBETH Enter MACBETH Macbeth MACBETH Why should I play the Roman fool, and die Act 5, Scene 8 On mine own sword? whiles I see lives, the gashes Do better upon them. Enter MACDUFF MACDUFF Turn, hell-hound, turn! MACBETH Of all men else I have avoided thee: But get thee back; my soul is too much charged With blood of thine already. MACDUFF I have no words: My voice is in my sword: thou bloodier villain Than terms can give thee out! They fight MACBETH Thou losest labour: As easy mayst thou the intrenchant air With thy keen sword impress as make me bleed: Let fall thy blade on vulnerable crests; I bear a charmed life, which must not yield, To one of woman born. MACDUFF Despair thy charm; And let the angel whom thou still hast served Tell thee, Macduff was from his mother’s womb Untimely ripp’d. MACBETH Accursed be that tongue that tells me so, For it hath cow’d my better part of man! And be these juggling fiends no more believed, That palter with us in a double sense; That keep the word of promise to our ear, And break it to our hope. I’ll not fight with thee. MACDUFF Then yield thee, coward, And live to be the show and gaze o’ the time: We’ll have thee, as our rarer monsters are, Painted on a pole, and underwrit, ‘Here may you see the tyrant.’ MACBETH I will not yield, To kiss the ground before young Malcolm’s feet, And to be baited with the rabble’s curse. Though Birnam wood be come to Dunsinane, And thou opposed, being of no woman born, Yet I will try the last. Before my body I throw my warlike shield. Lay on, Macduff, And damn’d be him that first cries, ‘Hold, enough!’

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PRE-SHOW ACTIVITIES

ACTIVITY 1: RESEARCH, COMPREHENSION, CRITICAL AND CREATIVE THINKING A WORLD OF The Fool is a character type that Shakespeare employed many times in his plays, FOOLS in different ways. You may not have encountered one of Shakespeare’s Fool characters in your studies, yet you will have encountered other Fools in books, films and television shows. 1) Have a read of the ‘Shakespeare’s Fools’ info sheet earlier in this pack. Explain the different types of Fools that Shakespeare wrote about, and what made each type of Fool unique. 2) Think about Fool characters in other literature, films and television. What characters are you familiar with that might be classified as a Fool? 3) Choose one Fool character each from: • A Book • A television show • A film For each character, make a character outline that includes the following: • Character name • Character age (or approximate) • What role do they play in the story? • Do they help or hinder the story? • What makes them a Fool? Specify behaviours, knowledge, etc. • How do other characters treat them? • What do you think is the purpose of the character? Why has the author included them in the story? 4) Review your three character outlines. Explain how the three characters are different or similar.

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ACTIVITY 2: COMPREHENSION, LANGUAGE TECHNIQUES, CREATIVE THINKING SUIT THE WORD Shakespeare used a wealth of language techniques to develop his characters. TO THE ACTION Each language technique tells us something about the character speaking, perhaps their behaviour, their motivations, whether they can be trusted or not, their relationship to other characters, perhaps even their relationship to the audience. Every technique is deliberate and has an impact on the audience, and the way we respond to the story and the character. 1) Read the ‘Language techniques featured in Words, Words, Words’ earlier in this pack. 2) Note which techniques you are already familiar with, and which are new to you. 3) For each technique, write a new quote as an example of that technique. It might be: • A quote you create yourself • A famous line from a book, film or tv show • A different line from one of Shakespeare’s plays 4) On a separate page of paper, write down all your quotes in a new order. Swap your page with one of your classmate’s pages. Next to each example, write down the technique being used. 5) Swap the pages back and see how many techniques your classmate identified correctly!

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ACTIVITY 3: COMPREHENSION, CREATIVE WRITING, CRITICAL THINKING, CREATIVE THINKING, I’M NOT PHRASED DRAMA BY SHAKESPEARE Shakespeare is credited with many phrases that have entered our modern, common vocabulary. Amazingly, many of us do not realise we are quoting Shakespeare on a daily basis. 1) Have a read of ‘Common phrases from Shakespeare’s plays’ earlier in this pack. 2) Highlight or underline the phrases you are already familiar with. 3) For the phrases you are not familiar with, write an explanation of what you think the phrase/s might mean. 4) Write a fictional scene between two characters using phrases from Shakespeare. Before you write your scene, identify: • A place or setting • Your two characters – names, ages, key character traits • What is the key event of the scene – ie. what is happened or what has just happened? • What does each character want? (NB: for a more interesting scene, make sure each character wants a different thing!) Then, write your scene making sure you include a minimum of six phrases from the ‘Common phrases from Shakespeare’s plays’ list. Try and include even more for an extra challenge! 5) With a classmate, perform your scene for your class. Ask your audience to signal when they hear a Shakespeare phrase spoken (ie. knock on their desk, hold up their hand, etc.)

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POST-SHOW ACTIVITIES

ACTIVITY 1: DISCUSSION, CRITICAL AND CREATIVE THINKING POST-SHOW 1) As a class discussion, review the performance, recap knowledge and debate DISCUSSION ideas represented. AND DEBATE Use the following questions to guide the discussion: • How did the performance start? Who was the first character we met? • Who entered the space next, and in what way? • Who was the final character to enter, and in what way? • What were your initial impressions of the three characters? • Were there any characters you were unfamiliar with? • What did you think of the Fool as a character? What do you think their purpose was? • What was Macbeth’s journey? • What was Macbeth’s self-discovery? • What was Juliet’s journey? • What was Juliet’s self-discovery? • Why did Macbeth leave the space? • Why did Juliet leave the space? 2) Debate the following statements. Choose AGREE, DISAGREE, or 50/50. Note that if you choose 50/50, you must have two arguments (agree and disagree), not no argument! Use examples from the play to strengthen your argument/s. The Fool is an actual character from Shakespeare. The Fool was the smartest character in the room. The Fool was genuinely on a journey of self-discovery. The Fool was just there to facilitate the journey of the other characters. Macbeth will change for the better following his experience with Juliet and the Fool. Juliet’s relationship with Romeo will change following her experience with Macbeth and the Fool. NB: Try to make each answer a different physical space in the classroom, ie. AGREE and DISAGREE might be two different corners of the room, and 50/50 might be in the middle of the room. EXTENSION ACTIVITY Students in AGREE or DISAGREE can try to persuade the students in 50/50 with their arguments. If a student in 50/50 moves, they must explain why they were won over to a definitive side of the argument.

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ACTIVITY 2: COMPREHENSION, ANALYSIS, CRITICAL AND CREATIVE THINKING, TWO JOURNEYS, CREATIVE WRITING TWO TRANS- While Macbeth and Juliet’s plays were different, they each underwent a journey FORMATIONS of self-discovery with the Fool. In this exercise, compare the journeys of Macbeth and Juliet. 1) For the character of Juliet, answer the following questions: • What were the main events in Juliet’s life? (Where? When? Who was involved?) • What were the key points of crisis in Juliet’s life? • How did Juliet transform from the beginning of her story to the end? • What was the most positive moment in her life? (rise) • What was the lowest moment in her life? (fall) • What were the key obstacles in her life? 2) For the character of Macbeth, answer the following questions: • What were the main events in Macbeth’s life? (Where? When? Who was involved?) • What were the key points of crisis in Macbeth’s life? • How did Macbeth transform from the beginning of his story to the end? • What was the most positive moment in his life? (rise) • What was the lowest moment in his life? (fall) • What were the key obstacles in his life? 3) Choose a visual way to map Juliet’s journey against Macbeth’s journey. Plot out their journeys showing clear comparison, to highlight the similarities and differences in their stories. 4) Choose either Macbeth or Juliet, and answer the following: • Why do you think they were able to leave? • What made them leave at that moment, and not earlier? • What did they realise about themselves, and/or their story? 5) Write a soliloquy from Macbeth or Juliet that they might speak on leaving the space? Make reference to your answers in Q4 and quotes from the play.

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ACTIVITY 3: CREATIVE WRITING, DRAMA WHAT HAPPENS 1) Choose one of the following scenarios to write a fictional scene, expanding on NEXT? the story of Words, Words, Words: • Imagine prior to the play, Lady Macbeth and Romeo meet the Fool in the same space. Write a scene from their interaction, including the Fool. • Write about the next two characters to enter the space, after Juliet and Macbeth have left. Include the Fool in the scene who must welcome the characters into the space. You can choose characters from any Shakespeare play. • Write a scene where Romeo and Juliet meet after the play, or where Macbeth and Lady Macbeth meet after the play. What might their reunion be like? In your scene, use three techniques from the following list: • Aside • Anaphora • Stichomythia • Symbolism • Imagery • Dramatic irony • Antithesis 2) Perform your scene with classmates for your class. After the performance, ask your class what three language techniques they identified in your scene.

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