Comedies of William Shakespeare Ver. 1.00 Part I (C) COPYRIGHT 1987 by The Neutral Zone ALL RIGHTS RESERVED ------------------------------------------------------------ LOVE'S LABOUR'S LOST Cast of Characters Main Characters FERDINAND, the King of Navarre, plans a quiet period of study, only to have it disrupted, rudely and quickly. BIRON, a courtier of the King's does not like the King's plan, but he finally joins the others until he meets Rosaline. LONGAVILLE, another courtier, fails in his pledge because of Katharine. DUMAIN, another courtier, cannot resist Maria. THE PRINCESS OF FRANCE visits Navarre on a diplomatic mission and spoils the King's plan for austere living. ROSILINE, MARIA, and BIRON, visit Navarre with the Princess and conquer Lonaville, Katherine and Dumain. Supporting Characters --------------------- DON ADRIANO DE ARMADO, a man of little wit but a great many words. BOYET, a lord accompanying the Princess of France. COSTARD, a clown, but wise enough to see through his betters. DULL, a well-named constable. A FORESTER HOLOFERNES, another wordy fellow, a schoolmaster. MERCADE, a lord accompanying the Princess of France. MOTH, Armado's page. SIR NATHANIEL, a curate, who chatters windily but not too wisely. JAQUENETTA, a country wench. (Attendants, Lords) (PLACE: Navarre, at and near the King's palace.) BACKGROUND. Probably first performed about 1588, this play was first printed in 1598. No known source has been discovered, though it may have been, in part,based on an incident related in Marguerite of Valois' Memoires. The play is noteworthy in that it contains a much greater proportion of rhymed line than does any other Shakespearean play. ACT BY ACT ANALYSIS ------------------- ACT I. Ferdinand, King of Navarre, proposes to his courtiers, Biron, Longaville, and Dumain, that they go into a retreat together for three years, devoting themselves to scholarly pursuits. The King asks his courtiers to sign a pledge to live in absolute austerity. They shall see no women, shall fast one day a week, shall dine but once on the other days, shall sleep but three hours a night. Biron, though he thinks the terms of withdrawal too harsh, finally signs with the others. The King also orders that all subjects likewise abstain from the joys of the flesh. The only entertainment the courtiers will have will be the chatter of Costard, a clown, and Armado, a foolish Spanish gentleman. Costard is the first to be found guilty of consorting a girl, Jaquenetta, and he is sentenced to a week's fasting in prison (i). Armado, who is ordered to be Costard's keeper, loves Jaquenetta too, and though fearful of the consequences, the foolish gentleman prepares to compose sonnets to her (ii). ACT II. Ferdinand, some time before, had lent a sum of money to the King of France. Now the King's daughter arrives upon a diplomatic mission concerning the loan. The King listens to her suit, which cannot be settled until the next day when certain papers will have arrived. He prepares a tent for her and her retinue outside the gates, for (because of his vow) he cannot admit her. Ferdinand's courtiers immediately pair off with the Princess' ladies (i). ACT III. Armado frees Costard in order that the clown may carry a letter to Jaquenetta. Biron meets the messenger and likewise entrusts him with a letter-this one to be delivered to Rosiline, one of the Princess' retinue (i). ACT IV. Costard, of course gets the letters mixed, and the one for Jaquenetta is delivered to the Princess (i). Jaquenetta takes the letter she received to Nathaniel (a curate) to have it read. The pedant, Holofernes, points out that this letter is really from Biron to Rosiline and directs Jaquenetta to carry it to the King (ii). Biron conceals himself and spies upon the King as he reads a love poem. As Longaville enters, the King drops the paper and hides too. Longaville is composing a sonnet to Maria, one of the Princess' ladies. As Dumain enters, Longaville, too hides. Dumain is composing a poem-to Katherine, another of the Princess' retinue. Longaville now accosts Dumain, and is in turn accosted by the King, who accuses the courtiers of breaking their oath. But Biron steps now steps out of hiding and accuses the King of likewise being in love with the Princess. Biron, however, is not long allowed to maintain his pretense of living up to the pledge. For Jaquenetta enters with Costard and brings the king Biron's letter to Rosaline. Now all the gentleman realize that each alike has broken faith. Just as wholeheartedly as when they had sworn asceticism, they now swear to "woo these girls of France." They plan an entertainment for the ladies in order to help further their suits (iii). ACT V. The gentleman approach the Princess and her court disguised as Russian masquers and woo the visitors, but the ladies have been forewarned by the spirited Boyet, have masked and exchanged favors so that their identities are confused. Returning to their own characters the men are ridiculed by the ladies (ii). The minor characters have meanwhile prepared a "masque of the Nine Worthies" (i). When it is presented, it turns out to be a ridiculous failure. At the height of the merriment, a messenger brings word that the King of France is dead. Now the ladies must leave, and they inform the King and his courtiers that they will not listen to any serious proposals for a year. Further the King must retire to a monastery for that year, and Biron must use his wit for the benefit of sufferers in hospitals. As the ladies prepare to leave, it is evident that, for the present at least, the labors of the lovers are lost (ii). ------------------------------------------------------------- COMEDY OF ERRORS Cast of Characters Main Characters ANTIPHOLUS OF EPHESUS, an identical twin to Antipholus of Syracuse, has been lost from his family for many years but is finally restored. ANTIPHOLUS OF SYRACUSE, has spent five years searching for his lost brother. DROMIO OF EPHESUS, an identical twin to Dromio and a servant of Antipholus of Ephesus, is often beaten for mistakes of his double. DROMIO OF SYRACUSE, the counterpart of Dromio of Ephesus and the servant of Antipholus of Syracuse, likewise has difficulties because of mistaken identity. ADRIANA, the jealous wife of Antipholus of Epholus, cannot account for the strange actions of her supposed husband. LUCIANA, the sister of Adriana, finds her husband where she thinks herself least likely to find one. AEGEON, a merchant of Syracuse, finds a long-lost son. AEMILIA, wife of Aegeon, becomes an abbess and renounces the world, but finally returned to it with her husband and her reunited family. Supporting Characters --------------------- ANGELO, a goldsmith LUCE, Adrina's servant BALTHAZAR, a merchant PINCH, a schoolmaster COURTESAN SECOUND MERCHANT FIRST MERCHANT SOLINUS, Duke of Ephesus (Attendants, jailor, officers) (PLACE: Ephesus) BACKGROUND. This play was probably (though not certainly) written about 1589 or 1590 and was first printed in 1623. Its chief source is the Menaechmi of Plautus, and the main plot follows that of earlier play quite closely. Part of one scene (III,i) is taken from another play by Plautus, the Amphitruo. The reunion of the twin's parents is probably inspired by the story of Apollonius of Tyre, long an English favorite. Shakespeare's chief addition to the play consists in adding the further complication of twin servants. ACT BY ACT ANALYSIS ------------------- ACT I. Syracuse and Ephesus are enemy cities. Each has laws forbidding citizens of the other to enter, and those captured are subject to a fine of a thousand marks. Those unable to pay are put to death. Aegeon, a merchant of Syracuse, has been captured in Ephesus and is unable to pay his fine. He has been brought before Solinus, ruler of the city. The Duke sympathizes with the unfortunate merchant but tells him that even he, as ruler, is powerless to break the laws of the city in order to free him. In answer to the Dukes questions, Aegeon tells his reason for being in the city. He has to sons, he says, who are identical twins. The sons have pairs of servants who are also identical twins. Years ago one son, together with his mother and one of the servants, was separated from the rest of the family in a storm at sea. The remaining son, upon reaching young manhood, set out to find his lost brother. But after five years he had not returned. Aegeon, searching for the second son, has come to Ephesus and has, unfortunately, been captured (i). Meanwhile, Antipholus of Syracuse (hereafter Antipholus S.), who has also just arrived in Ephesus, sends his servant, Dromio S., with a purse of money to the inn where they have been staying. Dromio of Ephesus (the identical twin of Dromio S.) enters and bids Antipholus S. to hurry lest he be late for dinner. (He thinks Antipholus S. is Antipholus E., the other twin and his master.) Antipholus S. asks about the money, but Dromio E., of course, proclaims complete ignorance concerning it. Antipholus S., angered, beats him and Dromio E. runs away (ii). ACT II. Adriana, wife of Antipholus E., waits for her husband, who is late for dinner. Dromio E. tells her of his strange encounter with the man he believes to be his master. The waiting wife is immediately consumed with jealousy, imagining that another women is detaining her husband. Her sister, Luciana, tries to soothe her (i). Antipholus S. meets Dromio S. and scolds him for what he thinks was his servant's previous jesting. Dromio S. is of course, completely ignorant of the whole episode. Antipholus S., again angered, beats him. Adriana enters and berates Antipholus S. His claim to be a stranger infuriates her all the more. Finally, half thinking himself insane, Antipholus S. is led off to dinner (ii). ACT III. Before his house Antipholus E. arranges with a goldsmith to deliver a golden chain to his wife on the morrow. He berates Dromio E. for telling a wild tale about a purse of money and a beating he claims his master gave him. Antipholus E. has brought Balthazar, a merchant, home to dinner. Dromio S., however, will not admit them; nor will Adriana nor her servant, Luca Antipholus E. wishes to force his way in, but Balthazar dissuades him on the grounds that such a row will ruin his wife's reputation. They depart for dinner elsewhere. Antipholus E. says that he will give the chain he is having made to another women (i). Luciana chides Antipholus S. for his conduct. Antipholus S. proclaims himself a total stranger to Adriana, but says that he loves her (Luciana). Dromio S. enters, chattering that a strange and horrible women has claimed him as husband. Antipholus. S decides the town must be bewitched and sends Dromio S. to see if any ships are leaving, so that they may leave the frightening place. His fears seem to be borne out when Angelo, the goldsmith enters and insists upon his excepting the chain which the smith claims Antipholus has ordered (ii). ACT IV. Antipholus E. sends Dromio E. to buy a rope's end with which to discipline his housewife; then he meets the goldsmith, who asks payment for the chain. Antipholus E. denies having received it. Angelo needs the money to pay a merchant who has a claim against him. When Antipholus E. refuses to pay, the merchant has Angelo arrested. Angelo, in turn, has Antipholus E. arrested. Dromio S. enters and tells Antipholus E. that he has secured passage on a boat which is ready to leave. Antipholus E. thinks him insane and sends him to Adriana for money to satisfy Angelo (i). Adriana and Luciana discuss the strange behavior of the man they believe to be Adriana's husband. Dromio S. enters and asks for money to redeem the arrested Antipholus E. (ii). The servant secures the money and takes it to Antipholus S. who, of course knows nothing about the situation. A courtesan asks Antipholus S. for the chain, which she claims he has promised her in return for a ring she has given him. Each is convinced of the other's madness, and Antipholus S. is more certain than ever he is in a bewitched (iii). When Dromio E. eventually finds Antipholus E., he gives his master the rope's end instead of the money Antipholus E. expects. Antipholus E. beats him. Adriana and Luciana appear, and Antipholus E berates them for locking him out of his house. This act, of course, they deny. He also accuses them of plotting his arrest. Adriana denies his accusation and says that she sent Dromio with the money to free him. Dromio E. denies the claim. Adriana, thinking he is mad, has him put under restraint by Doctor Pinch and his assistants, after offering to pay the goldsmith. Antipholus S. and Dromio S. enter, their rapiers drawn, after their doubles have been taken away by the doctor. Believing that the men have escaped from the doctor, the ladies flee. Antipholus S. is even more firmly convinced that the land is bewitched and tells Dromio S. that he plans to leave the city at once (iv). ACT V. Antipholus S. and Dromio S. meet Angelo in a street before a priory. The goldsmith accosts them. He points out that even now Antipholus S. is wearing the chain that has caused so much trouble. Antipholus S. declares that he never has denied that he received the chain, and challenges the merchant, who is accompanied Angelo and who joins with him in his accusation. Adriana and Luciana cone in and plead with the merchant, claiming Antipholus S. is mad. (They still mistake him, of course, for Antipholus E.) The abbess of the priory comes out and blames the supposed madness upon Adrianas jealous carping. She refuses to allow Adriana to remove her supposed husband, and takes him into the abbey. The Duke enters with Aegeon, bound for the palace of execution. Now a messenger adds to the confusion by rushing in to announce the escape of the madman and his servant(i.e., Antipholus E. and Dromio E.) Soon they enter, and Aegeon believes the pair to be his son Antipholus S. and his servant, Dromio S. Antipholus E. accuse his wife of locking him out of his own house. Then he recounts all the evil things that have befallen him. Angelo repeats his story about the chain, and the confusion grows deeper; for he confirms Antipholus E.'s story that he was locked from his house. Aegeon now calls on Antipholus E.. as his son to pay his fine and save his life. Antipholus E. of course, does not recognize his father. Now the abbess comes in, with Antipholus S. and Dromio S.-at last the doubles are brought together. The threads are immediately unwound. The twins are sorted out, and the abbess is disclosed as Aemilia, Aegeon's wife and the mother of the twins (i). ------------------------------------------------------------- THE TWO GENTLEMEN OF VERONA Cast of Characters Main Characters VALENTINE, a "gentleman of Verona," learns that friends are not always to betrusted in matters of love. PROTEUS, the other "gentleman" of the title, proves himself a most unworthy friend and inconsistent lover. JULIA disguises herself as a page in order to be near her fickle lover Proteus. SILVIA, Valintine's beloved, will have no part of Proteus' blandishments or Thurio's "wailful" sonnets. THURIO foolishly enlists the aid of false Proteus is his suit for the fair Silvia. THE DUKE OF MILAN, Silvia's father, is unable to prevent his daughter's marrying whom she chooses. Supporting Characters --------------------- ANTONIO, father of Proteus EGLAMOUR, Silvia's faithful friend HOST, where Julia stays LAUNCE, a clown and Proteus' servant LUCETTA, Julia's waiting women OUTLAWS SPEED, a clown and Valentine's servant PANTHINO, servant to Antonio (Musicians, Servants) (PLACE: Verona; Milan; and a forest between Milan and Mantua) BACKGROUND. Surmises concerning the date of the play's composition and performance vary from 1590 to 1592, but most modern critics agree in assigning if a date not later than 1592. It is not printed until the First Folio edition of 1623. The ultimate source is a Spanish pastoral, Diana Enamorada, written by Jorge de Montmayor. Shakespeare's immediate source a lost play, Felix and Philiomena, acted in 1584. ACT BY ACT ANALYSIS ------------------- ACT I. As Valentine prepares to leave for the court of the Duke of Milan, he twits his friend Proteus (too much love with Julia to think of leaving) for remaining behind. After Valentine leaves, his servant, Speed, enters; and Proteus questions him about a letter to Julia he has asked the loutish servant to deliver (i). Meanwhile Lucetta has shown the letter to Julia, who pretends no interest; but after tearing up the missive in a pretended rage, she tenderly gathers the scraps and deciphers the message (ii). Now Proteus' pursuit of Julia is cut short by his father, who announces his plan to send Proteus (like Valentine) to the court of the Duke of Milan. Though Proteus pleads for an extension of time, hi is ordered to leave the next day (iii). ACT II. In Milan Valentine has also fallen in love. The object of this love, the fair Silvia, pretends indifference, but shows her interest in the young man by persuading him to write letters to a "friend"-a device the cunning Speed immediately recognizes as a mean of wooing Valentine by having him send letters to himself (i). Proteus arrives in Milan (iv), after exchanging rings with Julia as a love remembrance (ii). Once in Milan, however, the flighty young lord immediately falls in love with Valentine's sweetheart, Silvia (vi). Valentine asks his friend to help him elope with the girl (iv), but Proteus, his head filled with amorous ideas of his own, treacherously plans to betray the elopement to the Duke (her father) and to win her for himself. The Duke, knowing nothing of the sly young man's intentions, plans for her to marry Thurio, a foolish gentleman (vi). Now Julia, left behind in Verona, plans to follow Proteus to Milan, dressed as a page (vii). ACT III. Proteus betrays his friend by telling the Duke of the coming elopement. The Duke, after promising not to tell Valentine who has betrayed him, meets the young lover and tricks him into showing the Duke his letter to Silvia and the rope ladder he plans to use for the elopement. The Duke banishes Valentine, and Proteus carries his treachery further by consoling the heartsick youth and offering to deliver any letters Valentine wishes to send to Silvia (i). Proteus now arranges with the Duke and Thurio to slander Valentine to Silvia. The Duke believes that he can be trusted in such an assignment since his love for Julia is so well known. As part of his plan of deceit, Proteus suggests that Thurio push his own cause by writing "wailful" sonnets to Silivia (ii). ACT IV. In the forest, the banished Valentine is captured by outlaws. The youth tells them that he has been banished for slaying a man; and the outlaws , impressed, make him the captain of their band (i). Back in Milan, Proteus is having little success with his treacherous suit for Silvia's love. Julia has by now reached Milan. She hears Proteus singing (the famous "Who is Silvia?") and laments that Proteus no longer loves her. When Silvia tells Proteus that she despises him for his treachery, Julia listens, heartbroken (ii). In order to be near her faithless lover, Julia, still disguised as a page, enters his services, under the pseudonym, Sebastian. She performs the hateful task of carrying to Silvia her own ring (the love token she had given Proteus) together with a letter (iv). But Silvia has plans oh her own. With the aid of Eglamour,a faithful friend, she decides to escape to Mantus, where she has heard that Valentine is living (iii). ACT V. Silvia meets Egalamour at an abbey, and the couple flee (i). Her, father, the Duke, hears of her flight almost immediately and organizes a posse to pursue her (ii). The outlaw band captures Silvia (iii), but Proteus rescues her. Since she is still cold to him, he threatens to force her to his desire. Valentine, who has overheard the threat, confronts Proteus, who immediately admits to his error and begs forgiveness, which Valentine grants, after first generously offering to abandon his suit in favor of his friend. Julia, hearing Valentine's offer, faints; and the ring which Proteus has given her discloses her true identity. Proteus, repentant, reaffirms his love for Julia. The Duke enters with Thurio, prisoner of the outlaws. Valentine threatens Thurio, who hastily withdrawals his suit for Silvia's hand. The Duke gives all his blessing, admonishes Thurio for his lack of aggressiveness, and pardons the outlaws (iv). ------------------------------------------------------------- A MIDSUMMER-NIGHTS DREAM Cast of Characters Main Characters THESESUS, Duke of Athens, has his wedding revels interrupted by strange and amusing antics. LYSANDER, an Athenian youth, loves Hermia until Robin bewitches him for a time. DEMETRIUS, an Athenian youth, loves Hermia too, but the fairies soon change this one-sided affection. HERMIA loves Lysander, though for a time he does not return this love. HELENA, loves Demetrius but, after being loved by no one, is for a time loved by too many. HIPPOLYTA, Queen of the Amazons, is betrothed to Theseus. OBERON, the Fairy King, gets the changeling boy he wants. TITANIA, Queen of the Fairies, makes love to an ass before her eyes are opened. ROBIN GOODFELLOW, a Puck, is the elfin jester of King Oberon's fairy court. BOTTOM, a weaver, wears an ass's head with great nonchalance and with even a greater nonchalance plays Pyramus in the revels. Supporting Characters --------------------- COBWEB, a fairy PEASEBLOSSEM, a fairy EGEUS, Hermia's father PHILOSTRATE, master of the revels FLUTE, a bellows mender QUINCE, a carpenter MOTH, a fairy SNOUT, a tinker MUSTARDSEED, a fairy SNUG, a joiner STARVELING, a tailor (Other fairies in Oberon's and Titania's retinues, Attendants) (PLACE: Athens and a wood nearby) BACKGROUND. This play first printed in 1600. The date of its first performance has not been established exactly, but it was probably 1594 or 1595. The plot is original but has several sources from which details are drawn. These include Chaucer's Knight's Tale, and his Legend of Good Women; Plutarch's Life of Theseus; Montemayor's Diana; Ovid's Metamorphoses. ACT BY ACT ANALYSIS ------------------- ACT I. Theseus, Duke of Athens, about to marry Hippolyta, the Queen of the Amazons, plans extensive revels to celebrate the occasion. He is soon disturbed, however, by a domestic squabble. Hermia, a fair Athenian girl, loves Lysander; but her father has promised her to a rival, Demetrius. The father, Egeus, now complains to Theseus of his daughter's willfulness. The Duke upholds Egeus; Hermia, he says, must either marry according to her father's wishes or accept one of two unpleasant alternatives:she must either die or "abjure forever the society of men." In order to escape this judgement, Lysander and Hermia plan to elope, and arrange to meet in a wood nearby. Unwisely, as it turns out, they confide their plans to Helena, who is madly in love with Demetrius, hoping to ingratiate herself with him (i). Meanwhile, a group of artisans meet to discuss their plans to play an "interlude" as one of the revels for the Duke. The actors arrange to meet the following night for rehearsal-their meeting place to be the same wood chosen by the lovers (ii). ACT II. In this very wood a quarrel is raging between the rulers of the fairies about the custody of a "changeling," a little Indian boy. Titania, the Queen, has the boy and flatly refuses to give him up to her husband, Oberon, King of the Fairies. Angry with his queen, Oberon send his fairy jester, Robin Goodfellow, to find a flower whose juice will make the queen love madly the first living thing she sees upon awakening, "Be it lion, bear, or wolf , or bull." While waiting for Robin's return, Oberon overhears Demetrius and Helena talking. Helena has betrayed the eloping couple to Demetrius, who has gone in search of them. Oberon, overhearing him scold Helena, plans to make matters right between the quarreling mortals. He sends Robin to rub some of the magic juice upon Demetrius' eyes after the youth has gone to sleep (i), then goes to find Titania, who sleeps in the wood near where Hermia and Lysander are also sleeping. Oberon anoints her eyes, while Robin finds the sleeping Lysander and squeezes the magic juice upon him, mistaking him for Demetrius. Demetrius, followed by the persistent Helena, wanders by, and Helena awakens Lysander. Since Helena is the first living thing he sees upon awakening, Lysander immediately loves her. Leaving Hermia, he follows Helena into the woods (ii). ACT III. Robin overhears the clowns rehearsing their "interlude." The knavish elf enchants Bottem, changing his head into a donkey's. Titania awakes from her sleep nearby, sees Bottem, and is Hopeless;y smitten, ass's head and all (i). Meanwhile Hermia has wandered off in search of Lysander. She finds Demetrius instead and accuses him of murdering her lover. Robin and Oberon witness this byplay and realize that the sprite has mistakenly anointed the eyes of the wrong "Athenian youth." After Hermia leaves, Demetrius goes to sleep and the fairies anoint his eyes, while Oberon orders Robin to bring Helena so that she will be the first person seen by the sleeping youth when he awakens. This stratagem works admirably, but now both Lysander and Demetrius love Helena, and they begin to quarrel over her, both now spurning Hermia. When the two youths leave to find a place to fight, Oberon orders Robin to lead them astray by false voices until they are so tired that they will fall asleep. The elf is then to apply an antidote to Lysander's eyes do that he will love Hermia again (ii). ACT IV. Oberon, who has obtained the changeling from the bewitched Queen, sees her sleeping with the foolish Bottem clasped in her arms. Pitying her, he applies the antidote to her eyes and removes the enchantment from Bottem's head. The four lovers, sleeping nearby, are discovered by Theseus, Hippolyta, Egeus, and a retinue, who have come to hunt in the woods. The angry father demands that Theseus invoke the law against Hermia. But when Demetrius tells Egeus that he no longer loves Hermia, Theseus approves the new pairing off of the lovers (i). ACT V. The three couples-Theseus and Hippolyta, Lysander and Hermia, Demetrius and Helena-happily gather in Theseus' palace to watch the wedding revels. The clowns present their ridiculous play, "the most lamentable comedy, and most cruel death of Pyramus and Thisbe." When the mortals have gone, the fairies dance and sing. Finally Robin Goodfellow is left to close with an epilogue asking the audience's approval (i) he boy and Robin Goodfellow is left