(navigation image)
Home American Libraries | Canadian Libraries | Universal Library | Community Texts | Project Gutenberg | Children's Library | Biodiversity Heritage Library | Additional Collections
Search: Advanced Search
Anonymous User (login or join us)
Upload
See other formats

Full text of "Recitation contest"

I pray you, as I 
pronounced it 
to you, trippingly 
on the tongue: 

but if you mouth it, as 
many of your players 
do, I had as lief the 
town-crier spoke my 
lines. Nor do not 
saw the air too much 
with your hand, thus, 
but use all gendy; for 
in the very torrent, 
tempest, and, as I may 
say, the whirlwind of 
passion, you must 
acquire and beget a 
temperance that may 
give it smoothness. < 



HAMLET 



RECITATION 

CONTEST 



NATIONAL ENDOWMENT FOR THE ARTS 



PRESENTS 




SHAKESPEARE 

IN AMERICAN COMMUNITIES 



Digitized by the Internet Archive 

in 2012 with funding from 

Boston Library Consortium Member Libraries 



http://archive.org/details/recitationcontesOOnati 



RECITATION 

CONTEST 



NATIONAL ENDOWMENT FOR THE ARTS 



PRESENTS 




SHAKESPEARE 

IN AMERICAN COMMUNITIES 



THE MONOLOGUES 




SHAKESPEARE 

IN *U< ■ 



Shakespeare in American Communities is a national theater touring 
initiative made possible by the National Endowment for the Arts in 
cooperation with Arts Midwest. Performances will reach more than 
1,500 communities across all 50 states, bringing professional theater 
productions of Shakespeare and related educational activities to 
Americans throughout the country. Through the added component of 
Shakespeare for a New Generation, a special emphasis is placed on 
reaching students with limited access to the arts. 



*» 



NATIONAL 
ENDOWMENT 
FOR THE ARTS 



The National Endowment for the Arts exists to foster, preserve, and 
promote excellence in the arts, to bring art to all Americans, and to 
provide leadership in arts education. Serving a nation in which artistic 
excellence is celebrated, supported, and available to all, the Arts 
Endowment is the largest annual funder of the arts in the United States. 



t __ \iis Midwest, a nonprofit regional arts organization headquartered in 
tx£&k Minneapolis, connects the arts to audiences throughout Illinois, Indiana, 
midwest Iowa, Michigan, Minnesota, North Dakota, Ohio, South Dakota, and 
Wisconsin. 



ii SHAKES ^ AMERICAN COMMUNITIES 



THE MONOLOGUES 



CONTENTS 

Recitation and Learning 1 

Preparation 2 

Suggested Class Schedule 3 

Practice Checklist 4 

Contest Guidelines 5 

Contest Evaluation Sheet 6 

List of Winners 7 

The Monologues 8 

The Sonnets 35 



SHAKESPl \RI KIa II \TlON I iii 




k ■ •> 




•> > 



■ 



I 



Lestfr Puny as Othello in the Guthrie 
Theater's Shakespeare in American 
Communities production. 



RECITATION AND LEARNING 

A Message from the Chairman 



Memorization and recitation have been central 
elements of education since ancient times. By 
studying and reciting poetry, students begin to 
master language as well as develop skills in public speaking. 
This practice also helps build confidence and expand students' 
knowledge of great literature. 

Along with wrestling and the javelin toss, the Ancient 
Olympics included contests in music, drama, and poetry. 
Performers trained for years and traveled great distances to the 
games. (During times of war a temporary truce would be called 
and weapons laid down, allowing competitors to pass through 
enemy territory unharmed.) There was a deep human wisdom 
in this ancient custom that has relevance in todays classroom. 

By encouraging your students to study, memorize, and 
perform sonnets and monologues by William Shakespeare, the 
pre-eminent playwright in the history of the English language, 
you will be immersing them in great thoughts and great 
language. 

Although many students may initially be nervous about 
reciting in front of their teenage peers, the experience will prove 
valuable — not only in school but also in life. Much of the future 
success of students will depend on how well they present 
themselves in public. Whether talking to one person or many 
public speaking is a skill people use everyday in the world. 

To recognize excellence, the National Endowment for the 
Arts will send two winners from your school an official award 
certificate. 




(^LtUtv H^\^ 



Dana Gioia 

Chairman of the National Endowment for the Arts 



SHAKESPI \RI Rk ITATIPN 1 



PREPARATION 



1. Discuss the sonnets and monologues. The most important preparation for 
reading Shakespeare aloud is in understanding the text. When the reader or 
actor doesn't understand the text, neither will the listener. Begin preparation 
with a class session of discussions concerning the sonnets and monologues. 
(Dictionaries will be necessary for this activity. In larger classes, you might 
split students into smaller groups for the discussions and text analysis.) 

2. Ask students to choose an excerpt to memorize. Each student must choose 
one of the sonnets or monologues to memorize and prepare for recitation. 

3. Share these memorization tips with your students: 1. Rewrite your sonnet or 
monologue by hand as often as you can. Each time, try to write more and 
more of it from memory. 2. Read your piece aloud before going to sleep at 
night, and repeat it when you wake up. 3. Carry around a copy of your sonnet 
or monologue in your pocket or bag. You'll find many moments throughout 
the day to reread or recite it. 

4. Model recitation skills. The teacher should model both effective and 
ineffective recitation practices, asking students to point out which elements 
of the performance are successful and which are not. On the board, 
develop a list of bad habits that distract the audience or take away from 
the performance, such as fidgeting, monotone voice, inaudible volume, 
mispronunciations, and (the most common problem) speaking too quickly. 
Now develop a list of elements that a successful recitation performance 
should contain: eye contact with audience, voice inflection, sufficient volume, 
evidence of understanding, pronunciation, and an appropriate speed with 
the proper pauses. 

5. Practice the monologues. Allow class-time for students to practice their 
monologues. Break the class into pairs of students (rotating at each session). 
Have each student practice with his or her partner. Partners should offer 
constructive criticism, using the included checklist for their critique. 



2 SHAKES] MERICAN COMMUNITIES 



SUGGESTED CLASS SCHEDULE 



Week 1 • Read and discuss the sonnets and monologues in class. 

(2-3 full classes) 

• Have students choose sonnets or monologues to memorize. They 
should look up all unfamiliar words, making sure they understand 
and can pronounce every word and phrase. Encourage them to 
make helpful notes onto the copies of their selections. 

(1 full class) 

• Have students practice their sonnets or monologues with partners. 
(15 minutes per day) 

• The teacher should model effective and ineffective recitation practices. 
(1 full class) 



Week 2 • Have students practice their sonnets or monologues with 

partners each day. They should also work on their memorization 
and performance outside of school. Students should have their 
selections completely memorized and be able to recite without 
using a page by the end of the week. 
(15 minutes per day) 



Week 3 • Hold the class-wide recitation contest. 

(1-2 full classes) 

• Winners compete in the school-wide competition towards the end 
of the week. 
(1 hour) 



SHAKESPEARJ RECITATION ( 3 



PRACTICE CHECKLIST 



Volume 



Speed 



Voice Inflection 



Posture and 
Presence 



Evidence of 
Understanding and 
Pronunciation 



Eye Contact 



A performer should be loud enough to be heard by the entire 
audience. 

Most of us speak too quickly when we are nervous, which can 
make a performance difficult to understand. Speak slowly, but 
not so slowly that the language sounds unnatural or awkward. 
Speak at a natural pace. 

Avoid monotone recitation. If a performer sounds bored, 
he or she will project that boredom onto the audience. One 
should also avoid using too much inflection, which can make 
the recitation sound insincere. 

Stand up straight and attentively. Appropriate gestures and 
movement on the stage are encouraged, as long as they are 
not overdone. 

Be sure you know the meaning and correct pronunciation of 
every word and line in your excerpt. If you are unsure about 
something, it will be apparent to the audience. Don't hesitate 
to ask your teacher for help. 

Engage your audience. Look them in the eye. If you have 
trouble with that, look past them to the far wall, but try not 
to look down unless appropriate to the text. 



Name: 








> 






poor 


> 


average 


excellent 


Volume 




2 


3 


4 


5 


Speed 




2 


3 


4 


5 


Voice Inflection 




2 


3 


4 


5 


Posture and Presence 




2 


3 


4 


5 


Evidence of Understanding 




2 


3 


4 


5 


Pronunciation 




2 


3 


4 


5 



Eye Contact 



4 SHAKESPEARJ U KICAN COMMUNITIES 



CONTEST GUIDELINES 



Schedule 

First the teacher will hold a class-wide recitation contest. The two highest scorers from 
each class will take part in the school-wide competition, held at an assembly with all 
students present. Schedule a date and time for the school-wide assembly as soon as 
possible. For larger schools, allow only one finalist from each class to take part in the 
school- wide competition. (Eight to twelve competitors would be ideal.) 

Performance Introductions 

At the competition, students should stand before the class (or the school), introduce 
themselves, identify what they will perform (for example, "This is 'Sonnet 18 1 by William 
Shakespeare," or "This is an excerpt from act two, scene two, of Romeo and Juliet. I will 
read the part of Juliet"), and begin. 

Evaluation 

The teacher will act as the judge using the following evaluation sheet. Select three 
teachers to judge the school- wide competition. Two winners from each school will be 
sent an official award document from the National Endowment for the Arts, signed by 
Chairman Dana Gioia. 



SHAKESPEARJ RECITATION CONTES1 5 



CONTEST EVALUATION SHEET 



Name of Performer: 



Monologue or Sonnet: 



Ratings 

1 : Poor 

2: Below Average 

3: Average 

4: Very Good 

5: Excellent 





poor 


> 


average 


> 


excellent 


Volume 




2 


3 


4 


5 


Speed 




2 


3 


4 


5 


Voice Inflection 




2 


3 


4 


5 


Posture and Presence 




2 


3 


4 


5 


Evidence of Understanding 




2 


3 


4 


5 


Gestures 




2 


3 


4 


5 


Pronunciation 




2 


3 


4 


5 


Eye Contact 




2 


3 


4 


5 



FINAL SCORE: 



6 SHAKESPEARE IN AMERICAN COMMUNITIES 



LIST OF WINNERS 



Names of Winners 

(type or print legibly) 



1. 



2. 



School: . 
Address: 



Phone: 



Number of Participating Students: 



Name of Teacher: 



Signature of Teacher: 



Please return this form to: 

Recitation Awards 

National Endowment for the Arts 

1100 Pennsylvania Avenue NW 

Room 621 

Washington, DC 20506 



s||\klsri \R| RICITATION ( 7 



THE MONOLOGUES 

Romeo 

ROMEO AND JULIET Act II, Scene! 

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! 

that she knew she were! 

She speaks, yet she says nothing; what of that? 
Her eye discourses; I will answer it. 

1 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! 



8 SHAKESPEARE IN AMERICAN COMMUNITIES 



THE MONOLOGUES 

Theseus 

A MIDSUMMER NIGHT'S DREAM ActV, Scene 1 

Lovers and madmen have such seething brains, 

Such shaping fantasies, that apprehend 

More than cool reason ever comprehends. 

The lunatic, the lover, and the poet 

Are of imagination all compact. 

One sees more devils than vast hell can hold, 

That is, the madman; the lover, all as frantic, 

Sees Helens beauty in a brow of Egypt; 

The poet's eye, in a fine frenzy rolling, 

Doth glance from heaven to earth, from earth to heaven; 

And, as imagination bodies forth 

The forms of things unknown, the poets pen 

Turns them to shapes, and gives to airy nothing 

A local habitation and a name. 

Such tricks hath strong imagination, 

That, if it would but apprehend some joy, 

It comprehends some bringer of that joy; 

Or in the night, imagining some fear, 

How easy is a bush supposd a bear! 



SHAKESPl \RJ RECITATION ( 9 



THE MONOLOGUES 

Macbeth 

MACBETH Act V, Scene 5 

She should have died hereafter; 
There would have been a time for such a word. 
Tomorrow, and tomorrow, and tomorrow 
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. 



10 SHAKESPEARE IN AMERICAN COMMUNITIES 



THE MONOLOGUES 

Orsino 

TWELFTH NIGHT Act I, Scene 1 

If music be the food of love, play on; 

Give me excess of it, that, surfeiting, 

The appetite may sicken, and so die. 

That strain again! It had a dying fall; 

O it came o'er my ear like the sweet sound 

That breathes upon a bank of violets, 

Stealing and giving odour. Enough! No more; 

Tis not so sweet now as it was before. 

O spirit of love! How quick and fresh art thou, 

That, notwithstanding thy capacity 

Receiveth as the sea, nought enters there, 

Of what validity and pitch soe'er, 

But falls into abatement and low price 

Even in a minute. So full of shapes is fancy 

That it alone is high fantastical. 



Ml UCESPI \R1 RECITATION < 11 



THE MONOLOGUES 

Othello 

OTHELLO Act V, Scene 2 

It is the cause, it is the cause, my soul. 

Let me not name it to you, you chaste stars! 

It is the cause. Yet I'll not shed her blood, 

Nor scar that whiter skin of hers than snow, 

And smooth as monumental alabaster. 

Yet she must die, else she'll betray more men. 

Put out the light, and then put out the light. 

If I quench thee, thou flaming minister, 

I can again thy former light restore, 

Should I repent me; but once put out thy light, 

Thou cunning'st pattern of excelling nature, 

I know not where is that Promethean heat 

That can thy light relume. When I have pluck'd the rose, 

I cannot give it vital growth again; 

It needs must wither. I'll smell it on the tree. [Kisses her.] 

O balmy breath, that dost almost persuade 

Justice to break her sword! One more, one more. 

Be thus when thou art dead, and I will kill thee, 

And love thee after. One more, and this the last; 

So sweet was ne'er so fatal. 



12 SHAKESPEARE IN AMERICAN COMMUNITIES 



THE MONOLOGUES 

Richard, Duke of Gloucester 

RICHARD III Act I, Seme 1 

Now is the winter of our discontent 

Made glorious summer by this sun of York; 

And all the clouds that lour'd upon our house 

In the deep bosom of the ocean buried. 

Now are our brows bound with victorious wreaths, 

Our bruised arms hung up for monuments, 

Our stern alarums changed to merry meetings, 

Our dreadful marches to delightful measures. 

Grim-visag'd war hath smooth'd his wrinkled front; 

And now, instead of mounting barbed steeds 

To fright the souls of fearful adversaries, 

He capers nimbly in a lady's chamber 

To the lascivious pleasing of a lute. 

But I, that am not shap'd for sportive tricks 

Nor made to court an amorous looking-glass; 

I, that am rudely stamp'd, and want love's majesty 

To strut before a wanton ambling nymph; 

1, that am curtail'd of this fair proportion, 

Cheated of feature by dissembling nature, 

Deform'd, unfinish'd, sent before my time 

Into this breathing world, scarce half made up, 

And that so lamely and unfashionable 

That dogs bark at me as I halt by them; 

Why I, in this weak piping time of peace, 

Have no delight to pass away the time, 

Unless to see my shadow in the sun 

And descant on mine own deformity. 

And therefore, since I cannot prove a lover 

To entertain these fair well-spoken days, 

I am determined to prove a villain, 

And hate the idle pleasures of these days. 

SHAKESP1 \R[ RECITATION CON1 - 13 



THE MONOLOGUES 

Antony 

JULIUS CAESAR Act III, Scene 2 

Friends, Romans, countrymen, lend me your ears. 

I come to bury Caesar, not to praise him. 

The evil that men do lives after them, 

The good is oft interred with their bones; 

So let it be with Caesar. The noble Brutus 

Hath told you Caesar was ambitious; 

If it were so, it was a grievous fault, 

And grievously hath Caesar answer'd it. 

Here, under leave of Brutus and the rest — 

For Brutus is an honourable man; 

So are they all, all honourable men — 

Come 1 to speak in Caesar's funeral. 

He was my friend, faithful and just to me. 

But Brutus says he was ambitious; 

And Brutus is an honourable man. 

He hath brought many captives home to Rome, 

Whose ransoms did the general coffers fill. 

Did this in Caesar seem ambitious? 

When that the poor have cried, Caesar hath wept; 

Ambition should be made of sterner stuff. 

Yet Brutus says he was ambitious; 

And Brutus is an honourable man. 

You all did see that on the Lupercal 

I thrice presented him a kingly crown, 

Which he did thrice refuse. Was this ambition? 

Yet Brutus says he was ambitious; 

And, sure, he is an honourable man. 

I speak not to disprove what Brutus spoke, 

But here 1 am to speak what I do know. 

You all did love him once, not without cause. 

What cause withholds you then to mourn for him? 

O judgment, thou art fled to brutish beasts, 

And men have lost their reason! Bear with me; 

My heart is in the coffin there with Caesar, 

And I must pause till it come back to me. 

14 SHAKESPEARE IN AMERICAN COMMUNITIES 



THE MONOLOGUES 

Hamlet 

HAMLET Act III, Scene 1 

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 

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 dispriz'd 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. 

SHAKESPI \RI RECITATION CON1 15 



THE MONOLOGUES 

King Henry 

HENRY V Act IV, Scene 3 

This day is call'd the feast of Crispian: 

He that outlives this day, and comes safe home, 

Will stand a tip-toe when this day is nam'd, 

And rouse him at the name of Crispian. 

He that shall see this day, and live old age, 

Will yearly on the vigil feast his neighbors 

And say, "Tomorrow is Saint Crispian." 

Then will he strip his sleeve and show his scars 

And say, "These wounds I had on Crispins day." 

Old men forget; yet all shall be forgot, 

But he'll remember, with advantages, 

What feats he did that day. Then shall our names, 

Familiar in his mouth as household words — 

Harry the King, Bedford and Exeter, 

Warwick and Talbot, Salisbury and Gloucester — 

Be in their flowing cups freshly remember'd. 

This story shall the good man teach his son; 

And Crispin Crispian shall ne'er go by, 

From this day to the ending of the world, 

But we in it shall be remembered — 

We few, we happy few, we band of brothers; 

For he today that sheds his blood with me 

Shall be my brother. Be he ne'er so vile, 

This day shall gentle his condition; 

And gentlemen in England, now abed, 

Shall think themselves accurs'd they were not here, 

And hold their manhoods cheap whiles any speaks 

That fought with us upon Saint Crispin's day. 



16 SHAKI IN AMERICAN COMMUNITIES 



THE MONOLOGUES 

Duke Senior 

AS YOU LIKE IT Act II, Scene 1 

Now, my co-mates and brothers in exile, 

Hath not old custom made this life more sweet 

Than that of painted pomp? Are not these woods 

More free from peril than the envious court? 

Here feel we not the penalty of Adam, 

The seasons' difference, as the icy fang 

And churlish chiding of the winters wind, 

Which when it bites and blows upon my body, 

Even till I shrink with cold, 1 smile and say, 

"This is no flattery; these are counsellors 

That feelingly persuade me what I am." 

Sweet are the uses of adversity, 

Which, like the toad, ugly and venomous, 

Wears yet a precious jewel in his head; 

And this our life, exempt from public haunt, 

Finds tongues in trees, books in the running brooks, 

Sermons in stones, and good in everything. 



SHAKESPEARE RECITATION CONTES 17 



THE MONOLOGUES 

Hamlet 

HAMLET Act II, Scene 2 

Now I am alone. 

what a rogue and peasant slave am I. 
Is it not monstrous that this player here, 
But in a fiction, in a dream of passion, 
Could force his soul so to his own conceit 
That from her working all his visage wann'd, 
Tears in his eyes, distraction in his aspect, 

A broken voice, and his whole function suiting 

With forms to his conceit? And all for nothing, 

For Hecuba! 

What's Hecuba to him, or he to Hecuba, 

That he should weep for her? What would he do 

Had he the motive and the cue for passion 

That I have? He would drown the stage with tears 

And cleave the general ear with horrid speech, 

Make mad the guilty and appall the free, 

Confound the ignorant, and amaze indeed 

The very faculties of eyes and ears. 

Yet I, 

A dull and muddy-mettled rascal, peak 

Like John-a-dreams, unpregnant of my cause, 

And can say nothing; no, not for a king 

Upon whose property and most dear life 

A damn'd defeat was made. Am I a coward? 

Who calls me villain? breaks my pate across? 

Plucks off my beard and blows it in my face? 

Tweaks me by the nose? gives me the lie i' the throat 

As deep as to the lungs? Who does me this? 

Ha, swounds, I should take it, for it cannot be 

But I am pigeon-liver'd and lack gall 

To make oppression bitter, or ere this 

1 should have fatted all the region kites 
With this slave's offal. Bloody, bawdy villain! 
Remorseless, treacherous, lecherous, kindless villain! 

18 SHAKESPEA IN AMERICAN COMMUNITIES 



THE MONOLOGUES 

Prospero 

THE TEMPEST Act IV, Scene 1 

Our revels now are ended. These our actors, 

As I foretold you, were all spirits and 

Are melted into air, into thin air; 

And, like the baseless fabric of this vision, 

The cloud-capp'd towers, the gorgeous palaces, 

The solemn temples, the great globe itself, 

Yea, all which it inherit, shall dissolve 

And, like this insubstantial pageant faded, 

Leave not a rack behind. We are such stuff 

As dreams are made on, and our little life 

Is rounded with a sleep. Sir, I am vex'd. 

Bear with my weakness; my old brain is troubled. 

Be not disturb'd with my infirmity. 

If you be pleas 1 d, retire into my cell 

And there repose. A turn or two I'll walk 

To still my beating mind. 



SHAKESP1 \RI RECITATION ( 19 



THE MONOLOGUES 

Jaques 

AS YOU LIKE IT Act II, Scene 7 

All the world's a stage, 
And all the men and women merely players; 
They have their exits and their entrances, 
And one man in his time plays many parts, 
His acts being seven ages. At first, the infant, 
Mewling and puking in the nurse's arms. 
And then the whining schoolboy, with his satchel 
And shining morning face, creeping like snail 
Unwillingly to school. And then the lover, 
Sighing like furnace, with a woeful ballad 
Made to his mistress' eyebrow. Then a soldier, 
Full of strange oaths and bearded like the pard, 
Jealous in honor, sudden and quick in quarrel, 
Seeking the bubble reputation 
Even in the cannon's mouth. And then the justice, 
In fair round belly with good capon lin'd, 
With eyes severe and beard of formal cut, 
Full of wise saws and modern instances; 
And so he plays his part. The sixth age shifts 
Into the lean and slipper'd pantaloon, 
With spectacles on nose and pouch on side; 
His youthful hose, well sav'd, a world too wide 
For his shrunk shank, and his big manly voice, 
Turning again toward childish treble, pipes 
And whistles in his sound. Last scene of all, 
That ends this strange eventful history, 
Is second childishness and mere oblivion, 
Sans teeth, sans eyes, sans taste, sans everything. 



20 SI IAKI SPEARE IN AMERICAN COMMUNITIES 



THE MONOLOGUES 

King Henry 

HENRY IV PART 2 Act III, Scene 1 

How many thousand of my poorest subjects 

Are at this hour asleep! O sleep, O gentle sleep, 

Natures soft nurse, how have I frighted thee, 

That thou no more wilt weigh my eyelids down 

And steep my senses in forgetfulness? 

Why rather, sleep, liest thou in smoky cribs, 

Upon uneasy pallets stretching thee 

And hush'd with buzzing night-flies to thy slumber, 

Than in the perfumed chambers of the great, 

Under the canopies of costly state, 

And lull'd with sound of sweetest melody? 

O thou dull god, why liest thou with the vile 

In loathsome beds, and leavest the kingly couch 

A watch-case or a common larum-bell? 

Wilt thou upon the high and giddy mast 

Seal up the ship-boys eyes, and rock his brains 

In cradle of the rude imperious surge 

And in the visitation of the winds, 

Who take the ruffian billows by the top, 

Curling their monstrous heads and hanging them 

With deafening clamour in the slipper)^ clouds, 

That, with the hurly death itself awakes? 

Canst thou, O partial sleep, give thy repose 

To the wet sea-boy in an hour so rude, 

And in the calmest and most stillest night, 

With all appliances and means to boot. 

Deny it to a king? Then happy low. lie down! 

Uneasy lies the head that wears a crown. 



Ml \MMM \RI RECITATION ( 21 



THE MONOLOGUES 

Chorus 

HENRY V Prologue 

O for a Muse of fire that would ascend 

The brightest heaven of invention! 

A kingdom for a stage, princes to act 

And monarchs to behold the swelling scene! 

Then should the war-like Harry, like himself, 

Assume the port of Mars; and at his heels, 

Leash'd in like hounds, should famine, sword, and fire 

Crouch for employment. But pardon, gentles all, 

The flat unraised spirits that hath dar'd 

On this unworthy scaffold to bring forth 

So great an object. Can this cockpit hold 

The vasty fields of France? Or may we cram 

Within this wooden O the very casques 

That did affright the air at Agincourt? 



22 SHAKESPEARE IN AMERICAN COMMUNITIES 



THE MONOLOGUES 

Titania 

A MIDSUMMER NIGHTS DREAM Act II, Scene 1 

Set your heart at rest; 
The fairy land buys not the child of me. 
His mother was a votaress of my order: 
And, in the spiced Indian air, by night, 
Full often hath she gossipd by my side, 
And sat with me on Neptunes yellow sands, 
Marking the embarked traders on the flood, 
When we have laugh'd to see the sails conceive 
And grow big-bellied with the wanton wind; 
Which she, with pretty and with swimming gait 
Following (her womb then rich with my young squire) 
Would imitate, and sail upon the land, 
To fetch me trifles, and return again, 
As from a voyage, rich with merchandise. 
But she, being mortal, of that boy did die; 
And for her sake do I rear up her boy, 
And for her sake I will not part with him. 



Ml \KIMM \RI RECITATION ( 23 



THE MONOLOGUES 

Juliet 

ROMEO AND JULIET Act 11, Scene 2 

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. 
Tis but thy name that is my enemy; 
Thou art thyself though, not a Montague. 
What's Montague? It is nor hand, nor foot, 
Nor arm, nor face, nor any other part 
Belonging to a man. O be some other name! 
What's in a name? That which we call a rose 
By any other name would smell as sweet; 
So Romeo would, were he not Romeo call'd, 
Retain that dear perfection which he owes 
Without that title. Romeo, doff thy name; 
And for that name, which is no part of thee, 
Take all myself. 



24 MIAKISPEARE IN AMERICAN COMMUNITIES 



THE MONOLOGUES 

Helena 

A MIDSUMMER NIGHT'S DREAM Act I, Scene 1 

How happy some o'er other some can be! 

Through Athens I am thought as fair as she; 

But what of that? Demetrius thinks not so. 

He will not know what all but he do know; 

And as he errs, doting on Hermias eyes, 

So I, admiring of his qualities. 

Things base and vile, holding no quantity, 

Love can transpose to form and dignity. 

Love looks not with the eyes, but with the mind, 

And therefore is wing 1 d Cupid painted blind. 

Nor hath Love's mind of any judgment taste; 

Wings, and no eyes, figure unheedy haste; 

And therefore is Love said to be a child, 

Because in choice he is so oft beguil'd. 

As waggish boys in game themselves forswear, 

So the boy Love is perjur'd everywhere; 

For ere Demetrius look'd on Hermia's eyne, 

He hail'd down oaths that he was only mine; 

And when this hail some heat from Hermia felt, 

So he dissolv'd, and showers of oaths did melt. 

1 will go tell him of fair Hermias flight; 

Then to the wood will he tomorrow night 

Pursue her; and for this intelligence 

If I have thanks, it is a dear expense. 

But herein mean 1 to enrich my pain. 

To have his sight thither and back again. 



SHAKESPEAR1 RJ ION C 25 



THE MONOLOGUES 

Titania 

A MIDSUMMER NIGHTS DREAM Act 111, Scene 1 

I pray thee, gentle mortal, sing again: 

Mine ear is much enamour'd of thy note; 

So is mine eye enthralled to thy shape; 

And thy fair virtue's force perforce doth move me 

On the first view to say, to swear, I love thee. 

Thou art as wise as thou art beautiful. 

Out of this wood do not desire to go; 

Thou shalt remain here, whether thou wilt or no. 

I am a spirit of no common rate; 

The summer still doth tend upon my state; 

And 1 do love thee: therefore, go with me; 

I'll give thee fairies to attend on thee; 

And they shall fetch thee jewels from the deep, 

And sing, while thou on pressed flowers dost sleep; 

And I will purge thy mortal grossness so 

That thou shalt like an airy spirit go. 



26 SHAKLSPIARE IN AMERICAN COMMUNITIES 



THE MONOLOGUES 

Portia 

THE MERCHANT OF VENICE Act IV, Scene 1 

The quality of mercy is not strain'd, 

It droppeth as the gentle rain from heaven 

Upon the place beneath. It is twice blessd; 

It blesseth him that gives and him that takes; 

Tis mightiest in the mightiest; it becomes 

The throned monarch better than his crown. 

His sceptre shows the force of temporal power, 

The attribute to awe and majesty, 

Wherein doth sit the dread and fear of kings; 

But mercy is above this sceptred sway. 

It is enthroned in the hearts of kings; 

It is an attribute to God himself, 

And earthly power doth then show likest Gods 

When mercy seasons justice. 



SHAKESPI \RJ RICITATION ( ON 27 



THE MONOLOGUES 

Ophelia 

HAMLET Act III, Scene 1 

O what a noble mind is here o'erthrown! 

The courtier's, soldier's, scholar's, eye, tongue, sword; 

The expectancy and rose of the fair state, 

The glass of fashion and the mould of form, 

The observ'd of all observers, quite, quite down! 

And I, of ladies most deject and wretched, 

That suck'd the honey of his music vows, 

Now see that noble and most sovereign reason 

Like sweet bells jangled, out of tune and harsh; 

That unmatch'd form and feature of blown youth 

Blasted with ecstasy. O woe is me 

To have seen what I have seen, see what I see! 



28 SHAKESPEARE IN AMERICAN COMMUNITIES 



THE MONOLOGUES 

Juliet 

ROMEO AND JULIET Act III, Scene 2 

Gallop apace, you fiery-footed steeds, 

Towards Phoebus' lodging. Such a wagoner 

As Phaethon would whip you to the west 

And bring in cloudy night immediately. 

Spread thy close curtain, love-performing night, 

That runaways' 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 1 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. 



Ml \klMM \RJ RECITATION COh 29 



THE MONOLOGUES 

Imogen 

CYMBELINE Act HI, Scene 6 

I see a man's life is a tedious one: 
I have tired myself, and for two nights together 
Have made the ground my bed; I should be sick, 
But that my resolution helps me. 

OJove! I think 
Foundations fly the wretched; such, I mean, 
Where they should be relieved. Two beggars told me 
I could not miss my way; will poor folks lie, 
That have afflictions on them, knowing 'tis 
A punishment or trial? Yes; no wonder, 
When rich ones scarce tell true. To lapse in fulness 
Is sorer than to lie for need, and falsehood 
Is worse in kings than beggars. My dear lord! 
Thou art one o' the false ones. Now I think on thee, 
My hunger's gone; but even before, I was 
At point to sink for food. But what is this? 
Here is a path to't: 'tis some savage hold; 
1 were best not to call; 1 dare not call: yet famine, 
Ere clean it o'erthrow nature, makes it valiant. 
Plenty and peace breeds cowards: hardness ever 
Of hardiness is mother. 



30 SHAKESPEARE IN AMERICAN COMMUNITIES 



THE MONOLOGUES 

Cleopatra 

ANTONY AND CLEOPATRA Act I, Scene 5 

O Charmian! 
Where thinks t thou he is now? Stands he, or sits he? 
Or does he walk? Or is he on his horse? 
O happy horse, to bear the weight of Antony! 
Do bravely, horse, for wotst thou whom thou movst? 
The demi-Atlas of this earth, the arm 
And burgonet of men. He's speaking now, 
Or murmuring 'Where's my serpent of old Nile?' 
For so he calls me. Now I feed myself 
With most delicious poison. Think on me, 
That am with Phoebus amorous pinches black 
And wrinkled deep in time? Broad-fronted Caesar, 
When thou wast here above the ground, I was 
A morsel for a monarch, and great Pompey 
Would stand and make his eyes grow in my brow; 
There would he anchor his aspect, and die 
With looking on his life. 



SHAKESPI \KI RECITATION ( 31 



THE MONOLOGUES 

Miranda 

TH E TEMPEST Act I, Scene 2 

If by your art, my dearest father, you have 
Put the wild waters in this roar, allay them. 
The sky, it seems, would pour down stinking pitch 
But that the sea, mounting to th' welkin's cheek, 
Dashes the fire out. O I have suffer'd 
With those that I saw suffer! A brave vessel, 
Who had, no doubt, some noble creatures in her, 
Dash'd all to pieces. O the cry did knock 
Against my very heart! Poor souls, they perish'd. 
Had I been any god of power, I would 
Have sunk the sea within the earth, or e'er 
It should the good ship so have swallow'd and 
The fraughting souls within her. 



32 SHAKESPEARE IN AMERICAN COMMUNITIES 



THE MONOLOGUES 

Juliet 

ROMEO AND JULIET Act U, Scene 5 

The clock struck nine when I did send the nurse; 

In half an hour she promis'd to return. 

Perchance she cannot meet him. That's not so. 

O she is lame! Love's heralds should be thoughts, 

Which ten times faster glide than the sun's beams, 

Driving back shadows over lowering hills. 

Therefore do nimble-pinion'd doves draw Love, 

And therefore hath the wind-swift Cupid wings. 

Now is the sun upon the highmost hill 

Of this day's journey, and from nine till twelve 

Is three long hours, yet she is not come. 

Had she affections and warm youthful blood, 

She'd be as swift in motion as a ball; 

My words would bandy her to my sweet love, 

And his to me. 

But old folks, many feign as they were dead; 

Unwieldy, slow, heavy and pale as lead. 

God, she comes! O honey nurse! What news? 
Hast thou met with him? Send thy man away. 

Now, good sweet nurse; O Lord! Why look'st thou sad? 
Though news be sad, yet tell them merrily; 
If good, thou sham'st the music of sweet news 
By playing it to me with so sour a face. 

1 would thou hadst my bones, and I thy news. 

Nay, come, I pray thee, speak; good, good nurse, speak! 



SHAKESPI \KI RECITATION 33 



THE MONOLOGUES 

Kate 

THE TAMING OF THE SHREW Act IV, Scene 3 

The more my wrong, the more his spite appears. 

What, did he marry me to famish me? 

Beggars that come unto my father's door 

Upon entreaty have a present alms; 

If not, elsewhere they meet with charity. 

But I, who never knew how to entreat 

Nor never needed that I should entreat, 

Am starv'd for meat, giddy for lack of sleep; 

With oaths kept waking and with brawling fed. 

And that which spites me more than all these wants, 

He does it under name of perfect love; 

As who should say, if I should sleep or eat 

Twere deadly sickness or else present death. 

I prithee go and get me some repast; 

I care not what, so it be wholesome food. 



34 SHAKESPEARE IN AMERICAN COMMUNITIES 



THE SONNETS 

Sonnet XVIII 

"Shall I compare thee to a summer's day?" 

Shall I compare thee to a summers day? 
Thou art more lovely and more temperate. 
Rough winds do shake the darling buds of May, 
And summers lease hath all too short a date. 
Sometime too hot the eye of heaven shines, 
And often is his gold complexion dimm'd; 
And every fair from fair sometime declines, 
By chance or natures changing course untrimm'd; 
But thy eternal summer shall not fade, 
Nor lose possession of that fair thou ow'st, 
Nor shall death brag thou wander'st in his shade 
When in eternal lines to time thou growst; 
So long as men can breathe or eyes can see, 
So long lives this, and this gives life to thee. 



Sonnet XXIII 

"As an imperfect actor on the stage" 

As an unperfect actor on the stage, 
Who with his fear is put beside his part, 
Or some fierce thing replete with too much rage, 
Whose strengths abundance weakens his own heart; 
So I, for fear of trust, forget to say 
The perfect ceremony of loves rite, 
And in mine own loves strength seem to decay, 
O'erchargd with burden of mine own loves might. 
O let my books be then the eloquence 
And dumb presagers of my speaking breast, 
Who plead for love, and look for recompense. 
More than that tongue that more hath more expressed 
O learn to read what silent love hath writ 
To hear with eyes belongs to loves fine wit. 



SHAKESPI KRI RECITATION ( - 35 



THE SONNETS 

Sonnet XXVII 

"Weary with toil, I haste me to my bed" 

Weary with toil, I haste me to my bed, 
The dear repose for limbs with travel tired; 
But then begins a journey in my head 
To work my mind when body's work's expir'd; 
For then my thoughts, from far where I abide, 
Intend a zealous pilgrimage to thee, 
And keep my drooping eyelids open wide, 
Looking on darkness which the blind do see; 
Save that my soul's imaginary sight 
Presents thy shadow to my sightless view, 
Which, like a jewel hung in ghastly night, 
Makes black night beauteous and her old face new. 
Lo! Thus, by day my limbs, by night my mind, 
For thee and for myself no quiet find. 



Sonnet XXIX 

"When, in disgrace with fortune and men's eyes" 

When, in disgrace with fortune and men's eyes, 
I all alone beweep my outcast state, 
And trouble deaf heaven with my bootless cries, 
And look upon myself, and curse my fate, 
Wishing me like to one more rich in hope, 
Featur'd like him, like him with friends possess'd, 
Desiring this man's art, and that man's scope, 
With what I most enjoy contented least. 
Yet in these thoughts myself almost despising, 
Haply I think on thee, and then my state, 
Like to the lark at break of day arising 
From sullen earth, sings hymns at heaven's gate. 
For thy sweet love remember'd such wealth brings 
That then 1 scorn to change my state with kings. 

36 SHAKESPEARE IN AMERICAN COMMUNITIES 



THE SONNETS 

Sonnet XXX 

"When to the sessions of sweet silent thought" 

When to the sessions of sweet silent thought 

I summon up remembrance of things past, 

I sigh the lack of many a thing I sought, 

And with old woes new wail my dear times' waste; 

Then can I drown an eye, unus'd to flow, 

For precious friends hid in death's dateless night, 

And weep afresh love's long since cancell'd woe, 

And moan the expense of many a vanish'd sight; 

Then can I grieve at grievances foregone, 

And heavily from woe to woe tell o'er 

The sad account of fore-bemoaned moan, 

Which 1 new pay as if not paid before. 

But if the while I think on thee, dear friend, 
All losses are restor'd and sorrows end. 



Sonnet LV 

"Not marble, nor the gilded monuments" 

Not marble, nor the gilded monuments 

Of princes, shall outlive this powerful rime; 

But you shall shine more bright in these contents 

Than unswept stone, besmear'd with sluttish time. 

When wasteful war shall statues overturn, 

And broils root out the work of masonry, 

Nor Mars his sword nor war's quick fire shall burn 

The living record of your memory. 

'Gainst death and all-oblivious enmity 

Shall you pace forth; your praise shall still find room 

Even in the eyes of all posterity 

That wear this world out to the ending doom. 

So, till the judgment that yourself arise. 

You live in this, and dwell in lovers' eyes. 



Ml \kl sPI \IU RIVI1A1 ION covn^ 37 



THE SONNETS 

Sonnet LXXIII 

'That time of year thou mayst in me behold" 

That time of year thou mayst in me behold 
When yellow leaves, or none, or few, do hang 
Upon those boughs which shake against the cold, 
Bare ruin'd choirs, where late the sweet birds sang. 
In me thou seest the twilight of such day 
As after sunset fadeth in the west, 
Which by and by black night doth take away, 
Death's second self, that seals up all in rest. 
In me thou seest the glowing of such fire, 
That on the ashes of his youth doth lie, 
As the death-bed whereon it must expire, 
Consum'd with that which it was nourish'd by. 

This thou perceiv'st, which makes thy love more strong, 
To love that well, which thou must leave ere long. 



Sonnet XCVII 

"How like a winter hath my absence been" 

How like a winter hath my absence been 
From thee, the pleasure of the fleeting year; 
What freezings have I felt, what dark days seen; 
What old December's bareness everywhere. 
And yet this time remov'd was summer's time, 
The teeming autumn, big with rich increase, 
Bearing the wanton burden of the prime, 
Like widowed wombs after their lords' decease; 
Yet this abundant issue seem'd to me 
But hope of orphans and unfathered fruit; 
For summer and his pleasures wait on thee, 
And, thou away, the very birds are mute; 
Or, if they sing, 'tis with so dull a cheer, 
That leaves look pale, dreading the winter's near. 

38 SHAKESPEARE IN AMERICAN COMMUNITIES 



THE SONNETS 

Sonnet CVII 

"Not mine own fears, nor the prophetic soul" 

Not mine own fears, nor the prophetic soul 
Of the wide world dreaming on things to come, 
Can yet the lease of my true love control, 
Supposed as forfeit to a confin'd doom. 
The mortal moon hath her eclipse endur'd, 
And the sad augurs mock their own presage; 
Incertainties now crown themselves assur'd, 
And peace proclaims olives of endless age. 
Now with the drops of this most balmy time, 
My love looks fresh, and Death to me subscribes, 
Since, spite of him, I '11 live in this poor rime, 
While he insults o'er dull and speechless tribes; 
And thou in this shalt find thy monument, 
When tyrants' crests and tombs of brass are spent. 



Sonnet CXVI 

"Let me not to the marriage of true minds" 

Let me not to the marriage of true minds 

Admit impediments. Love is not love 

Which alters when it alteration finds, 

Or bends with the remover to remove. 

O, no, it is an ever-fixed mark 

That looks on tempests and is never shaken; 

It is the star to every wandering bark, 

Whose worths unknown, although his height be taken. 

Love's not Time's fool, though rosy lips and cheeks 

Within his bending sickle's compass come; 

Love alters not with his brief hours and weeks, 

But bears it out even to the edge of doom. 
If this be error, and upon me proVd, 
I never writ, nor no man ever lov'd. 



SHAKESPl \RI RICH \1 ION ( 39 



THE SONNETS 

Sonnet CXXX 

"My mistress' eyes are nothing like the sun" 

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. 

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. 



Sonnet CXXXVIII 

"When my love swears that she is made of truth" 

When my love swears that she is made of truth 
I do believe her, though I know she lies, 
That she might think me some untutor'd youth, 
Unlearned in the world's false subtleties. 
Thus vainly thinking that she thinks me young, 
Although she knows my days are past the best, 
Simply I credit her false-speaking tongue; 
On both sides thus is simple truth suppressed. 
But wherefore says she not she is unjust? 
And wherefore say not I that I am old? 
O love's best habit is in seeming trust, 
And age in love loves not to have years told. 
Therefore I lie with her, and she with me, 
And in our faults by lies we flatter'd be. 

40 SI IAKESPEARE IN AMERICAN COMMUNITIES 



%» 




NATIONAL 
ENDOWMENT 
FOR THE ARTS MIDWEST 



Am 



www.shakespeareinamerJcancommunities.org