Unit of Study:

Shakespeare for Modern High School Students

 

 

 

 

 

 

 

Ryan Howard

November 28, 2009

English 112B

Professor Warner


 

Introduction

This unit of study looks at the teaching of Shakespeare to high school students, acknowledges common problems, and attempts to remedy them through unconventional means. There are several problems I acknowledge in the teaching of Shakespeare:

1.     Teachers who treat students as if they are aspiring English majors.

Very few high school students want to be in an English class, and almost no high school students want to cover Shakespeare. If I had my way, Shakespeare would not be covered as extensively as he is, but rather only touched upon. There is great worth in excerpts of Shakespeare, as well as a sense of diminishing returns the more he is taught to those who do not wish to learn it. So the solution is to teach in moderation.

2.     Testing to make sure students have read.

A common tool for teaching Shakespeare (or any literature, really) is the test. In order to understand Shakespeare, students must know the material, and in order to ensure students know the material, tests are given. This is a waste of time and energy and stress. Besides the myriad of work-arounds students have (Sparknotes, Wikipedia, Yahoo Answers, digital multimedia), the test measures nothing worthwhile.

3.     Teachers who shun the tools students exploit.

The Internet is a wonderful thing, but teachers fear it. Most teachers seem confused by or ignorant of the Internet, which is a shame. True, students can steal papers published online or find quick answers at Wikipedia, but there are benefits as well. Teachers who learn how to exploit the Internet can find a wealth of material they can use to make the class more tolerable for the student. Think of it this way: web sites such as Wikipedia and Sparknotes allow students to learn material that is already taught in the classroom. The trick is developing a plan to make the web sites beneficial to lessons.

This unit of study has been developed to teach students worthwhile Shakespeare in moderation through the tools students usually use to pass trivial tests without learning anything. The unit comes in several parts: group study and work, individual study and work, group presentations, and individual assessment of knowledge gained.


 

Step 1: Familiarization with Shakespeare

Introduction: Students will be put into groups. Each group will study one scene from a different play. The material will be presented gradually, with time for students to engage in discussion over the material in preparation for a group presentation. Each group will consist of four or five students. Each group will be assigned a different scene from a different play.

Materials: Original text; No Fear Shakespeare text; professional audio dramatization; professional visual dramatization.

Procedure:

[mon.]Day One Classwork: Groups will be introduced to their scenes with summaries of the plays in as much as they concern the assigned scenes. Groups will be given the original texts of their scenes next to modern translations taken from No Fear Shakespeare. Students will read their scenes in group, which shouldn�t take more than 20 minutes. Groups will be given a list of questions that will require close reading of the text in order to answer. These questions will be simple, however, as their role is to encourage the students to pay attention to key parts of the scene, rather than to provoke deep analysis. This is not a test or a worksheet. The questions are tailored to foster an understanding of Shakespeare�s language and poetry. In many cases, all that may be required to answer the questions is the understanding of the modern translations from No Fear Shakespeare, which is acceptable, since this stage is merely a jumping off point.

[mon.]Day One Homework: Students will be provided professional audio dramatizations of their scenes, which they are to listen to for homework. The length of each group�s audio dramatization is between 4 and 10 minutes. Students are also to be given a single, unique question that is somewhat deeper than the questions given in class. The students are to answer these at home.

[tues.]Day Two Classwork: Groups will meet again to discuss their thoughts on the audio dramatizations as well as their individual questions they answered at home. As a group, the students will review each other�s answers and address each question together. The purpose for this is to allow multiple viewpoints for each question. At the end of class, each group should turn in two answers for each question: the individual student�s answer and the group�s collective answer. Each answer done as a group is to have new thought added to it.

[tues.]Day Two Homework: Students will be provided professional visual dramatizations of their scenes, which they are to watch for homework. Once again, each student will be given a single, unique question, which they are to answer at home. The question will be deeper than previous questions.

[wed.]Day Three Classwork: Groups meet once again to discuss new thoughts on their scenes as well as to address their individual questions as a group. The same expectations for new answers are in place.

[wed.]Day Three Homework: By now, students should have a decent understanding of their scenes. For homework, each student is to write a personal response to his scene, with prompts from the teacher as a jumping off point.

[thurs.]Day Four Classwork: Groups will meet to discuss and compare their personal responses. In the last half of class, information about their group presentations will be given.


 

Step 2: Group Presentations

Introduction: Group presentations serve as a way for students to test their knowledge, while at the same time continue learning. Every teacher knows the best way to become an expert on a subject is to teach it. The other obvious benefit of group presentations is they allow all the students in the class to be exposed to different Shakespearean plays and other students� perspectives on them.

Materials: Powerpoint.

Procedure:

[thurs.]Day Four Classwork: Students will be given a list of key points they should understand well enough to teach to the class. These may include examples of poetic devices (alliteration, sonnet, metaphor, allusion, etc.), Shakespeare�s language (accents, outdated words, phrases that have survived into modern usage as clich�s, etc.), and analysis of small excerpts.

[thurs.]Day Four Homework: Students will research how other people look at Shakespeare. At this point it is perfectly acceptable to search for other people�s analyses of what the student will be presenting. Remember: the definition of an expert is someone who knows how to look something up. Besides, original thought often generates from the work of others.

[fri.]Day Five Classwork: Students plan their presentation. This day should be a Friday, so students should make arrangements to meet or communicate outside of school. Of particular importance is the divvying up of responsibilities: who will present what parts of the scene?

[fri.]Day Five Homework: Continue working on the presentation.

[mon.]Day Six Classwork: Monday. Continue working on the presentation. Since there is no specific assignment for this day, students should take advantage of the teacher�s availability.

[mon.]Day Six Homework: Continue working on the presentation.

[tues.]Day Seven Classwork: Tuesday. Continue working on the presentation. Since there is no specific assignment for this day, students should take advantage of the teacher�s availability.

[tues.]Day Seven Homework: Last chance to work on the presentation for some groups.

[wed.]Day Eight Classwork: Presentations begin with the shortest and easiest of scenes.

[wed.]Day Eight Homework: Students are given small excerpts from scenes by their classmates to analyze for homework. These must be approved by the teacher, and are designed to give the students more practice in analysis. Once more, it is fine for students to look at online analysis for inspiration (or even to copy, just not word for word). The absence of group discussion of these excerpts should help the transition from group analysis to individual analysis.

[thurs.]Day Nine Classwork: Presentations continue.

[thurs.]Day Nine Homework: More small excerpts for students to analyze from today�s presentations.

[fri.]Day Ten Classwork: More time for presentations if needed.

[fri.]Day Ten Homework: More small excerpts for students to individually analyze. These should be emailed to the teacher by noon Saturday.


 

Step 3: Application of Knowledge Gained

Introduction: At this point, students will have had intimate exposure to Shakespeare as well as ample practice understanding him. The questions students have been required to answer were created specifically to guide them through stages of understanding their scenes; working in groups will have allowed students to share their perspectives with each other; looking up analyses posted online will have given students an idea of how to look at Shakespeare; presentations will have prepared students to explain analysis; audio and visual dramatizations, as well as modern translations, will have helped students understand the content of Shakespeare to a point where they are not completely lost all the time. Now it is time for students to analyze Shakespeare alone and without any help.

Materials: New excerpts from plays, sonnets.

Procedure:

[mon.]Day Eleven Classwork: Students will be given a series of excerpts from various scenes from various plays. Students will be able to choose a certain number of excerpts from the selection that they will analyze. This exercise should be done individually and silently. Consider it an exam if you must. After it is done, the teacher will call upon volunteers and �volunteers� to share their analyses of excerpts. The teacher will then guide the class through each excerpt. Toward the end of class, sonnets should be introduced (introduced, not taught).

 

Conclusion: By the end of this unit, students will have been given a thorough introduction to a variety of Shakespeare. From here, the teacher may opt to let the students themselves choose a play to cover from beginning to end, based on the scenes students studied and presented in class. Additionally, the work students have done to understand excerpts of Shakespeare will have prepared them for a study of Shakespeare�s sonnets. The overall benefit of this unit is that it eases students into Shakespeare with a dedicated support system, the ultimate motive being fostering students� understanding not testing for text read.

 



Excerpts to be used in assessment exams

 

Instructions:    Choose one simple, one intermediate, and one advanced excerpt from the following list.   Analyze your choices as you did for your group scenes.

 

Simple

Few love to hear the sins they love to act;

-Prince Pericles; Pericles, Act I, Scene i

 

Young men’s love then lies

Not truly in their hearts, but in their eyes.

-Friar Lawrence; Romeo and Juliet, Act II, Scene iii

 

Intermediate

If thou dost seek to have what thou dost hide,

By self-example mayst thou be denied!

-Sonnet 142

 

The earth, that’s nature’s mother, is her tomb.

What is her burying grave, that is her womb.

-Friar Lawrence; Romeo and Juliet, Act II, Scene iii

 

Advanced

Kings are earth's gods; in vice their law's their will;

And if Jove [1] stray, who dares say Jove doth ill?

-Prince Pericles; Pericles, Act I, Scene i

 

Care keeps his watch in every old man’s eye,

And where care lodges, sleep will never lie.

But where unbruisèd youth with unstuffed brain

Doth couch his limbs, there golden sleep doth reign.

-Friar Lawrence; Romeo and Juliet, Act II, Scene iii



[1] Jove, also known as Jupiter or Zeus, is the king of gods in Greek/Roman mythology


Enter one bearing a coronet, then King LEAR, then the Dukes of CORNWALL and ALBANY, next GONERIL, REGAN, CORDELIA, and attendants

LEAR

Attend the lords of France and Burgundy, Gloucester.

GLOUCESTER

I shall, my lord.

Exit GLOUCESTER

LEAR

Meantime we shall express our darker purpose.—

Give me the map there.—Know that we have divided

In three our kingdom, and ’tis our fast intent

To shake all cares and business from our age,

Conferring them on younger strengths while we

Unburdened crawl toward death.—Our son of Cornwall,

And you, our no less loving son of Albany,

We have this hour a constant will to publish

Our daughters' several dowers, that future strife

May be prevented now.

The two great princes, France and Burgundy,

Great rivals in our youngest daughter’s love,

Long in our court have made their amorous sojourn,

And here are to be answered.—Tell me, my daughters,

(Since now we will divest us both of rule,

Interest of territory, cares of state)

Which of you shall we say doth love us most

That we our largest bounty may extend

Where nature doth with merit challenge?—Goneril,

Our eldest born, speak first.

GONERIL

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

Dearer than eyesight, space, and liberty,

Beyond what can be valued, rich or rare,

No less than life, with grace, health, beauty, honor,

As much as child e'er loved or father found—

A love that makes breath poor and speech unable.

Beyond all manner of so much I love you.

 

A man bearing a crown enters, followed by KING LEAR, the Dukes of CORNWALL and ALBANY, then GONERIL, REGAN, CORDELIA, and attendants.

LEAR

Go escort the lords of France and Burgundy, Gloucester.

GLOUCESTER

Yes, my lord.

GLOUCESTER exits.

LEAR

In the meantime I’ll get down to my real business.—Hand me that map over there.—I hereby announce that I’ve divided my kingdom into three parts, which I’m handing over to the younger generation so I can enjoy a little rest and peace of mind in my old age.—Cornwall and Albany, my loving sons-in-law, I now want to announce publicly what each of my daughters will inherit, to avoid hostilities after I die. The two great princes of France and Burgundy, vying for the hand of my youngest Cordelia, have been at my court a long time and will soon have their answers.—My daughters, since I’m about to give up my throne and the worries that go along with it, tell me which one of you loves me most, so that I can give my largest gift to the one who deserves it most.—Goneril, my oldest daughter, you speak first.

 

 

 

 

 

 

 

 

GONERIL

Sir, I love you more than words can say. I love you more than eyesight, space, and freedom, beyond wealth or anything of value. I love you as much as life itself, and as much as status, health, beauty, or honor. I love you as much as any child has ever loved her father, with a love too deep to be spoken of. I love you more than any answer to the question “How much?”


 

CORDELIA

(aside) What shall Cordelia speak? Love, and be silent.

LEAR

Of all these bounds, even from this line to this,

With shadowy forests and with champains riched,

With plenteous rivers and wide-skirted meads,

We make thee lady. To thine and Albany’s issue

Be this perpetual.—What says our second daughter,

Our dearest Regan, wife of Cornwall? Speak.

REGAN

Sir, I am made of that self mettle as my sister,

And prize me at her worth. In my true heart,

I find she names my very deed of love—

Only she comes too short, that I profess

Myself an enemy to all other joys,

Which the most precious square of sense possesses.

And find I am alone felicitate

In your dear highness' love.

CORDELIA

(aside)Then poor Cordelia!     

And yet not so, since I am sure my love’s

More ponderous than my tongue.

LEAR

To thee and thine hereditary ever

Remain this ample third of our fair kingdom,

No less in space, validity, and pleasure

Than that conferred on Goneril.—But now, our joy,

Although our last and least, to whose young love

The vines of France and milk of Burgundy

Strive to be interessed. What can you say to draw

A third more opulent than your sisters? Speak.

CORDELIA

Nothing, my lord.

LEAR

Nothing?

CORDELIA

Nothing.

 

CORDELIA

(to herself) What will I say? I can only love and be silent.

LEAR

I give you all this land, from this line to that one—dense forests, fertile fields, rivers rich with fish, wide meadows. This land will belong to your and Albany’s children forever.—And now what does my second daughter Regan, the wife of Cornwall, have to say? Tell me.

 

 

REGAN

Sir, I’m made of the same stuff as my sister and consider myself just as good as she is. She’s described my feelings of love for you precisely, but her description falls a little short of the truth. I reject completely any joy except my love for you, and I find that only your majesty’s love makes me happy.

 

 

 

CORDELIA

(to herself) Poor me, what am I going to say now? But I’m not poor in love—my love is bigger than my words are.

 

LEAR

You and your heirs hereby receive this large third of our lovely kingdom, no smaller in area or value than what I gave Goneril.—Now, you, my youngest daughter, my joy, courted by the rich rulers of France and Burgundy, what can you tell me that will make me give you a bigger part of my kingdom than I gave your sisters? Speak.

 

 

 

CORDELIA

Nothing, my lord.

LEAR

Nothing?

CORDELIA

Nothing.

 

LEAR

How? Nothing will come of nothing. Speak again.

CORDELIA

Unhappy that I am, I cannot heave

My heart into my mouth. I love your majesty

According to my bond, no more nor less.

LEAR

How, how, Cordelia? Mend your speech a little,

Lest you may mar your fortunes.

CORDELIA

Good my lord,     

You have begot me, bred me, loved me. I

Return those duties back as are right fit—

Obey you, love you, and most honor you.

Why have my sisters husbands if they say

They love you all? Haply when I shall wed

That lord whose hand must take my plight shall carry

Half my love with him, half my care and duty.

Sure, I shall never marry like my sisters,

To love my father all.

LEAR

But goes thy heart with this?

CORDELIA

Ay, good my lord.

LEAR

So young and so untender?

CORDELIA

So young, my lord, and true.

LEAR

Let it be so. Thy truth then be thy dower.

For by the sacred radiance of the sun,

The mysteries of Hecate and the night,

By all the operation of the orbs

From whom we do exist and cease to be—

Here I disclaim all my paternal care,

Propinquity, and property of blood,

And as a stranger to my heart and me

Hold thee from this for ever. The barbarous Scythian,

LEAR

Come on, “nothing” will get you nothing. Try again.

CORDELIA

I’m unlucky. I don’t have a talent for putting my heart’s feelings into words. I love you as a child should love her father, neither more nor less.

 

LEAR

What are you saying, Cordelia? Revise your statement, or you may damage your inheritance.

CORDELIA

My lord, you brought me up and loved me, and I’m giving back just as I should: I obey you, love you, and honor you. How can my sisters speak the truth when they say they love only you? Don’t they love their husbands too? Hopefully when I get married, I’ll give my husband half my love and half my sense of duty. I’m sure I’ll never get married in the way my sisters say they’re married, loving their father only.

 

 

 

 

LEAR

But do you mean what you’re saying?

CORDELIA

Yes, my lord.

LEAR

So young and so cruel?

CORDELIA

So young, my lord, and honest.

LEAR

Then that’s the way it’ll be. The truth will be all the inheritance you get. I swear by the sacred sun, by the mysterious moon, and by all the planets that rule our lives, that I disown you now as my daughter. As of now, there are no family ties between us, and I consider you a stranger to me. Foreign savages who eat their own children for dinner will be as close to my heart as you, ex-daughter of mine.


 

Or he that makes his generation messes

To gorge his appetite, shall to my bosom

Be as well neighbored, pitied, and relieved

As thou my sometime daughter.

KENT

Good my liege—     

LEAR

Peace, Kent.

Come not between the dragon and his wrath.

I loved her most and thought to set my rest

On her kind nursery.—

(to CORDELIA)

Hence, and avoid my sight!—    

So be my grave my peace as here I give

Her father’s heart from her.—Call France. Who stirs?

Call Burgundy.—

Exeunt several attendants Cornwall and Albany,   

With my two daughters' dowers digest this third.

Let pride, which she calls plainness, marry her.

I do invest you jointly with my power,

Preeminence, and all the large effects

That troop with majesty. Ourself, by monthly course,

With reservation of an hundred knights

By you to be sustained, shall our abode

Make with you by due turns. Only shall we retain

The name, and all th' additions to a king.

The sway, revenue, execution of the rest,

Belovèd sons, be yours; which to confirm,

This coronet part between you.

(gives CORNWALL and ALBANY the coronet)

KENT

Royal Lear,     

Whom I have ever honored as my king,

Loved as my father, as my master followed,

As my great patron thought on in my prayers—

LEAR

The bow is bent and drawn. Make from the shaft.

 

 

 

 

 

KENT

But sir—

LEAR

Be quiet, Kent. Don’t get in my way when I’m angry. I loved Cordelia most of all and planned to spend my old age with her taking care of me. (to CORDELIA) Go away! Get out of my sight!—I guess if she doesn’t love her father, then I’ll only have peace when I’m dead.—Call the King of France. Why is nobody doing anything? Call the Duke of Burgundy.

Several attendants exit.

Cornwall and Albany, you and your wives can divide this last third of my kingdom between you. If she wants to be proud, or “honest,” as she calls it, she can just marry her own pride. I hereby grant to you two my crown and all the privileges that kingship brings. I’ll live one month with one of you, the next month with the other one. All I ask is that you provide me with a hundred knights for my own entourage. I’ll keep only the title of king, but you’ll have everything else: all the authority and income that come with kingship. To confirm all this, take this crown to share between yourselves. (he gives CORNWALL and ALBANY the crown)

 

 

 

 

 

 

 

 

KENT

King Lear, I’ve always honored you as king, loved you as my father, obeyed you as my master, and thanked you in my prayers—

 

 

LEAR

I’m furious and ready to snap. Stay away or else I’ll take my anger out on you.

KENT

Let it fall rather, though the fork invade

The region of my heart. Be Kent unmannerly

When Lear is mad. What wouldst thou do, old man?

Think’st thou that duty shall have dread to speak

When power to flattery bows? To plainness honor’s bound

When majesty falls to folly. Reserve thy state,

And in thy best consideration check

This hideous rashness. Answer my life my judgment,

Thy youngest daughter does not love thee least,

Nor are those empty-hearted whose low sound

Reverbs no hollowness.

LEAR

Kent, on thy life, no more.   

KENT

My life I never held but as a pawn

To wage against thy enemies, nor fear to lose it,

Thy safety being motive.

LEAR

Out of my sight!   

KENT

See better, Lear, and let me still remain

The true blank of thine eye.
LEAR

Now, by Apollo—   
KENT

Now, by Apollo, King,

Thou swear’st thy gods in vain.

LEAR

O vassal! Miscreant!

ALBANY, CORNWALL

Dear sir, forbear!   

KENT

Do, kill thy physician, and the fee bestow

Upon thy foul disease. Revoke thy gift,

Or whilst I can vent clamor from my throat,

I’ll tell thee thou dost evil.

 

KENT

Let your anger fall on me then, even if its sharpness pierces my heart. Kent can speak rudely when Lear goes mad. What are you doing, old man? When powerful kings cave in to flatterers, do you think loyal men will be afraid to speak out against it? When a majestic king starts acting silly, then it’s my duty to be blunt. Hold on to your crown and use your better judgment to rethink this rash decision. On my life I swear to you that your youngest daughter doesn’t love you least. A loud mouth often points to an empty heart, and just because she’s quiet doesn’t mean she’s unloving.

 

 

 

LEAR

Kent, if you want to stay alive, stop talking.

KENT

I never considered my life as anything more than a chess pawn for you to play off against your enemies. I’m not afraid to lose it if it helps protect you.

LEAR

Get out of my sight!

KENT

Learn to see better, Lear, and let me stay here where you can look to me for good advice.

LEAR

Now, I swear by Apollo…

KENT

By Apollo, King, you’re taking the names of the gods in vain.

 

LEAR

Oh, you lowlife! Scum!

ALBANY, CORNWALL

Please stop, sir.

KENT

Sure, kill the doctor who’s trying to cure you and pay your disease. Take back your gift to Albany and Cornwall. If you don’t, then as long as I’m able to speak I’ll keep telling you you’ve done a bad, bad thing.

 

 

LEAR

Hear me, recreant! On thine allegiance hear me.

That thou hast sought to make us break our vows,

Which we durst never yet, and with strained pride

To come betwixt our sentence and our power,

Which nor our nature nor our place can bear,

Our potency made good, take thy reward:

Five days we do allot thee for provision

To shield thee from diseases of the world.

And on the sixth to turn thy hated back

Upon our kingdom. If on the next day following

Thy banished trunk be found in our dominions,

The moment is thy death. Away! By Jupiter,

This shall not be revoked.

KENT

Why, fare thee well, King. Sith thus thou wilt appear,

Freedom lives hence, and banishment is here.

(to CORDELIA)

The gods to their dear shelter take thee, maid,

That justly think’st and hast most rightly said!

(to REGAN and GONERIL)

And your large speeches may your deeds approve,

That good effects may spring from words of love.—

Thus Kent, O princes, bids you all adieu.

He’ll shape his old course in a country new.

Exit KENT

Flourish.

Enter GLOUCESTER with the King of FRANCE, the Duke of BURGUNDY, and attendants

GLOUCESTER

Here’s France and Burgundy, my noble lord.

LEAR

My lord of Burgundy.

We first address towards you, who with this king

Hath rivaled for our daughter. What in the least

Will you require in present dower with her

Or cease your quest of love?

 

LEAR

Listen to me, you traitor. You’ll pay the price for trying to make me go back on the vow I made when I bequeathed my kingdom to them. I’ve never broken a vow yet. You tried to make me revise my judgment on my youngest daughter, disrespecting my power as king—which I can’t put up with either as a ruler or as a person. This is your punishment: I’ll give you five days to gather together what you need to survive, then on the sixth day you’ll leave this kingdom that hates you. If the day after that you’re found in my kingdom, you die. Now get out of here! I swear by Jupiter I’ll never revoke this punishment.

 

 

 

KENT

Farewell, King. If this is how you act, it’s clear that freedom has been banished from this kingdom.(to CORDELIA) I hope the gods will protect you, my dear girl, for thinking fairly and speaking correctly. (to REGAN and GONERIL) And you two, I hope your actions carry out your grand promises of love, so that big words can bring big results. Farewell to all of you. I’ll carry on my old life in a new land.

 

 

 

 

 

KENT exits.

Trumpets play.

GLOUCESTER enters with the King of FRANCE, the Duke of BURGUNDY, and attendants.

GLOUCESTER

Here are the rulers of France and Burgundy, my lord.

LEAR

My lord the ruler of Burgundy, I’ll speak to you first. You’ve been competing with this king for my daughter. What’s the least that you will settle for as a dowry?


 

BURGUNDY

Most royal majesty,     

I crave no more than hath your highness offered.

Nor will you tender less.

LEAR

Right noble Burgundy,   

When she was dear to us we did hold her so,

But now her price is fallen. Sir, there she stands.

If aught within that little seeming substance,

Or all of it, with our displeasure pieced

And nothing more, may fitly like your grace,

She’s there, and she is yours.

BURGUNDY

I know no answer.   

LEAR

Sir, will you, with those infirmities she owes—

Unfriended, new adopted to our hate,

Dowered with our curse and strangered with our oath—

Take her or leave her?

BURGUNDY

Pardon me, royal sir.   

Election makes not up in such conditions.

LEAR

Then leave her, sir, for by the power that made me,

I tell you all her wealth.

(to FRANCE)For you, great King,   

I would not from your love make such a stray

To match you where I hate. Therefore beseech you

T' avert your liking a more worthier way

Than on a wretch whom Nature is ashamed

Almost t' acknowledge hers.

 

 

 

 

 

BURGUNDY

Your highness, I want nothing more than what you’ve already offered. I know you’ll offer nothing less than that.

 

LEAR

Burgundy, I valued her highly when I cared about her. But now her price has fallen. There she is, over there. If there’s anything you like about that worthless little thing, then go for it. She’s all yours. But what you see is what you get—her only dowry is my disapproval. There she is.

 

 

 

BURGUNDY

I don’t know what to say.

LEAR

She’s got big flaws. She has no friends or protectors. I no longer love her. Her only dowry is my curse and banishment. So do you take her or leave her?

 

BURGUNDY

I’m sorry, sir, but nobody can make a choice like this in such circumstances.

 

LEAR

Then leave her, sir. I swear to God she’s not worth anything more than what I told you. (to FRANCE) And as for you, great King of France, I’d never insult our friendship by encouraging you to marry a girl I hate. So I beg you to look around for a better match than this wretched creature that you can barely call human.

 


 

FRANCE

This is most strange,     

That she that even but now was your best object—

The argument of your praise, balm of your age,

Most best, most dearest—should in this trice of time

Commit a thing so monstrous to dismantle

So many folds of favor. Sure, her offense

Must be of such unnatural degree

That monsters it (or your fore-vouched affection

Fall into taint), which to believe of her

Must be a faith that reason without miracle

Could never plant in me.

CORDELIA

(to LEAR) I yet beseech your majesty,

If for I want that glib and oily art

To speak and purpose not—since what I well intend,

I’ll do ’t before I speak—that you make known

It is no vicious blot, murder, or foulness,

No unchaste action or dishonored step

That hath deprived me of your grace and favor,

But even for want of that for which I am richer:

A still-soliciting eye and such a tongue

As I am glad I have not, though not to have it

Hath lost me in your liking.

LEAR

Go to, go to. Better thou     

Hadst not been born than not t' have pleased me better.

FRANCE

Is it no more but this—a tardiness in nature

Which often leaves the history unspoke

That it intends to do?—My lord of Burgundy,

What say you to the lady? Love’s not love

When it is mingled with regards that stands

Aloof from th' entire point. Will you have her?

She is herself a dowry.

 

 

FRANCE

This is very odd. Until very recently she was your favorite, the object of all your praise and the delight of your old age. It’s strange that someone so dear to you could do anything so horrible as to warrant this sudden hatred. Her crime must be extreme and monstrous, or else your earlier love for her wasn’t as true as it seemed. But it’d take a miracle to make me believe she could do anything that horrible.

 

 

 

 

 

CORDELIA

(to LEAR) Please, your majesty, I don’t have a glib way with words and I only say what I mean. If I decide to do something, then I do it instead of talking about it. So I beg your majesty to let people know that it wasn’t because I did something atrocious

that I fell from your favor. I didn’t murder or commit any immoral or lustful act. I’m out of favor simply because I’m not a fortune-hunter and I don’t have a smooth way with words—and I’m a better person because of it, even though it has cost me your love.

 

 

 

LEAR

Enough. It would’ve been better for you not to have been born at all than to displease me as you did.

FRANCE

You mean this is the whole problem, that she is shy and hasn’t said everything she means to say and do?—My lord of Burgundy, what do you have to say to this lady? Love’s not love when it gets mixed up with irrelevant outside matters. Will you marry her? She herself is as valuable as any dowry could ever be.


 

BURGUNDY

(to LEAR)Royal King,    

Give but that portion which yourself proposed,

And here I take Cordelia by the hand,

Duchess of Burgundy.

LEAR

Nothing. I have sworn. I am firm.

BURGUNDY

(to CORDELIA) I am sorry then. You have so lost a father

That you must lose a husband.

CORDELIA

Peace be with Burgundy.

Since that respects and fortunes are his love,

I shall not be his wife.

FRANCE

Fairest Cordelia, that art most rich being poor,

Most choice forsaken, and most loved despised!

Thee and thy virtues here I seize upon,

Be it lawful I take up what’s cast away.

Gods, gods! 'Tis strange that from their cold’st neglect

My love should kindle to inflamed respect.—

Thy dowerless daughter, King, thrown to my chance,

Is queen of us, of ours, and our fair France.

Not all the dukes of waterish Burgundy

Can buy this unprized precious maid of me.—

Bid them farewell, Cordelia, though unkind.

Thou losest here, a better where to find.

LEAR

Thou hast her, France. Let her be thine, for we

Have no such daughter, nor shall ever see

That face of hers again. (to CORDELIA) Therefore be gone

Without our grace, our love, our benison.—

Come, noble Burgundy.

Flourish

Exeunt all but FRANCE, GONERIL, REGAN, and CORDELIA

 

 

BURGUNDY

(to LEAR) King, just give me the dowry you promised me, and I’ll make Cordelia the Duchess of Burgundy right away.

 

 

LEAR

No, I’ll give nothing. I won’t budge on that.

BURGUNDY

(to CORDELIA) In that case, I’m sorry you have to lose me as a husband because you lost the king as a father.

CORDELIA

Peace to you, my lord of Burgundy. Since you love money and power so much, I won’t be your wife.

 

FRANCE

Beautiful Cordelia, you’re all the richer now that you’re poor. You’re more valuable now that you’re rejected and more loved now that you’re hated.

I’ll take you and your wonderful virtues here and now, if it’s okay that I’m picking up what others have thrown away. It’s so strange that in neglecting you so cruelly, the gods have made me love you so dearly.—King, the daughter you’ve rejected is now mine, as Queen of France. No Duke of spineless Burgundy can take this treasure of a girl from me now.—Say goodbye to them, Cordelia, even though they’ve been unkind to you. You’ll find a much better place in France than what you’re giving up here.

 

 

 

LEAR

She’s yours, King of France. Take her. She’s no longer my daughter, and I’ll never see her face again. (to CORDELIA) So get out of here. Leave without any blessing or love from me.—Come with me, Burgundy.

 

 

Trumpets play.

Everyone exits except FRANCE, GONERIL, REGAN, and CORDELIA.

 

 


EMILIA

How goes it now? He looks gentler than he did.

DESDEMONA

He says he will return incontinent,

And hath commanded me to go to bed

And bid me to dismiss you.

EMILIA

Dismiss me?    

DESDEMONA

It was his bidding. Therefore, good Emilia,

Give me my nightly wearing, and adieu.

We must not now displease him.

EMILIA

Ay. Would you had never seen him!

DESDEMONA

So would not I. My love doth so approve him

That even his stubbornness, his checks, his frowns—

Prithee, unpin me—have grace and favor.

EMILIA

I have laid those sheets you bade me on the bed.

DESDEMONA

All’s one. Good Father, how foolish are our minds!

If I do die before thee, prithee, shroud me

In one of these same sheets.

EMILIA

Come, come! You talk!

DESDEMONA

My mother had a maid called Barbary,

She was in love, and he she loved proved mad

And did forsake her. She had a song of “Willow,”

An old thing ’twas, but it expressed her fortune

And she died singing it. That song tonight

Will not go from my mind. I have much to do

But to go hang my head all at one side

And sing it like poor Barbary. Prithee, dispatch.

EMILIA

Shall I go fetch your nightgown?

 

EMILIA

How are things now? He looks calmer than he did before.

DESDEMONA

He says he’ll come back right away. He asked me to go to bed and to send you away.

 

EMILIA

Send me away?

DESDEMONA

That’s what he said. So give me my nightgown, Emilia, and I’ll say goodnight. We shouldn’t displease him.

 

EMILIA

Yes. I wish you’d never met him.

DESDEMONA

That’s not what I wish. I love him even when he’s harsh and mean—Help me unpin this, would you?—I love even his stubbornness, his frowns, his bad moods.

EMILIA

I put those wedding sheets on your bed, as you asked.

DESDEMONA

It doesn’t matter. Oh, how silly we are! If I die before you do make sure I’m wrapped in those sheets in my coffin.

 

EMILIA

Listen to you! Don’t be silly!

DESDEMONA

My mother had a maid named Barbary. She was in love, and her lover turned out to be wild and left her. She knew an old song called “Willow” that reminded her of her own story, and she died singing it. I can’t get that song out of my head tonight. It’s all I can do to keep myself from hanging my head down in despair and singing it like poor Barbary. Please, hurry up.

 

 

 

EMILIA

Should I get your nightgown?


 

DESDEMONA

No, unpin me here.    

This Lodovico is a proper man.

EMILIA

A very handsome man.

DESDEMONA

He speaks well.

EMILIA

I know a lady in Venice would have walked barefoot to Palestine for a touch of his nether lip.

DESDEMONA

(singing)

The poor soul sat sighing by a sycamore tree,

Sing all a green willow.

Her hand on her bosom, her head on her knee,

Sing willow, willow, willow.

The fresh streams ran by her, and murmured her moans,

Sing willow, willow, willow.

Her salt tears fell from her, and softened the stones

Lay by these—

Sing willow, willow, willow— 

Prithee, hie thee, he’ll come anon—

Sing all a green willow must be my garland.

Let nobody blame him, his scorn I approve—

Nay, that’s not next—Hark! Who is ’t that knocks?

EMILIA

It’s the wind.

DESDEMONA

(sings)

I called my love false love but what said he then?

Sing willow, willow, willow.

If I court more women you’ll couch with more men—

So, get thee gone, good night. Mine eyes do itch,

Doth that bode weeping?

EMILIA

'Tis neither here nor there.

 

DESDEMONA

No, just help me unpin this. That Lodovico is a good-looking man.

 

EMILIA

He’s very handsome.

DESDEMONA

He speaks well.

EMILIA

I know a lady in Venice who’d walk all the way to Palestine for a kiss from him.

DESDEMONA

(singing)

The poor soul sat singing by the sycamore tree,

Everyone sing the green willow,

She had her hand on her breast and her head on her knee,

Sing willow, willow, willow.

The fresh streams ran by her and murmured her moans,

Sing willow, willow, willow.

Her salt tears fell from her and softened the stones,

Put these things over there.—

Sing willow, willow, willow.—

Please, hurry, he’ll come right away.—

Everyone sing, a green willow must be my garland.

Nobody blame him, he’s right to hate me

No, that’s not how it goes.—Who’s knocking?

EMILIA

It’s the wind.

DESDEMONA

(singing)

I told my lover he didn’t love me, but what did he say?

Sing willow, willow, willow.

If I chase more women, you’ll sleep with more men—

Okay, go away now. Good night. My eyes itch—is that an omen I’ll be crying soon?

EMILIA

No, it doesn’t mean anything.


 

DESDEMONA

I have heard it said so. Oh, these men, these men!

Dost thou in conscience think—tell me, Emilia—

That there be women do abuse their husbands

In such gross kind?

EMILIA

There be some such, no question.

DESDEMONA

Wouldst thou do such a deed for all the world?

EMILIA

Why, would not you?

DESDEMONA

No, by this heavenly light!

EMILIA

Nor I neither, by this heavenly light.

I might do ’t as well i' th' dark.

DESDEMONA

Wouldst thou do such a deed for all the world?

EMILIA

The world’s a huge thing. It is a great price for a small vice.

DESDEMONA

In troth, I think thou wouldst not.

EMILIA

In troth, I think I should, and undo ’t when I had done. Marry, I would not do such a thing for a joint-ring, nor for measures of lawn, nor for gowns, petticoats, nor caps, nor any petty exhibition. But for the whole world? Why, who would not make her husband a cuckold to make him a monarch? I should venture purgatory for ’t.

DESDEMONA

Beshrew me, if I would do such a wrong

For the whole world.

EMILIA

Why the wrong is but a wrong i' th' world, and having the world for your labor, ’tis a wrong in your own world, and you might quickly make it right.

DESDEMONA

I do not think there is any such woman.

 

DESDEMONA

I heard someone say that’s what it means. Oh, these men, these men! Do you honestly think—tell me, Emilia—there are women who’d cheat on their husbands in such a disgusting manner?

 

EMILIA

There are women like that out there, no question.

DESDEMONA

Would you ever do such a thing for all the world?

EMILIA

Why, wouldn’t you?

DESDEMONA

By the light of heaven, no, I would not!

EMILIA

I wouldn’t either, by daylight. It would be easier to do it in the dark.

 

DESDEMONA

Could you really do such a thing, for all the world?

EMILIA

The world’s huge. It’s a big prize for such a small sin.

DESDEMONA

I don’t think you would.

EMILIA

Actually I think I would, and then I’d undo it after I did it. I wouldn’t do it for a nice ring, or fine linen, or pretty gowns or petticoats or hats. But for the whole world? Who wouldn’t cheat on her husband to make him king? I’d risk my soul for that.

 

DESDEMONA

I’d never do such a bad thing, not for the whole world!

 

EMILIA

Why, a bad action is just a wrong in this world, but when you’ve won the whole world, it’s a wrong in your own world, so you can make it right then.

DESDEMONA

I don’t think any woman like that exists.

 

EMILIA

Yes, a dozen, and as many to th' vantage as would store the world they played for.

But I do think it is their husbands' faults

If wives do fall. Say that they slack their duties

And pour our treasures into foreign laps,

Or else break out in peevish jealousies,

Throwing restraint upon us. Or say they strike us,

Or scant our former having in despite.

Why, we have galls, and though we have some grace,

Yet have we some revenge. Let husbands know

Their wives have sense like them. They see and smell

And have their palates both for sweet and sour,

As husbands have. What is it that they do

When they change us for others? Is it sport?

I think it is. And doth affection breed it?

I think it doth. Is ’t frailty that thus errs?

It is so too. And have not we affections,

Desires for sport, and frailty, as men have?

Then let them use us well, else let them know,

The ills we do, their ills instruct us so.

 

DESDEMONA

Good night, good night. Heaven me such uses send,

Not to pick bad from bad, but by bad mend!

 

EMILIA

Yes, a dozen of them—as many as there are women in the world, in fact. But I do think it’s the husband’s fault if we wives cheat on them. For instance, our husbands may stop sleeping with us, and give it out to other women instead. Or they may get insanely jealous, and keep us from going anywhere. Or let’s say they hit us, or cut back on the money they give us out of spite. We have feelings. We may be able to forgive them, but we want to get back at them too. Husbands need to know that their wives are human beings too. They see, smell, and taste sweet and sour just like their husbands. Why do they replace us with other women? Do they do it for fun? I think they do. Is it out of lust? I think so. Is it a weakness? It is. And don’t we have passions, and a taste for fun, and weaknesses, just like men? Then tell them to treat us well. Or let them figure out that the bad things we do are just what we learned from them.

 

DESDEMONA

Good night, good night. I pray that God will let me learn from women like that—not to follow their bad example, but to avoid it!

 


 

JULIET appears in a window above

ROMEO

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. Oh, it is my love.

Oh, 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 eye 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.

Oh, that I were a glove upon that hand

That I might touch that cheek!

JULIET

Ay me!

ROMEO

     (aside) She speaks.

O, speak again, bright angel! For thou art

As glorious to this night, being o'er my head,

As is a wingèd messenger of heaven

Unto the white, upturnèd, wondering eyes

Of mortals that fall back to gaze on him

When he bestrides the lazy-puffing clouds

And sails upon the bosom of the air.

 

JULIET enters on the balcony.

ROMEO

Wait, what’s that light in the window over there? It is the east, and Juliet is the sun. Rise up, beautiful sun, and kill the jealous moon. The moon is already sick and pale with grief because you, Juliet, her maid, are more beautiful than she.

Don’t be her maid, because she is jealous. Virginity makes her look sick and green. Only fools hold on to their virginity. Let it go. Oh, there’s my lady! Oh, it is my love. Oh, I wish she knew how much I love her. She’s talking, but she’s not saying anything. So what? Her eyes are saying something. I will answer them. I am too bold. She’s not talking to me. Two of the brightest stars in the whole sky had to go away on business, and they’re asking her eyes to twinkle in their places until they return. What if her eyes were in the sky and the stars were in her head?—The brightness of her cheeks would outshine the stars the way the sun outshines a lamp. If her eyes were in the night sky, they would shine so brightly through space that birds would start singing, thinking her light was the light of day. Look how she leans her hand on her cheek. Oh, I wish I was the glove on that hand so that I could touch that cheek.

 

   

JULIET

Oh, my!

ROMEO

(to himself) She speaks. Oh, speak again, bright angel. You are as glorious as an angel tonight. You shine above me, like a winged messenger from heaven who makes mortal men fall on their backs to look up at the sky, watching the angel walking on the clouds and sailing on the air.

JULIET

O Romeo, Romeo! Wherefore art thou Romeo?

Deny thy father and refuse thy name.

Or, if thou wilt not, be but sworn my love,

And I’ll no longer be a Capulet.

ROMEO

(aside) Shall I hear more, or shall I speak at this?

JULIET

'Tis but thy name that is my enemy.

Thou art thyself, though not a Montague.

What’s Montague? It is nor hand, nor foot,

Nor arm, nor face, nor any other part

Belonging to a man. O, be some other name!

What’s in a name? That which we call a rose

By any other word would smell as sweet.

So Romeo would, were he not Romeo called,

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 bescreened 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 uttering, yet I know the sound.

Art thou not Romeo, and a Montague?

 

JULIET

(not knowing ROMEO hears her) Oh, Romeo, Romeo, why do you have to be Romeo? Forget about your father and change your name. Or else, if you won’t change your name, just swear you love me and I’ll stop being a Capulet.

ROMEO

(to himself) Should I listen for more, or should I speak now?

JULIET

(still not knowing ROMEO hears her) It’s only your name that’s my enemy. You’d still be yourself even if you stopped being a Montague. What’s a Montague anyway? It isn’t a hand, a foot, an arm, a face, or any other part of a man. Oh, be some other name! What does a name mean? The thing we call a rose would smell just as sweet if we called it by any other name. Romeo would be just as perfect even if he wasn’t called Romeo. Romeo, lose your name. Trade in your name—which really has nothing to do with you—and take all of me in exchange.

 

ROMEO

(to JULIET) I trust your words. Just call me your love, and I will take a new name. From now on I will never be Romeo again.

 

JULIET

Who are you? Why do you hide in the darkness and listen to my private thoughts?

ROMEO

I don’t know how to tell you who I am by telling you a name. I hate my name, dear saint, because my name is your enemy. If I had it written down, I would tear up the paper.

 

 

JULIET

I haven’t heard you say a hundred words yet, but I recognize the sound of your voice. Aren’t you Romeo? And aren’t you a Montague?

ROMEO

Neither, fair maid, 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'erperch these walls,

For stony limits cannot hold love out,

And what love can do, that dares love attempt.

Therefore thy kinsmen are no stop 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 eyes,

And but thou love me, let them find me here.

My life were better ended by their hate

Than death proroguèd, wanting of thy love.

JULIET

By whose direction found’st thou out this place?

ROMEO

By love, that 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 washed with the farthest sea,

I would adventure for such merchandise.

   

ROMEO

I am neither of those things if you dislike them.

JULIET

Tell me, how did you get in here? And why did you come? The orchard walls are high, and it’s hard to climb over them. If any of my relatives find you here they’ll kill you because of who you are.

 

ROMEO

I flew over these walls with the light wings of love. Stone walls can’t keep love out. Whatever a man in love can possibly do, his love will make him try to do it. Therefore your relatives are no obstacle.

 

JULIET

If they see you, they’ll murder you.

ROMEO

Alas, one angry look from you would be worse than twenty of your relatives with swords. Just look at me kindly, and I’m invincible against their hatred.

JULIET

I’d give anything to keep them from seeing you here.

ROMEO

The darkness will hide me from them. And if you don’t love me, let them find me here. I’d rather they killed me than have to live without your love.

 

 

JULIET

Who told you how to get here below my bedroom?

ROMEO

Love showed me the way—the same thing that made me look for you in the first place. Love told me what to do, and I let love borrow my eyes. I’m not a sailor, but if you were across the farthest sea, I would risk everything to gain you.


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,

They 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 and 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 coying 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 blessèd moon I vow,

That tips with silver all these fruit-tree tops—

JULIET

O, swear not by the moon, th' inconstant moon,

That monthly changes in her circle 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.

 

JULIET

You can’t see my face because it’s dark out. Otherwise, you’d see me blushing about the things you’ve heard me say tonight. I would be happy to keep up good manners and deny the things I said. But forget about good manners. Do you love me? I know you’ll say “yes,” and I’ll believe you. But if you swear you love me, you might turn out to be lying. They say Jove laughs when lovers lie to each other. Oh Romeo, if you really love me, say it truly. Or if you think it’s too easy and quick to win my heart, I’ll frown and play hard-to-get, as long as that will make you try to win me, but otherwise I wouldn’t act that way for anything. In truth, handsome Montague, I like you too much, so you may think my behavior is loose. But trust me, gentleman, I’ll prove myself more faithful than girls who act coy and play hard-to-get. I should have been more standoffish, I confess, but you overheard me talking about the love in my heart when I didn’t know you were there. So excuse me, and do not assume that because you made me love you so easily my love isn’t serious.

 

  ROMEO

Lady, I swear by the sacred moon above, the moon that paints the tops of fruit trees with silver—

JULIET

Don’t swear by the moon. The moon is always changing. Every month its position in the sky shifts. I don’t want you to turn out to be that inconsistent too.

ROMEO

What should I swear by?

JULIET

Don’t swear at all. But if you have to swear, swear by your wonderful self, which is the god I worship like an idol, and then I’ll believe you.

 

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,

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

Th' 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 from 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 JULIET, above

 

ROMEO

If my heart’s dear love—

JULIET

Well, don’t swear. Although you bring me joy, I can’t take joy in this exchange of promises tonight. It’s too crazy. We haven’t done enough thinking. It’s too sudden. It’s too much like lightning, which flashes and then disappears before you can say, “it’s lightning.” My sweet, good night. Our love, which right now is like a flower bud in the summer air, may turn out to be a beautiful flower by the next time we meet. I hope you enjoy the same sweet peace and rest I feel in my heart.

 

 

ROMEO

Oh, are you going to leave me so unsatisfied?

JULIET

What satisfaction could you possibly have tonight?

ROMEO

I would be satisfied if we made each other true promises of love.

JULIET

I pledged my love to you before you asked me to. Yet I wish I could take that promise back, so I had it to give again.

ROMEO

You would take it back? Why would you do that, my love?

JULIET

Only to be generous and give it to you once more. But I’m wishing for something I already have. My generosity to you is as limitless as the sea, and my love is as deep. The more love I give you, the more I have. Both loves are infinite.

 

The NURSE calls from offstage.

I hear a noise inside. Dear love, goodbye—Just a minute, good Nurse. Sweet Montague, be true. Stay here for a moment. I’ll come back.

 

JULIET exits.


 

ROMEO

O blessèd, blessèd night! I am afeard,

Being in night, all this is but a dream,

Too flattering sweet to be substantial.

Enter JULIET, above

JULIET

Three words, dear Romeo, and good night indeed.

If that thy bent of love be honorable,

Thy purpose marriage, send me word tomorrow

By one that I’ll procure to come to thee

Where and what time thou wilt perform the rite,

And all my fortunes at thy foot I’ll lay

And follow thee my lord throughout the world.

NURSE

(from within) Madam!

JULIET

I come, anon.—But if thou mean’st not well,

I do beseech thee—

NURSE

(from within) Madam!

JULIET

By and by, I come.—

To cease thy strife and leave me to my grief.

Tomorrow will I send.

ROMEO

So thrive my soul—

JULIET

A thousand times good night!

Exit JULIET, above

ROMEO

A thousand times the worse to want thy light.

Love goes toward love as schoolboys from their books,

But love from love, toward school with heavy looks.

 

Moves to exit Reenter JULIET, above

 

 

ROMEO

Oh, blessed, blessed night! Because it’s dark out, I’m afraid all this is just a dream, too sweet to be real.

 

JULIET enters on her balcony.

JULIET

Three words, dear Romeo, and then it’s good night for real. If your intentions as a lover are truly honorable and you want to marry me, send me word tomorrow. I’ll send a messenger to you, and you can pass on a message telling me where and when we’ll be married. I’ll lay all my fortunes at your feet and follow you, my lord, all over the world.

 

 

NURSE

(offstage) Madam!

JULIET

(to the NURSE) I’ll be right there! (to ROMEO) But if you don’t have honorable intentions, I beg you—

NURSE

(offstage) Madam!

JULIET

Alright, I’m coming!—I beg you to stop trying for me and leave me to my sadness. Tomorrow I’ll send the messenger.

 

ROMEO

My soul depends on it—

JULIET

A thousand times good night.

JULIET exits.

ROMEO

Leaving you is a thousand times worse than being near you. A lover goes toward his beloved as enthusiastically as a schoolboy leaving his books, but when he leaves his girlfriend, he feels as miserable as the schoolboy on his way to school.

ROMEO starts to leave. JULIET returns, on her balcony.


 

JULIET

Hist! Romeo, hist!—Oh, for a falconer’s voice,

To lure this tassel-gentle back again!

Bondage is hoarse, and may not speak aloud,

Else would I tear the cave where Echo lies,

And make her airy tongue more hoarse than mine,

With repetition of “My Romeo!”

ROMEO

It is my soul that calls upon my name.

How silver-sweet sound lovers' tongues by night,

Like softest music to attending ears!

JULIET

Romeo!

ROMEO

My sweet?

JULIET

What o'clock tomorrow

Shall I send to thee?

ROMEO

By the hour of nine.   

JULIET

I will not fail. 'Tis twenty year till then.

I have forgot why I did call thee back.

ROMEO

Let me stand here till thou remember it.

JULIET

I shall forget, to have thee still stand there,

Remembering how I love thy company.

ROMEO

And I’ll still stay, to have thee still forget,

Forgetting any other home but this.

JULIET

'Tis almost morning. I would have thee gone.

And yet no further than a wanton’s bird,

That lets it hop a little from his hand

Like a poor prisoner in his twisted gyves,

And with a silken thread plucks it back again,

So loving-jealous of his liberty.

JULIET

Hist, Romeo! Hist! Oh, I wish I could make a falconer’s call, so I could bring my little falcon back again. I’m trapped in my family’s house, so I must be quiet. Otherwise I would rip open the cave where Echo sleeps. I would make her repeat his name until her voice grew more hoarse than mine by repeating, “My Romeo!”

 

ROMEO

My soul is calling out my name. The sound of lovers calling each others names through the night is silver-sweet. It’s the sweetest sound a lover ever hears.

JULIET

Romeo!

ROMEO

My sweet?

JULIET

What time tomorrow should I send a messenger to you?

 

ROMEO

By nine o'clock.

JULIET

I won’t fail. From now until then seems like twenty years. I have forgotten why I called you back.

ROMEO

Let me stand here until you remember your reason.

JULIET

I’ll forget it, and you’ll have to stand there forever. I’ll only remember how much I love your company.

ROMEO

I’ll keep standing here, even if you keep forgetting. I’ll forget that I have any home besides this spot right here.

JULIET

It’s almost morning. I want to make you go, but I’d only let you go as far as a spoiled child lets his pet bird go. He lets the bird hop a little from his hand and then yanks him back by a string.


 

ROMEO

I would I were thy bird.

JULIET

Sweet, so would I.

Yet I should kill thee with much cherishing.

Good night, good night! Parting is such sweet sorrow

That I shall say good night till it be morrow.

Exit JULIET, above

ROMEO

Sleep dwell upon thine eyes, peace in thy breast.

Would I were sleep and peace, so sweet to rest.

Hence will I to my ghostly friar’s close cell,

His help to crave and my dear hap to tell.

Exit

 

  ROMEO

I wish I was your bird.

JULIET

My sweet, so do I. But I would kill you by petting you too much. Good night, good night. Parting is such sweet sorrow that I’ll say good night until tonight becomes tomorrow.

 

JULIET exits.

ROMEO

I hope you sleep peacefully. I wish I were Sleep and Peace, so I could spend the night with you. Now I’ll go see my priest, to ask for his help and tell him about my good luck.

 

He exits.