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The Development of the Comic Spirit in 17th CenturyEngland from James Shirley to William Congreve.Curriculum Projects, April 7-June 16, 1992. TheHuntington Theatre Company Master Works Study inRestoration Comedy.Huntington Theatre Co., Boston, MA.National Endowment for the Humanities (NFAH),Washington, D.C.92
153p.; Some of the materials may not reproducelegibly due to faint or broken type.Guides Classroom Use Teaching Guides (ForTeacher) (052) Collected Works General (020)
MF01/PC07 Plus Postage.Class Activities; *Drama; *Dramatics; *EnglishInstruction; Foreign Countries; Grade 8; Junior HighSchools; Junior High School Students; LearningActivities; Lesson Plans; Literary Styles;*Seventeenth Century Literature; Teaching Methods;Units of StudyAristotle; *Classics (Literature); England;*Restoration Comedy
Developed by the participants of the HuntingtonTheatre Company's Master Works Study in Restoration Comedy, thiscollection presents one-day lessor plans and curriculum projects forteaching Restoration comedy. The collection offers 15 one-day lessonplans and 15 curriculum projects (ranging over several weeks)suitable for secondary school students of varying ability levels.(RS)
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Reproductions supplied by EDRS are the best that can be made *
from the original document.***********************************************************************
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The Professional Theatre in Residence at Boston 1 nttersity
The Huntington Theatre Company's
Master Works Study
in
Restoration Comedy
The Development of the Comic Spirit
in 17th Century England from
James Shirley to William Congreve
Y.E. DEPARTMENT Of EDUCATION°Mc* of Etaamml RmsfocIf and InforommfaEDUCATIONAL RESOURCES INFORMATION
CENTER (ERIC)
ILL This O0Curnern nab been reproduced asreceived from tM POW Or amiffotabonongnafing a
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rePrOduChOn cluMay
Po. my of view Or °prisons SUNNI on InoSOCICormerit do not neCeMenly fgoemmt optic+OE RI oosaaat of oolity
Curriculum Projects
April 7 - June 16, 1992
"PERMISSION TO REPRODUCE THISMATERIAL HAS BEEN GRANTED BY
--"*.n\t \\1
TO THE EDUCATIONAL RESOURCESINFORMATION CENTER (ERIC)
This curriculum is made possible by a grant fromthe National Endowment for the Humanities.
4,4
PEST coy ABLE
ONE DAY
LESSON PLANS
MASTERWORKS OF RESTORATION COMEDY /ONE DAY LESSON PLANSusan Periale 6/2/92
POPULATION: Jr. High drama students (most of their experience is withdrama improvisation)
GOALS. Students will personally relate to the material as they gain an understanding thatRestoration Comedy is about the foibles and intrigues of male/female relationships.
Overall Plan:Day I - Overview & Improv scenes about boy/girl relationships and read scenes fromplays that reflect these ideas.
Day II - Look at boys and girls differences and similarities on views of what they wantfrom each other and how they see each other.
Day III - Focus on "the games people play", looking at sports strategies and how touse it as metaphor.
Day IV - Look at different character descriptions and cast scenes .
Day V - Present scenes.
DAY I - Overview about Restoration Comedy with specific talk that the characters are anexaggeration of a certain class of society.
IMPROVS: games boys and girls play to get to know and talk to each other, a group ofgirls and a group of boys talking about what they like in a partner of the opposite sex andwhat is funny and different about the opposite sex.
READ IN CLASS: sample scenesHYDE PARK Act 2 Scene 4THE WAY OF THE WORLD Act 1 Scene 1 lines 133-161 (or from beginning)THE ROVER Act 5 lines 396-507
DISCUSS: How these scenes would be reflected in their own lives. Few more improvs thatreflect these Restoration Comedy scenes.
L x'
/176,5 cA; c _14 o s fora corned/
-512xpliae Acsnoi( I. This lesson is designed for a freshman reading class of
inner-city students of below-average reading levels.II. The purposes of this lesson are two-fold: a) Vocabulary
Development and b) Comparison of the image of women aspresented in Restoration Comedy with the image of womenas presented in current media productions (such ascommercials, music videos, and movies).
III. Lesson Plan:A. Given specific Acts and Scenes of various Restoration
Comedies, the student will define, from context, suchwords as fop, rake, wit, complaisance, mode, wench,intrigue, vizard, pit, etc,
B. Having defined the words above, the student willcomplete a matching test, in which s/he will matcheach word with its correct definition.
C. The student will then equate each word with one incurrent usage.
D. Next, the student will use each word in a "comic"seritence, thus demonstrating uhderstanaing of bothtItetmahiti4 of tne words" and their-LN-REesto-ration
tComedy.
E. The Ludent will then match the words with a celebrity
whomight represent such eword by their character,actifirl;G beliefs, or.wii-rarlife.
F. From-A given- List of characterS, the student-11444 _
cliaose one andTiierfatm an-YMprovisationascene-usiugone of theiiiialTEiwords'as the point-_6f_coriCentration.
IV. Evaluatiolf: The student will aemonstrate knowledge of thevocabulary presented in the lesson by using the words insentences and completing the matching tests with 90% ac-
curacy. Also, the student will present an improvasionalscene, using the words as his/her point of concentration.
V. Second Lesson Plan:A. Using currently popular television commercials, music
videos, and movies, the student will compare the imageof women as presented in such venues with the image ofwomen as presented in selected plays from theRestoration period.
B. Specific exercises will be developed after classdiscussion.
Sally Campbell70 Walker st. Newtonville, MADirector of Drama St. Sebastian's Country Day School
O Y1 Dfot LE.SS 0 te Pt a in Visevet ea.-mem-10(Ucottilwy
DESCRIPTION OF STUDENTS
An 8th grade drama class made up of very verbal and active boys in a catholic prep school.ClaE, size: 12-15
GOALS
To introduce the students to Restoration comedy: it's themes. recurrent plot devises, andstock characters. I would like students to get a general idea of the style, and to be ableto recognize the comic elements that reoccur in the kinds of comedy that they are familiarwith.ULTIMATE GOAL: to have the students ask m0,1! if we could do more work on plays from theRestoration.
MATERIALS: Pictures from the period and pictures from productions of restorationcomedies. Wigs, prom gowns, and fans for acting scenes.
INTRODUCTION
A very brief introduction to Restoration England and the comedies that were written atthat time. Discuss the concept of a Comedy of Manners and how it relates to comedies theclass is familiar with. Introduce the stock character types: Rakes, Fops, Coquettes,Mistresses, Wits, and pseudo-wits.
ACTIVITIES
Give a brief synopsis of The Man of Mode by George Etherege. As a class read through threeshort scenes:Act I lines 154-191Dorimant plotting with Medley about how he is going to dump Mrs. Lovit.Act III scene lines 129-162Harriet and young Bellair instructing each other as to how to act so that it appears thatthey are falling in love.Act IV scene II lines 80-141Sir Fopling sings the praises of mirrors and properly tied cravats, and then sings his owntiresome song for Mrs. Loveit. All the while he is being egged on by Dorimant, Medley. andYoung Bellair.
-Briefly go over vocabulary and discuss what each scene is about.-Divide the class into scenes. Each group will work through their scene ,line for line, incontemporary language.-Coach each group separately. For example: demonstra:e the use of a fan in the
Harriet/Young Bellair scene. Ask the students to come up with a contemporary metaphor forthe fan. Have props on hand for them to choose from.(sunglasses,bubble gum, school
books,etc.)
WRAP UP
Each group will perform their scene for the class. Discuss differences and similaritieswith the original scenes. Did putting them into contemporary words make them seem morefunny? If so, How? After seing the scenes like this, do you understand/like the originalscenes better? Does this play remind you of any TV shows, movies, o; contemporary plays
you have seen? How? Would you like to do this again?
Imagine a unit on Restoration Comedy beginning with the introduction ofHuntington's production of, The Way Of The World.
A. Introductory preparation (lesson plans) prior to attendance of the liveperform=ce.
B. Live professional theatre performance
C. Script analysis and translation of The Way of The World
Melissa Shaffer
RESTORATION COMEDY UNIT
STUDENT DESCRIPTION;High school age Deaf students with limited exposure to formal theatre or scriptexperience due to lack of language accessibility. Cultural range/ethnicbackground/economic background is diverse.
PURPOSE OF UNIT;1. To experience translation process of poetic English into American Sign Languagewith hidden agenda to enjoy analysis of both languages thereby gaining respect andappreciation for both languages.2. To discover cultural history as it relates to the Theatre Arts... compare societyresponse to theatre in the 1600's to the response theatre receives today.3. To discuss and compare ethical issues and situations that occur in the script(sexism, lies, etc.)4. To evaluate comedy elements... compare humor from the script to the comedyseen on stage in the production.5. To expose students to a formal stylized theatre experience
THIS UNIT'S PRIMARY PRUPOSE IS TO BECOME A LANGUAGE ANDLITERATURE UNIT BY USING THATRE AS A TOOL FOR INSPIRATION.
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Restoration Comedy :esscn
A. '-!istorical rerspective o Restor+ion Ccedv
Overview: This lesson will iniate studert's interest in Restoration.
Comedy. :t will provide a brief historical review of the beginning of
Restoration Comedy. This lesson is designed for grades:9-12,splecial needs.Students will research, discuss, read, write and compare research,
thoughts and ideas. Students will have the opportunity to share ir.formatic
with each other.
Cbectives: At the conclusion of this lesson, students should be able to:
1. explain general information on a historical perspective about Restor-
,ion Comedy
2. describe some of the historical background of Restoration Comedy
describe the important points of history of Restoration Comedy
4. explain some of the issues of societal issues then and discuss how
they may fit now
5. evaluate/defend positions regarding Restoration Comedy
Teaching procedures: Introduce Restoration Comedy by giving students some
basic historical background and information to iniate a good warm-up dis-
cussion. Afterwards, give each student a different assignment question to
get them started wih research. The following questions maybe used:
a. What is Restoration Comedy?
b. When did Restoration Comedy occur?
c. Who Were the players of Restoration. Comedy?
d. Where did Restoration Comedy take place?
e. Who were the actors?
f. Where the actors all-male? Why/Why not':
h. Coe-aro and discuss today's theatre companies with all-male members
to yesterday's all-male members?
i. When did female actors get the opportunity to perform with male actors
during Restoration Comedy?
Assignment: Go to the library and gather information about Restoration
Comedy. Use books, newsclippings, and other media to complete your're-
search. Be prepared to give an individual presentation at the next class
meeting.
Books:
hirley, James. .Hyde Park. 'London, r;ethuen, 1987.
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4
So
who
know
s, w
ith o
pera
? Is
agy
psy
wom
anto
ssin
g th
e w
rong
baby
into
a fi
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Eth
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lebr
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sin
ger
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cros
son
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body
of a
tyra
nt s
heJu
st s
tabb
ed to
deat
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this
hig
hdr
ama
or is
it lo
wca
mp?
And
whi
ch
is m
ore
trau
mat
ical
ly d
ram
atic
the
life
depi
cted
on
stag
e or
the
lives
repo
rted
off?
And
who
is m
ore
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d,M
me.
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me-
Bor
szkh
or h
er le
ssse
xual
ly a
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guou
sco
lleag
ues?
A .
,)
gran
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nein
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.)
4 4
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n1II
II74
110
111.
04
THE NEW YORK TIMES, MONDAY, OCTOBER 22, 1990
eviews/Musie y
'liming to Gilbert and Sullivan for SalvationBy ALLAN KOZINN
Over the last year, two of New)rk's smalj opera companies thatecialize in the Gilbert and Sullivanpertory, the Light Opera of Man-sttan and the New York Gilbert anddivan Players, have fallen prey tolands' stresses and curtailed theirtivities. Both hope to be reborn, ande hopes they will be.In the meantime, fans of W. S. Gil-rt's clever librettos and Sir Arthursllivan's witty, hummable musicfight want to urge the New Yorkty Opera to expand its activities inss well-loved realm. The companyes have its foot in the door: Its Lotfiansouri production of "The Mika-." which returned to the New YOrkate Theater on Saturday afternoon,the most enjoyable of the operettaigings that Beverly Sills brought to
City Opera repertory.
True Savoyards will note, ofarse, that the production doesIke some compromises with tradi-n. When the production opened inA, Mr. Mansouri persuaded theliters not to indulge in fake Britishcents, and he replaced some of thestomary horseplay with Patricia-ch's elegantly amusing choreog-hy. Those touches remain, and. seem sensible for a production in
age house. The staging's less con-versial attractions are Thierrysquet's bright, fanciful costumes
appealingly minimal stage sets.This season's first cast brings backeral singers who have sung theires from the start and adds a fewces new to their roles. It was an:eptionally even cast, with no realak points, although one might quib-with aspects of this or .that char-erization.=or example, James Billings pacedportrayal of Ko-Ko with real man-y and never failed to get the laughssought. Vocally, too, he was in finesm. But at times he seemed to beswing his inspiration from far and
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James Billings as Ko-Ko and Lisa Soifer as YumYum in New York CityPlwassraphs by Monks Imp Aare
9s "Mikado."
wide without blending his influencesinto a consistent persona, as he has in
previous seasons. A single speechmight include plausible imitations ofW. C. Fields, Oliver Hardy, Lou Cos-tello, Bert Lahr and Truman Capote,with the seams showing.
The other singers who returnedfrom past seasons included JosephMcKee, whose blend of pomposityand corruption makes for a wonder-ful portrayal of Pooh-Bah; the multi-ple-office-holding bureaucrat, andRichard McKee, who easily managedthe balance of ferocity and mirth
required in the title role.The newcomers to the production
bring greater vocal power and stabil-ity to their roles than some past sing-ers and are therefore a welcome lot.Most striking was Carroll Freeman'sNanki-Poo. His sound was tightly fo-cused, if occasionally slightly steely;but he shaped his lines with realsensitivity, and he acted the role withan easy naturalness. Lisa Saffer'ssweet, ell-supported soprano suitedYum-Yum's music nicely, and sheplayed the role with a comic flair thatmade her a fine match for Mr. Free-
_ man. And Josephs Gayer was an im-
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parlous but not unsympathetic Ksha.
The cast also included WW1Percher as Pish-Tush, Bran*Thomas as Pitti-Sing and MicbMcBride as Peep-Bo.
David Pfeiffer, the productirstage director, moved the skiiaround the stage economically mof the time, but with flamboyswhere it seemed necessaartAtVorchestra played withprecision for Chr'-.:. Nance, who
_ the score at a comfortably Wpace.
One Day Lesson Plan Tina Langson
Choose only one activity.
BE AN ARTIST! Much of the action in The Rover" takesplace during Carnival, a time to wear costumes, masks, andact in a manner that is different from the way one usuallyacts. Keeping in mind the "real" characters in the play,design a three dimensional papier mache mask for one of thecharacters. You will present your mask to the class atwhich time you will explain your reasons for designing themask as you did.
BE A PSYCHOLOGIST! Adopt the point of view of one of thecharacters in any of the Restoration plays we have read.What is the "inner you?" What are your feelings, thoughts,fantasies, desires, fears? What is the "outer you?" Whattype of facade do you present t.1 the world? How does theouter you differ from the inner you? Using any style youlike doodle, sketch, symbol, image, picture express boththe inner and outer you. You may make one or two pictorialrepresentations. You will present your work to the class atwhich time you will explain your reasons for drawing es youdid.
BE A MIND READER! Choose one major character from any of theplays. Think of five statements that character might havethought. Develop each thought into a paragraph. Then combineyour paragraphs, editing as necessary, into a unified essay.Your essay will be Xeroxed and given to everyone in class.You will field questions from your classmates concerning howwell you stayed in keeping with your character.
BE A COSTUME DESIGNER! Choose a major character from anyplay. Dress him or her in whatever time period you like, butmake sure the costume stays in keeping with the character.You may bring in fashion sketches, or you can dress Ken andBarbie. You will present your work to your classmates anddiscuss your reasons for designing as you did.
Papi
er-m
ache
"B
asic
tech
niqu
es
Tw
o ba
sic
met
hods
are
use
d in
pap
ier-
mac
he--
one
empl
oyin
g pa
per
strip
s,th
e ot
her,
mas
h. In
the
first
met
hod
pape
r is
torn
into
str
ips
and
the
strip
sar
e co
ated
with
pas
te b
efor
e ap
plyi
ngth
em to
an
arm
atur
e. T
he s
econ
dm
etho
d en
tails
coo
king
shr
edde
dpa
per
in a
sol
utio
n of
wat
er a
nd g
lue
tofo
ra a
mas
h of
a d
ough
y co
nsis
tenc
y,w
hich
can
he
appl
ied
to th
e ar
mat
ure
and
scul
pted
alm
ost l
ike
clay
. The
pape
r st
rip m
etho
d pr
oduc
es s
urfa
ces
and
text
ures
mor
e su
gges
tive
of th
ena
tura
l qua
litie
s of
pap
er, w
hile
mas
hsu
rfac
es, e
spec
ially
whe
n sa
nded
and
pain
ted,
are
mer
e lik
e w
ood,
ena
mel
edm
etal
, or
glaz
t:d p
otte
ry.
The
two
met
hods
can
he
com
bine
d(a
s th
ey w
ere
in th
e bu
st o
n pa
ge 4
8).
Firs
t pap
er s
trip
s ar
c us
ed to
bui
ld u
pth
e ba
sic
form
on
the
arm
atur
e, th
enm
ash
is a
pplie
d fo
r a
smoo
th fi
nish
edsu
rfac
e.C
lues
and
glu
ing.
The
two
mos
tco
mm
only
use
d ad
hesi
ves
arc
liqui
dw
hite
glu
e (P
VA
) an
d w
allp
aper
pas
te.
If yo
u ch
oose
to w
ork
with
whi
te g
lue,
thin
it b
y m
ixin
g I p
art g
lue
to I
part
wat
er. W
allp
aper
pas
te, a
vaila
ble
atha
rdw
are
stor
es, c
omes
in p
owde
r fo
rman
d is
mix
ed w
ith w
ater
. Slo
wly
stir
I
pail
pow
der
to I(
) pa
rts
wat
er.
Do
not c
ut s
trip
s w
ith s
ciss
ors.
Tea
rth
em u
sing
a s
trai
ghte
dge,
or
alon
g th
eed
ge o
f a ta
ble.
The
rou
gh e
dges
of t
orn
strip
s w
ill m
esh
to m
ake
a sm
ooth
ersu
rfac
e. T
he le
ngth
and
wid
th o
f the
strip
s yo
u te
ar w
ill d
epen
d on
the
size
of th
e ob
ject
you
pla
n to
mak
e.T
here
are
two
way
s to
coa
t the
str
ips
with
glu
e or
pas
te: e
ither
put
a h
andf
ulof
the
strip
s in
to th
e w
ater
-thi
nned
adhe
sive
and
let t
hem
soa
k fo
r a
few
min
utes
bef
ore
appl
ying
them
to th
eat
mai
tre,
or
soak
a s
pong
e in
the
ad-
hesi
ve s
olut
ion
and
coat
the
strip
s w
ithth
e sp
onge
. Be
care
ful n
ot to
sat
urat
eth
e sn
ips
to th
e po
int w
here
they
beg
into
fall
apar
t. A
s yo
u ap
ply
the
strip
s,
'11"
1""
'941
1,A
BLE
use
your
han
d or
a s
pong
e to
wip
e aw
ayex
cess
ive
adhe
sive
.B
oth
new
spap
er a
nd p
aper
tow
elin
gar
e go
od fo
r bu
ildin
g up
the
form
on
anar
mat
ure
befo
re a
pply
ing
finer
pap
erto
the
exte
rior.
Tis
sue
pape
r is
diff
icul
tto
wor
k w
ith b
ecau
se it
may
pul
l apa
rtw
hen
the
exce
ss g
lue
or p
aste
is r
e-m
oved
. Stil
l, it
is id
eal f
or im
part
ing
aso
ft te
xtur
e to
an
obje
ct (
as s
een
in th
efin
ishi
ng to
uche
s be
ing
appl
ied
to th
epa
pier
-mac
ho r
abbi
t on
page
52)
.M
ash
is e
asily
mad
e by
follo
win
g th
est
eps
illus
trat
ed a
t rig
ht. B
oilin
g th
ew
ater
has
tens
the
brea
kdow
n of
pap
erfib
er a
nd m
akes
itea
sier
to w
hisk
.C
rafts
sho
ps c
arry
com
mer
cial
mas
h,a
pow
der
to w
hich
wat
er is
add
ed.
Dry
ing
and
finis
hing
. Mos
t pap
ier-
mdc
he o
bjec
ts w
ill d
ry o
vern
ight
. Dry
-in
g tim
e ca
n he
has
tene
d by
usi
ng a
nov
en p
rehe
ated
to a
low
or
med
ium
tem
pera
ture
. Drie
d ob
ject
s ca
n th
en h
efin
ishe
d by
san
ding
and
pai
ntin
g th
eir
surf
aces
. A m
ash
surf
ace
is u
sual
lysa
nded
sm
ooth
. Pap
er s
trip
sur
face
s, o
nth
e ot
her
hand
, are
bes
t lef
t with
the
text
ure
of th
e pa
per
itsel
f. S
ande
d or
nut,
papi
er-m
âché
obj
ects
may
he
pain
ted
with
any
wat
er-b
ase
pain
t.W
ater
proo
fing
and
firep
roof
ing.
To
wat
erpr
oof s
urfa
ces
and
mak
e th
emm
ore
dura
ble,
spr
ay th
e fin
ishe
d ob
ject
with
a c
lear
vin
yl s
eale
r (s
ee D
ecou
-pa
ge, p
. 37)
or
give
it a
t lea
st th
ree
coat
sof
lacq
uer.
To
firep
roof
an
obje
ct, s
tirin
1te
aspo
on o
f sod
ium
pho
spha
te(a
vaila
ble
at d
rugs
tore
s) to
eac
h cu
p of
past
e fo
r st
rips
or to
eac
h cu
p of
wat
erw
hen
mak
ing
mas
h.B
oth
the
strip
and
the
mas
h te
ch-
niqu
es a
re il
lust
rate
d in
the
step
-by-
step
pho
to s
eque
nces
on
page
s 50
-53.
In th
e cr
eatio
n of
the
papi
er-m
ache
box
(p. 5
3) th
e st
rip m
etho
d is
illu
s-tr
ated
. If y
ou u
se m
ash
inst
ead
of s
trip
s,th
e su
rfac
e ca
n he
san
ded
smoo
th, d
e-co
rate
d w
ith h
and-
pain
ted
desi
gns,
and
finis
hed
with
cle
ar la
cque
r.
Mak
ing
mas
h
1. lo
mak
e 1
ql u
t mas
h te
al li
ma
larg
e iie
wsh
ape
t stle
os lu
lu s
mal
l (Le
t es
Pla
ce in
cui
liaai
eiw
ill 2
ql w
eld
at1,
1 le
t soa
k cm
:oug
ht
2. P
Ier
e th
e ab
ove
trux
ture
in a
C01
1,1
find
It tu
t 2()
uc,
n U
Sal
g d
whr
.l41
10 It
re 1
.011
,1La
nd It
.s s
uit a
nd p
ill,/
3. P
lace
the
pulp
in a
str
aine
r T
ap It
sev
eral
tim
esto
sha
ke o
ut w
ater
. the
n sq
ueez
e it
gent
ly ti
nttl
the
pulp
is a
soh
. moi
st lu
mp
4. P
ut th
e P
ulp
ni10
bow
l !du
u1
,11)
..,1)
01
whi
te g
lue
tPV
A)
1111
111
11.5
p u1
was
p la
pel p
aste
Slit
unt
il m
ixtu
te a
110
1 lu
mpy
kr (A: i)/5 o / l2es fora )1; 0 e /
-50rolo/t At'S:543/1
I. This .lesson is designed for a freshman reading class ofinner-city students of below-average reading levels.
II. The purposes of this lesson are two-fold: a) VocabularyDevelopment and b) Comparison of the image of women aspresented in Restoration Comedy with the image of womenas presented in current media productions (such ascommercials, music videos, and movies).
III. Lesson Plan:A. Given specific Acts and Scenes of various Restoration
Comedies, the student will define, from context, suchwords as fop, rake, wit, complaisance, mode, wench,intrigue, vizard, pit, etc,
H. Having defined the words above, the student willcomplete a matching test, in which s/he will matcheach word with its correct definition.
C. The student will then equate each word with one incurrent usage.
D. Nett, the student will use each word in a "comic"uriaerstanaing of both
tire--..11 iirig of trite woras- ana their 1fft- Restoration
Comedy.
E. The Luaent will then match the words with a celebrity
who might represent siich a;--word by their character,actlful, berViTs, pf-tiOStiald.
F. From -A given-II-St of character, the student,A11444
chbose one andr-iiircilm ad-rinprovisational scene,-uslougone of the-78bufiiTwords as the pointit_coriCentration.
Iv- Evaluation: The student will aemonstrate knowledge of thevocabulary presented in the lesson by using the words insentences and completing the matching tests with 90% ac-
curacy. Also, the student will present an improvasionalscene, using the words as his/her point of concentration.
V. Second Lesson Plan:A. Using currently popular television commercials, music
videos, and movies, the student will compare the imageof women as presented in such venues with the image ofwomen as presented in selected plays from theRestoration period.
B. Specific exercises will be developed after class
discussion.
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VIRGINIA BYRNE JUNE 2 1992
MASTERWORKS/RESTORATION COMEDY
ONE DAY LESSON PLAN
TARGET CLASSTHIS PLAN IS WRITTEN FOR THE VERY ACTIVE YET BRIGHTAND ARTICULATE CLASSES OF'10TH GRADERS WHO RESPOND
BETTER TO "ON-YOUR-FEET" METHODS OF LEARNING. ITCOULD BE USED FOR A LANGUAGE ARTS CLASS TO OBSERVE THECHANGING LANGUAGE OR A SOCIAL STUDIES CLASSS TO BETTERUNDERSTAND THE CHANGES IN SOCIETY AS WELL AS THESIMILARITIES AND CERTAINLY FOR A THEATER CLASS.
GOALTO UNDERSTAND THE RESTORATION THEATER'S STYLE OFWRITING AND ACTING AND HOW THE THEATER REFLECTS THE
TIMES.
PREPARATION
A LIST OF CHARTACTERNYMS FROM VARIOUS PLAYS OF THE
PERIOD. . re. 7ONE SHORT SCENE FROM A RESORATION COMEDy\WHICHILLUSTRATES WELL THE LANGUAGE.ONE SCENE FROM THE MUSICAL "GREASE"SELECTED MUSIC FROM THE PERIOD (PURCELL)
CLASS[WHILE STUDENTS ARE COMING INTO CLASS HAVE THE MUSIC
OF THE PERIOD PLAYING.]
INTRODUCTION;EXPLAIN THE THEME OF THE 'RAKE RECLAIMED' AND IT'S
RELEVANCE TO THE TWENTIETH CENTURY DRAMA.
EXPLAIN THE DECALMATORY ACTING STYLE AS COMPARED TO
THE NATURAL ACTING STYLE OF TODAY.
2.
BODY OF THE CLASS;
DIVIDE THE CLASS INTO THREE OR FOUR GROUPS DEPENDING
UPON THE SIZE OF THE CLASS,YOUWANT NO MORE THAN SIX IN A
GROUP. HAND OUT COPIES OF THE RESTORATIONSCENE AND THE
'GREASE' SCENE. HAVE STUDENTS RENAME THE CHARACTERS IN
'GREASE; WITH PERIOD CRARACTERNYMSAND DEVELOP THE
DIALOGUE INTO RESORATION LINGO. REHEARSE THE SCENE AND
EACH GROUP SHOULD THEN PRESENT THE PIECE TO THE REST OF
THE CLASS.THE ACTORS SHOULD USE DECLAMATORYSTYLE IN THEIR
PERFORMANCE.
EVALUATIONTHE EVALUATION
WILL BE IN THE PERFORMANCE AND SHOULD
BE BASED NOT ONLY ON THE EFFECTIVENESSOF THE PERFORMANCE
BUT THE INTENSITY AND SERIOUSNESSOF THE APPROACH TO THE
PROJECT.
Barry LewTheatre Arts TeacherLeominster High SchoolLeominster MA
June 2, 1992
ONE DAY LESSON PLAN FOR MASTER WORKS IN RESTORATIONCOMEDY
A) This lesson will be presented to Advanced Theatre Arts
students, who have had one year of learning the basics
concerning theatrical production. Students in this class
must be recommended by their Theatre Arts Teacher and their
Guidance Councelor. All of the students, in this class,
have completed an extensive unit on Viola Spolin's
"Improvisation for the Theater". They should have an
understanding of hLl to develop and use "POINTS OF
CONCENTRATION" that are fully explained in her curriculum.
B) The purpose/goals of this unit is to have the students
understand some of the costume fashions and styles of The
Restoration Period and how these would affect and/or reflect
a Restoration character's movement. expression and
attitudes.
C) The approach/way that this lesson will be presented will
follow the format presented in Viola Spolin's book mentioned
In paragraph A). This lesson be could integrated into an
improvisation curriculum, or be used by itself with a class
already familiar with Viola Spolin's methods.
1) First the class will view slides of Restoration
prints of people (the ones that we saw in class would be
great).
1
2) While they are watching, students will be asked
specifically to jot down their descriptions of the fashion
clothing and accesories that they see. What do they show us
about these people? How do they look like these people
feel? How does the clothing and wigs make them feel
physically (i.e. the wigs on their heads) and emotionally?
Can you project what they might be thinking?
3) After viewing the slides, we will discuss their
thoughts and findings.
4) We will then do some improvisation exercises. The
first improvisation exercises will use the entire class, in
our open space, at the same time. Students will be told
that the "POINT OF CONCENTRATION" is to imagine specifically
what they would be wearing if they lived in the Restoration
Period and how does this affect their movement. After
thinking about it on their own, the teacher will then choose
one student to be first actor and leader. When that person
is ready call "curtain". First actor moves around stage in
imaginary costume. After costume has been established, the
other students will be told to join in the action when they
are ready. While the action is going on, the teacher will
side coach with these Ideas, (Concentrate on how your head
feels! Concentrate on your feet! Concentrate on your
midsection! Without speaking greet your neighbor! Move
along, greet someone else! Ignore eveything around you
except the people in the scene!). When the entire class
olns in, or when it looks like no one else will join in,
call "cut" and have group sit ready for dicussion.
5) Discuss, how did you feel during exercise? What
worked? What people looked like they belonged in those
slides that we watched? What could you do to make your
movement and manner more realistic?
6) The second improvisation will be conducted the same
way as the first. However, the "POINT OF CONCTRATION" this
time will be, what do the clothes say about yoy and the way
that you feel. Side coaching examples: (Stand in costume!
Hold your head in costume! Look around in costume! Examine
your space! Make contact with specific things around you!
Examine your neighbor and what they are wearing!
7) Same discussion as subsection 5.
8) If time permits, do some "where" exercises, using
our new imaginary costumes and manners.
D) Evaluation process. How many people involve themselves
in the improvisations? Do the ones that usually lead the
way, continue? Do students, who are usually reticent about
joining, participate?
Dorothy A. DudleyLesson Plan I2 June 1992
The Restoration : An Introduction"For the apparel oft proclaims the man"
Objective: To introduce high school students to the world of Restorationcomedy through an examination of period costumes. Students will discoverchanges in modes of dress that occurred following the return of Charles II tothe British throne in 1660, and they will learn how "the apparel proclaimsthe man" in the context of Restoration comedy.
Procedure: Introduce the Restoration Period by tapping teenagers' naturalinterest in fashion. Begin by circulating two (2) sets of period-costumedrawings for students' perusal. The drawings (Exhibits A &B, attached)depict the fashions of the Commonwealth (Inter-regnum) Period (A), 1649-1660, and those of the early Restoration Period (B). Charles II, 1660-1685.Be sure that there are enough copies for each student to study individuallyfor at least a minute or two.
After about five minutes, or whenever students have had time tocompare and contrast the costumes of both eras, ask for observations andcommentary. If students seem reluctant, direct their discussion with thefollowing activities:
* Have students list five to eight adjectives that describe the costumes of theCommonwealth Period.
* If, as Shakespeare says. The apparel oft proclaims the man," what dothese costumes proclaim about the men and women who wore them?
* Repeat the same exercise for the costumes of the Restoration Period.
Dudley 2
Next, ask students to speculate about the relative cost of these clothes.Which items would be most expensive? Least expensive? Are thesefashions for everyone? Are they associated with a particular social class?
* Encourage students to imagine how the clothing could affect one'slifestyle. Was the clothing restrictive? liberating? practical?
Finally, shift the focus from the changes in fashion as students haveobserved them to the changes in politics and society that accompanied therestoration of the monarchy and the reopening of theaters.
Outcome: Students should be eager to comment on the fashion differencesbetween the two periods. If they do need prompting, the first fewadjectives are enough to generate many more. at the Commonwealthcostumes, one often hears. "Pilgrims!" Hardly an adjective, but useful for abeginning.) Once students have identified the plain vs. lavish contrast, theyare ready to concentrate on the extravagance, gaiety. and personalindulgence of the Court of Charles II, as opposed to the abstemious, self-denial of the Inter-regnum. From this first lesson, students have a betteridea of the "look" of the period, and they are ready to animate thecharacters that they have envisioned.
Bibliography:
Peacock, John. Costumes 1066-1966. London: Thames and Hudson, 1986.
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(Almost) One Day Plan for Classin
Restoration Comedy
JoEllen S. WoodRestoration Comedy
June 2, 1992
Class makeup:
This lesson plan is designed for an eleventh/twelvth grade elective survey course indrama. My classes are usually made up of a mixture of students with academic
abilities from basic to advanced. They are mostly students from an affluent suburbancommunity, but not all students are affluent. There are also Metco students ofvarious backgrounds in the class.
Course background, overview:
In a survey course, the students would have read Greek and Medieval drama before
encountering Restoration Comedy. (They would have read at least one play fromShakespeare in earlier grades.) In this course the students would have consideredmany aspects of drama, including the social, political, religious, intellectual, and
even economic factors. They would have contemplated theatre as a part of itssociety rather than apart from its society. In keeping with this overall approach, after
reading and discussing the theatrical and literary approaches, they would look at thehistorical setting of Restoration Comedy.
Objective:
The goal of this assignment is to extend students' understanding of theatre as an
integral part of its society, and that a comedy of manners should be seen in thecontext of the Restoration Period.
Procedure:
Before reading the play in class, the teacher should hand out a broadside
proclaiming:
/as theatres at atbebultb to be abut baninhituttelv. Vita ts ustessary bttauze of themoral corruption tobttb the ;lava ext)tbtt anentourage.
en the bap after the class finizbes reabing the plat', a baringto bettrutine the merit of this action till be blab in the classroom.(tab group of interesteb parties map offer ebibence to a panel ofjubges b3bitli Will make a final becision about tobether to retinb or toenforce the buret.
* * * * * * * *
Divide the class into groups which will act as interested parties. You may find thefollowing groups useful, but feel free to work out your own. The students themselves
may discover other groups they would like to represent.Puritans circa 1650 in England
JacobitesFriends of Charles II
Servants and working class people circa 1650 in EnglandPlaywrights of the Restoration Period
Playwrights of other times or cultures, ie. Sophocles, Shakespeare,
Moliere (The class would not yet have studied Ibsen or Rostand.)
Characters or real people from other periods of history which interest thestudents
The students will have time outside of class to research the group they represent
while class time is given to reading and discussing the text. This will probably take
37
about a week. The researchers are to learn about historical background, attitudes
and beliefs, social and economic standing, education, leaders, and so forth for thegroup they represent. It would also be wise to be prepared for arguments which
might be presented by opposition groups. Each group must also submit an outlin t.)f
their information and a bibliography. It might be practical to set a time limit for eachgroup's presentation.
Grading will be based on accuracy and thoroughness in both written and oral work.
Ideally, some teachers and students from outside the class could serve as thepanel of judges.
38
Lesson Plan: The Wives Excuse Paulette J. IdelsonJune 2, 1992
Discussion Questions
A. Why did Southerne create the footman scene at thebeginning of the play?
B. What is the main plot of the play?What are the secondary plots?
C. In a moral system of rewards and punishments viciousaction should be punished and constancy in virtue should berewarded. Is this true in "The Wives Excuse"?
Consider:
Mrs. FriendallFriendallMrs. WittwoudWelvilleFanny
D. Could Southerne have created "The Wives Excuse" todepict real life in the world of 1691?
Writing Assignment
Write an alternate ending to the play. Be prepared todiscuss your changes with the class.
Activities (Choose One)
A. Sketch a set for one act in the play. Indicate whereprops are to be placed.
B. Design the costumes for one scene in the play.
C. Describe a typical day in the life of one of thecharacters.
D. Explain the meaning of one song in the play.
-Rladxiocce : \5-e4t4.4i1c4
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MASTERWORKS LESSON FLANBill CollinsJUne 2, 1991
Students for whom this curriculum is designed: a senior English IV class;college-bound students from both the inner city and suburbs; inan independent (Jesuit) high school.
Goals of the unit.
1) to lay some foundation for a week-long study of comedies from theRestoration period; this class is intended as introduction.
2) to familiarize students with basic library reference materialsconcerning the theatre, e.g. The Oxford Companion to theTheatre; Geisinger's Plays, Players and Playwrights, etc.
3) to have students acquire a working knowlegde of the stock charactersin comedy, from ancient Rome through the commedia dellbArte toMoliere, Shakerpeare, the Restoration and eventually to Americanpopular situation comedy, and to see the timeless, perennialquality in much of the genre.
Homework. 1. each student will be responsible for all the vocabulary sheet.
2. Group work: each student will be assigned to a group of five.Each group will research ONE tradition's examples of theclassical stock characters.
Class. (40 minutes)
1. In groups, mixed, one student from each of the five traditions,information about examples of characters are shared; everyonemust take notes during these discussions. (30 minutes)
2. Re-Assemble into the large group. The surprise at this point isthat the teacher asks each student individually (at first) toapply what they have learned to the TV sitcom Cheers.
3. Group discussion; if possible, leading the class to the question,Why are the stoc.:. characters of comedy so consistentaccross the centuries?
Evaluation. --recognition of the stock characters in-a new comedy;
--ability to use a more literary vocabulary while studyingRestoration comedy.
4 0
VOCABULARY ASSIGNMENT
Be sure you can: define each term in your own words;
provide an example to accompany each definition;
explain how your example fits the definition.
comedy
farce
satire
comedy of manners
fop
coquette
characternym
wit
41
RESEARCH ASSIGNMENT: Your group will be doing research in ONE of these traditions:
Latin comedy commedia dell*Arte Moliere Shakespeare Restorationcomedy
your task is to find the actual names of characters in your assigned
tradition who fit the "classic" stock characters of comedy, like this:
example miles gloriosus. (braggart soldier): Falstaff, a ridiculously fat,
rascally, loquacious sunshine soldier who provides much of the
comedy in I Henry IV, 2 Henry IV, and The Merry Wives of Windsor.
The stock characters are:
SENEX (stern old father)
MILES GLORIOSUS (braggart soldier)
MERETRIX (beautiful young woman, courtesan)
ADULESCENS (young lover; male lead)
SERVUS CALLIDUS (clever slave)
SERVUS STULTUS (stupid slave)
42
CURRICULUM PROJECTS
43
MASTERWORKS OF RESTORATION COMEDY/FIVE DAY LESSON PLANSusan Periale 6/16/92
POPULATION: Jr. High drama students (most of their experience is withdrama improvisation)
GOALS: Students will personally relate to the material as they gain an understanding thatRestoration Comedy is about the foibles and intrigues of male/female relationships and that"old" plays may have something in them that is relevant to their lives.
Overall Plan:Day I - OVERVIEW & Improv scenes about boy/girl relationships and read scenes
from plays that reflect these ideas.
Day II - CHARACTERS discuss character types in Restoration Comedy, how theyapply today and characternyms.
Day III - BRINGING IT HOME read Restoration scenes and reword in conteporarydialogue.
Day IV - RELATIONSHIPS, THE BIG ONE: THEN AND NOW
Day V - PIECING OUR WORK TOGETHER. What does this all mean to us?
DAY I - OVERVIEW about Restoration Comedy with specific talk that the characters arean exaggeration of a certain class of society.
IMPROVS: games boys and girls play to get to know and talk to each other, a group ofgirls and a group of boys talking about what they like in a partner of the opposite sex andwhat is funny and different about the opposite sex.
READ IN CLASS: sample scenesHYDE PARK Act 2 Scene 4 Fairfield's crafty play for Carol to think of himTHE WAY OF THE WORLD Act 1 Scene 1 lines 133-161 (or from beginning)
Mirabel complains to Fainall about Millament's behavior towards himTHE ROVER Act 5 lines 396-507 Through language Helena Challenges Willmore
and he asks her to marry him
DISCUSS: How these scenes would be reflected in their own lives.
44
DAY II - CHARACI.ER TYPES
LIST character types and discuss what they are and contemporary counterparts.
CHARM- ihRS-Rake, fop, cuckold, coxcomb, widow, maiden, coquette, maid,manipulator,
LIST contemporary character types (jock., nerd, intellectual, gearhead, etc)
DISCUSS Characternyms. Point out examples in the scenes read thus far. Make upcontemporary characternyms for the characters we just described. How about for yourself?
DAY III - BRINGING IT HOME.
REREAD the same three scenes from Day I
DISCUSS what is being said. As a group we look at HYDE PARK scene and reword it forcontemporary language.
PARTNER WORK In pairs, students are given scenes to rewrite in their own words.Several pairs are given the same scene so that we can hear them all and compareinterpretations.
DAY IV - RELATIONSHIPS, THE BIG ONE: THEN AND NOW
READ: WAY OF THE WORLD Act IV Scene I lines 128-262 the Marriage Contract
DISCUSS what is being said and what would contemporary counter-part be.
LIST brainstorm 1) things you want to be able to do on your own even when you are in amajor relationship
2) things you want as part of a major relationship
BRAINSTORM We list these brainstormed items on slips of paper and put them in a hat.Each student picks three items that shape what is important to your character.
WARM-UP SESSION in which students are talked deeper into aspects of their character.(What is your name? How old are you? Where do you live? What is your occupation?What do you do for fun? What was your own family like? ...etc)
PRACTICED IMPROVS Students are paired up and first just improvise their owndiscussion of what they want in the relationship. PRESENT SCENES.
4:)
DAY V - PIECING OUR WORK TOGETHER.
DISCUSS the scenes we have read and improvised and brainstorm how these might bewoven together to make a presentation about relationships.
THEME What is the theme of our presentation? Does it show a positive or negative viewof relationships? Do the restoration scenes stick out as so different than ourcontemporary scenes?
TITLE & AUDIENCE What do we call this presentation? Who would enjoy seeing it?
(Further classes would be spent in rehearsal of the scenes for presentation.)
EVALUATION Evaluation of this project comes largely in the student's level ofparticipation in the readings and improvisations. It will also come as we talk about how topiece the scenes together and we see how able they are to see relationships in the differentscenes. Their own answers to the theme and audience questions listed above will be anotherindicator.
4G
Sally CampbellSt. Sebastain's Country Day School
Master Works in Restoration Comedy
Six Week Lesson Plan In Restoration Comedy
Description of Students:An 8th grade Drama class made up of very verbal and active boys in a catholicprep school. Class size: 12-15
Goals:To introduce the students to Restoration Comedy: its themes, recurrent plotdevices, and stock characters. I would like the students to get a general ideaof the style, and to be able to recognize the comic elements that reoccur in thekinds of comedy that they are familiar with.Ultimate Goal:For the students to have a blast portraying characters and working within thestyle of the restoration.
Overview:We will explore Restoration Comedy through reading The Country Wife, by William
WicherlZ , and excerpts frogi The Man Of Mode , by George Etherege, and The Way Of TneWorla, by William Congreve. Each day we will also work on drama activities thatwill relate to the period. At the end of the unit students will memorize andperform short scenes from the above plays and will evaluate each other'sperformances.
Week 1:Day 1: An introduction to Restoration England, its politics and the state of thetheatre. We will spend a fair amount of time looking at slides and pictures fromthe period and from productions of Restoration Comedies. Discuss the concept ofa comedy of manners and how it relates to comedies the class is familiar with.Introduce the stock character types: Rakes, Fops, Coquettes, Mistresses,Virtuous Ladies, Wits, and pseudo-wits.
Activity: Divide the class into groups and give each group a print of a Hogarthcartoon or a Gainsborough painting. Give each group a collection of wigs, promgowns, fans, canes, and hankercheifs and have them assume the pose of thepainting. Have each group share their poses with the class.
Demonstrate the use of the fan, cane, hankercheif, and wig. Have the studentspractice with these props and make a smallish parade (with some period music inbackground). Discuss how the props and costume pieces make you feel.
Day 2: Give a quick synopsis of The Man of Mode by George Ftheredae. As a classread through three short scenes:
Act 1 lines 154-I91,DOrimantrlottipq with Medley as to how he is ooinato dump_Mrs. Loveit. Act ill scene i lines 129-162, Harriet ana fouag beilairinstructing each other how to act so it appears to their guardians that they arefalling in love. Act IV scene ii lines 80-141, Sir Fopling sings the praises ofmirrors and properly tied cravats. and then sings his own tiresome song for Mrs.Loveit. All the while he is being egged on by Dorimant, Medley, and YoungBellair.
-Briefly go over vocabulary and discuss what each scentis about.
4f
Six Week Lesson Plan inRestbratiOnCOMedcOninUel)
-Divide the class into scenes. Each group will work through their scene line forline in contemporary language. Ask the students to come up with contemporarymetaphors for out dated props such as fans. Have props on hand for them tochoose from. (sunglasses, bubble gum, school books, etc.)
-Have each group perform their scene for the class. Discuss the differences andsimilarities with the original scenes.
Day 3: Return to the Original Scenes from the The Man Of Mode. Put the groupsback together and have them rehearse the scenes as written.-Have each group perform their scenes for the class. Discuss which way,contemporary or restoration, was more fun to work on. Why?
Day 4:Read excerpts from Pepys diary and "The Manners Of The RestorationGallant" section about manners at the theatre.-Have the class don their prom gowns, wigs, fans, etc. and improvise aRestoration audience. Try behaving in the same manner in contemporary dress.Discuss the change in manners at the theatre. Why has it changed? What audiencesor spectators still behave in a similar fashion?
Day 5: As a class read the selection "A Manual For Actors" that is attributed toMr. Betterton, and a selection from Olivier's thoughts on acting. Discuss howthe theories are similar and different.
Week 2:
Begin reading The Country Wife, by William Wycherly. Each day for the next fourweeks the students will spend reading approximately eight pages of the playaloud. (each night they will read the following day's selection which will beaccompanied with vocabulary words and questions for discussion.) The second halfof each period will be spent on various drama activities.
Day 1: p.7-15 line 136Activity: As a class brainstorm ideas for character names, physical/emotionalproblems, and objectives. Example: Lillywhite Constant,trick knee, wants toprove to the world her virtue ,or, Dustin Fuzzybrain,lisp, wants to consume asmuch food and drink as possible. Put the information on index cards and have thestudents pick them out of a hat. rave the students assume these characters,using props as usual, and create an afternoon in the park with these"Restoration People".
Day 2: p.15-p.24
Activity: Keep the characters developed the previous day and have the studentscreate short skits about specific problems. Share the skits with the class.
Day 3: p.24-p.31
Activity: Remind the students of Sir Fopling's poem for Mrs. Loveit. Give themexamples of other love poems and songs. Have them pretend to be theirRestoration characters that they have already created, and make a valentine,complete with poem, for their love interest.
Day 4: p.31-p.39
Activity: Have the students perform their valentine's for the class. (put somemusic on to encourage the cornyness) Each student should choose a partner toenact the person receiving the valentine.
48
Six Week Lesson Plan In Restoration Comedy (continued)
Week 2 (continued)Day 5: p.39 - p.47Activity: Complete the performances of the Valentines. As a class evaluate thepoems and performances. Did the poems suit the characters? Did the actors committo their performances of their "love" poems? If there is time, have all thestudents perform part of the same poem using different styles and objectives.Discuss how this changes/shapes the poem and sheds light on the character.
Week 3:Day 1: p.47-56Activity: At this point the class should be fairly involved with The CountryWife. As a class discuss the characters to this point and which characters thestudents like the most. Have each student pick a character from the play andwrite a letter to another character in the play. Have them try to use similarlanguage and style as in the Restoration.
Day 2: p.56 - p.64Activity: Finish the letters that were started the day before.
Day 3: p.64 -p.72
Activity: Have the students rehearse and perform the
Day 4: p.72 -p.80Activity: Have the students switch letters with aenact the character that receives the letter. Showletter, reading it, and responding to it.
letters they have written.
partner. Have the studentsthe character getting the
Day 5: p.80 - p.87Activity: This could be a day to quiz the students on The Country Wife and tocatch up on any unfinished business.
Week 4:Day 1: p.87 - p.95Activity: Divide the class into groups and have them create contemporary scenesbased on situations from The Country Wife. Examples: A jealous husband boastingto his friends that his wife will never be unfaithful to him, A vain man whourges his girlfriend on his best friend, etc.
Day 2: p.95 - p.104Activity: Rehearse and perform the scenes that they began the day before.Discuss the ways in which the scenes were like specific scenes in The CountryWife. Did working on these scenes help you.understapd what...happening_in the
Day 3: p.104 - p.114Activity: Have each student pick a scene from The Country Wife and a characterin that scene. Write an inner monologue for the character, showing what ishappening in their mind.
Day 4: p.114 -p.120
Activity: Perform the monologues written the day before. Discuss how similar ordifferent each student's perception of the emotional state of a character is.Is it fun to think about what is really happening for these people?
49
-4
Six Week Lesson Plan In Restoration Comedy (continued)
Week 4: (continued)Day 5: p. 120-p.128Activity: Hare the class divide up into pairs. Each pair will create a scenebetween Lady Fidget and Margery Pinchwife. What advise do you think Lady Fidgetwould give to Margery? Give the students the first line of dialogue, and thenhave them pass the paper back and forth, answering each other to create thescene. Perform the scenes for the class.
Week 5:Day 1: p.128 - p.136Activity: Finish working on and performing the scenes between Margery Pinchwifeand Lady Fidget.
Day 2: p.137 - p.145Activity: Discuss the emotional journey of each character in the play. Talkabout how each character grows or changes during the course of the play. How doyou think Actors would show these changes? Could there be more than one "right"way to show this? If you were an Actor or Director of this play what choiceswould you make? What would you want to say with this play?
Day 3: p.145 - p.150Activity: Quiz the students on The Country Wife.
Day 4: p.151 & 152 (Epilogue)Activity: This could be a day to wrap up any loose ends either in terms of unfinished activities or questions surrounding The Country Wife.
Day 5:
Activity: Give a quick synopsis of The Way Of The World by William Congreve. Asa class read through three short love scenes: Fainall and Mrs. Harwood (p.32-37) Mirabell and Millamont (p.77-81) and Lady Wishfort and Sir Rowland(p.88-p.91) Divide the class into pairs and have them work on the scenes in thesame manner as they did on The Man Of Mode scenes. Present the scenes to theclass. Discuss the way in which each scene is different. What does this tell usabout what kind of characters these people are? How does it change the way inwhich they are performed?
Final project: Assign students scenes from the three Restoration Comedy plays.Have them rehearse, stage, and - emorize their scene. If a scene group chooses toperform in contemporary language using contemporary metaphors they will submit awritten script that transposes the original scene line line into modernlanguage.
Week 6:Activity: Each day of this week the students will work on their final projects.sometimes they will work in front of the class in order to get feedback, andsometimes they will be rehearsing on their own. Various acting exercises will betried in order to help them with their scenes. Example: After each line ofdialogue is spoken to their scene partner, the student will turn and state theirobjective to the audience as an aside. This should help clarify their objectivesas well as help with performing in the style of the Restoration (and it shouldalso be quite funny for the class to watch). On the last two days of class thestudents will present their scenes for the last time. In addition each studentwill be given questionnaires to fill out for each scene that is performed. Thisshould help to make each student a more responsible audience member for hisclassmates.
50
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es w
ithou
tB
ackb
oard
s, a
nd a
dorn
'd a
nd c
over
'd w
ith g
reen
Clo
th. M
en
of Q
ualit
y, p
artic
ular
ly th
e yo
unge
rSo
rt, s
ome
Lad
ies
of R
epu-
tatio
n an
d V
ertu
e, a
nd a
bund
ance
of
Dam
sels
that
hau
nt f
orPr
ey, s
it al
l tog
ethe
r in
this
Pla
ce,
Hig
gled
y-pi
ggle
dy, c
hatte
r,to
y, p
lay,
hea
r, h
ear
not.
Fart
her
up,
agai
nst t
he W
all,
unde
rth
e fi
rst G
alle
ry, a
nd ju
st o
ppos
ite to
the
Stag
e, r
ises
ano
ther
Am
phith
eate
r, w
hich
is ta
ken
up b
y Pe
rson
s of
the
best
Qua
lity,
amon
g w
hom
are
gen
eral
ly v
ery
few
Men
. The
Gal
leri
es, w
here
ofth
ere
are
only
two
Row
s, a
re f
ill'd
with
non
e bu
tord
inar
y Pe
ople
,pa
rtic
ular
ly th
e U
pper
one
.
TH
E R
EST
OR
AT
ION
TH
EA
TE
R20
9
9. T
HE
PL
AY
IS
NO
T T
HE
TH
ING
I/R
EST
OR
AT
ION
SPE
CT
AT
OR
S di
d no
t sit
quie
tly in
the
audi
tori
um, a
s w
edo
toda
y, w
ith m
ore
or le
asun
conc
erne
d pa
ssiv
ity: t
hey
deve
lope
d am
ong
them
selv
es c
erta
in d
ynam
ics
of h
uman
rela
tions
, whi
ch w
e ar
e st
ill a
ble
to
stud
y in
thos
e pr
ecio
uspl
ayho
use
min
atur
es w
hich
Pep
ysin
sert
ed in
his
diar
y. N
ote
the
follo
win
g sc
ene
duri
ng a
Mac
beth
per
form
ance
in th
e
Duk
e's
hous
e (1
661)
: Cha
rles
II is
sea
ted
in th
ece
ntra
l roy
al b
ox w
ith
his
mis
tres
s; a
bove
him
, in
one
of th
e se
cond
-tie
r bo
xes,
is a
noth
er o
f hi
s
mis
tres
ses,
the
danc
er, M
oll D
avie
s;Pe
pys
is s
ittin
g in
the
pit d
irec
tly
bene
ath
the
roya
l par
ty, a
nd n
otfa
r fr
om h
im is
s w
oman
who
look
s
very
muc
h lik
eth
e la
dy w
ith th
e K
ing.
Pepy
s' d
escr
iptio
n tie
s to
geth
er
the
part
icip
ants
in th
isfa
rcic
al p
anto
mim
e, a
nd, a
tth
e sa
me
time,
we
can
feel
the
pres
ence
of
the
"aud
ienc
e-ch
orus
," w
hich
fol
low
sth
is p
lay
with
in
the
play
with
inte
nse
inte
rest
:
The
Kin
g an
d C
ourt
ther
e; a
nd w
e sa
t jus
t und
erth
em a
nd
my
Lad
y C
astle
may
ne,
and
clos
e to
the
wom
anth
at c
omes
into
the
pit a
kin
d of
loos
ego
ssip
, tha
t pre
tend
s to
be li
ke h
er, a
nd is
so, s
omet
hing
. ..
.T
he K
ing
and
Duk
e of
Yor
k m
inde
d m
e, a
nd
smile
d up
on m
e, a
t the
hand
som
e w
oman
nea
r m
e:bu
t it
vexe
d m
e to
see
Mol
l Dav
ies,
in th
e bo
x ov
er th
eK
ing'
s an
d m
y
Lad
y C
astle
may
ne's
hea
d,lo
ok d
own
upon
the
Kin
g,an
d he
up
to h
er; a
nd s
o di
d m
yL
ady
Cas
tlem
ayne
onc
e, to
see
who
it
was
, but
whe
nsh
e sa
w h
er, s
he lo
oked
fir
e,w
hich
trou
bled
me.
10. M
Y L
AD
YC
AST
LE
MA
YN
E A
GA
IN
AN
OT
HE
R S
CE
NE
, to
whi
ch h
e w
as n
ot a
n ey
ewitn
ess,
Pepy
s he
ard
from
an
acqu
aint
ance
, gos
sip
bein
g a
seas
onin
g el
emen
t of
the
thea
tric
al
atm
osph
ere.
The
Dra
mat
is p
erso
na:
the
Kin
g, L
ady
Cut
lem
ayne
,an
d a
supe
rnum
erar
yth
e D
uke
of Y
ork.
On
this
occ
asio
nth
e fe
atur
ed p
laye
rs
are
not i
n th
e sa
me
box,
and
in th
e au
dien
ce it
is a
lrea
dyru
mor
ed th
atL
ady
Cas
tlem
ayne
has
fal
len
into
disf
avor
. The
reup
on th
e la
dy d
oes
som
e-
thin
g th
at m
akes
the
audi
ence
hold
its
brea
th:
Lea
ning
ove
r ot
her
ladi
esaw
hile
to w
hisp
er w
ith th
e K
ing,
she
rose
out
of
the
box
and
wen
t int
o th
e K
ing'
s ri
ght
hand
,
betw
een
the
Kin
g an
dth
e D
uke
of Y
ork;
whi
ch .
.. p
utth
e
Kin
g hi
mse
lf, a
s w
ell a
s ev
ery
body
els
e ou
t of
coun
tena
nce.
. ..
She
did
it on
ly to
sho
wth
e w
orld
that
she
is n
ot o
ut o
ffa
vour
yet,
as w
as b
elie
ved.
51.
52
it
210
SOU
RC
ES
OF
TH
EA
TR
ICA
L H
IST
OR
Y
/11.
SIR
CH
AR
LE
S ST
EA
LS
TH
E S
HO
W
Pt P
YS
HA
D N
OT
onl
y an
eye
for
fem
inin
e be
auty
and
an
ear
for
soci
ety
goss
ip, b
ut a
lso
a st
rong
ly m
arke
d in
tere
st in
repa
rtee
, be
it D
ryde
n's
chas
e of
wit
on th
est
age
or S
ir C
harl
es S
edle
y's
impr
ovis
atio
ns in
one
of
the
boxe
s:
To
the
Kin
g's
hous
e to
The
May
d', T
rage
dy; b
ut v
exed
all
the
whi
le w
ith tw
ota
lkin
g la
dies
and
Sir
Cha
rles
Sed
ley,
yet
plea
sed
to h
ear
thei
r di
scou
rse,
he
bein
g a
stra
nger
. And
one
of
the
ladi
es w
ould
and
did
sit
with
her
mas
kon
, all
the
play
, and
,be
ing
exce
edin
gly
witt
y as
ever
I h
eard
wom
an, d
id ta
lk m
ost
plea
sant
ly w
ith h
im; b
utw
as, I
bel
ieve
, a v
irtu
ous
wom
an a
ndof
qua
lity.
He
wou
ld f
ain
know
who
she
was
, but
she
wou
ldno
t tel
l; ye
t did
giv
e hi
mm
any
plea
sant
hin
ts o
f he
r kn
owle
dge
of h
im, b
y th
atm
eans
set
ting
his
brai
ns a
t wor
k to
fin
d ou
t who
she
was
, and
did
giv
e hi
m le
ave
to u
se a
ll m
eans
to f
ind
out w
hosh
e w
as b
ut p
ullin
g of
f he
r m
ask.
He
was
mig
hty
witt
y, a
nd s
heal
so m
akin
g sp
ort o
f hi
mve
ry in
offe
nsiv
ely,
that
a m
ore
plea
sant
reco
ntre
I n
ever
hea
rd. B
y th
atm
eans
lost
the
plea
sure
of
the
play
who
lly.
12.
TH
E L
AD
IES
IN M
ASK
S
IN J
UN
E 1
663,
Pep
ys h
ad n
otic
ed th
atL
ady
Mar
y C
rom
wel
l put
on
a vi
zard
in th
e K
ing'
s ho
use,
and
that
she
kept
her
fac
e hi
dden
beh
ind
the
mas
k du
ring
the
entir
epe
rfor
man
ce, "
whi
ch o
f la
te is
bec
ome
agr
eat f
ashi
on a
mon
g th
e la
dies
whi
ch h
ides
her
who
le f
ace.
" T
hese
viza
rds
wer
e in
evi
denc
e til
l 170
4, w
hen
Que
en A
nne
forb
ade
thei
r us
e. C
olle
yC
ibbe
r ha
d hi
s ow
n th
eory
conc
erni
ng th
e or
igin
of
the
cust
om o
f m
ask-
wea
ring
:
But
whi
le o
ur A
utho
rs to
ok th
ese
extr
aord
inar
y L
iber
ties
with
thei
r W
it, I
rem
embe
r th
e L
adie
sw
ere
then
obs
erv'
d, to
be
dece
ntly
afr
aid
of v
entu
ring
bar
e-fa
c'd
toa
new
Com
edy,
'till
they
had
bee
n as
sur'd
they
mig
ht d
o it,
with
out
the
Ris
que
ofan
Ins
ult,
to th
eir
Mod
esty
Or,
if th
eir
Cur
iosi
ty w
ere
too
stro
ng, f
or th
eir
Patie
nce,
they
took
Car
e, a
tle
ast,
to s
ave
App
eara
nces
, and
rar
ely
cam
eup
on th
e fi
rst D
ays
of A
ctin
g bu
tin
Mas
ks, (
then
dai
lyw
orn,
and
adm
itted
in th
e Pi
t, th
e si
de
5371
1111
1111
EIN
!
TH
E R
EST
OR
AT
ION
TH
EA
TE
R21
1
Box
es, a
nd G
alle
ry)
whi
ch C
usto
m h
owev
er, h
ad s
o m
any
illC
onse
quen
ces
atte
ndin
g it,
that
it h
as b
een
abol
ish'
dth
ese
man
yY
ears
.
13. I
MPR
OM
PTU
CO
ME
DY
IN
TH
E G
AL
LE
RIE
S
PRO
STIT
UT
ES
wer
e to
be
foun
d ev
eryw
here
in th
e pl
ayho
use.
Cro
wn'
sep
ilogu
e to
Sir
Cou
rtly
Nic
e de
scri
bed
the
even
ts c
ause
d by
the
pres
ence
of "
Fire
-shi
ps"
in th
e tw
elve
- or
eig
htee
n -p
enny
gal
leri
es:
Our
Gal
leri
es to
o, w
ere
fine
ly u
s'd
of la
te,
Whe
re r
oost
ing
Mas
ques
sat
cac
klin
g fo
r a
Mat
e:T
hey
cam
e no
t to
see
Play
s bu
t act
thei
r ow
n,A
nd h
ad th
rong
'd A
udie
nces
whe
n w
e ha
d no
ne.
Our
Pla
ys it
was
impo
ssib
le to
hea
r,T
he h
ones
t Cou
ntry
Men
wer
e fo
rc't
to s
wea
r:C
onfo
und
you,
giv
e yo
ur b
awdy
pra
ting
o're
,O
r Z
ound
s, I
'le f
ling
you
i' th
e Pi
t, yo
u ba
wlin
g W
hore
.
14.
VIZ
AR
D-M
ASK
S
IN H
IS E
pilo
gue
on th
e U
nion
of
the
Tw
o C
ompa
nies
(16
112)
, Dry
den
refe
rs to
the
ladi
es o
f ea
sy v
irtu
e in
the
mid
dle
galle
ry, a
nd in
the
Prol
ogue
to S
outh
erne
's T
he D
isap
poin
tmen
t (16
84),
he
give
s a
mor
e im
pres
sion
-is
tic a
ccou
nt o
f th
e pr
esen
ce o
f vi
zard
-mas
ks:
But
sta
y; m
ethi
nks
som
e V
izar
d-M
ask
I se
eC
ast o
ut h
er L
ure
from
the
mid
Gal
lery
:A
bout
her
all
the
flut
teri
ng S
park
s ar
e ra
ng'd
;T
he N
oise
con
tinue
s, th
ough
the
Scen
e is
cha
ng'd
:N
ow g
row
ling,
spu
tt'ri
ng, w
aulin
g, s
uch
a cl
utte
r!'T
is ju
st li
ke P
uss
defe
ndan
t in
a G
utte
r. .
..
Las
t, so
me
ther
e ar
e, w
ho ta
ke th
eir
firs
t Deg
rees
Of
Lew
dnes
s in
our
Mid
dle
Gal
leri
es:
The
Dou
ghty
Bul
lies
ente
r B
lood
y D
runk
,In
vade
and
gra
bble
one
ano
ther
's P
unk:
The
y C
ater
wau
l and
mak
e a
dism
al R
out,
Cal
l Son
s of
Who
res,
and
str
ike,
but
ne'
re lu
gg-o
ut:
Thu
s, w
hile
for
Pau
ltry
Punk
they
roa
r an
d st
ickl
e,T
hey
mak
e it
Baw
dier
than
a C
onve
ntic
le.
54
212
SOU
RC
ES
OF
TH
EA
TR
ICA
L H
IST
OR
Y
15.
PLA
YH
OU
SE I
MPR
ESS
ION
S
TH
E F
OU
RT
H A
CT
of
Tho
mas
Sha
dwel
:'s A
Tru
e W
idow
(pe
rfor
med
st
Dor
set G
arde
n ab
out M
arch
167
8) le
ads
us in
to th
e in
teri
or o
f a
Res
tora
-tio
n pl
ayho
use
and
offe
rs u
s an
opp
ortu
nity
to r
evie
w s
ome
of th
e m
ale
spec
tato
rsro
wdy
spa
rks
and
coxc
ombi
cal p
ract
ical
joke
rson
thei
ren
tran
ce in
to th
e pi
t. Se
vera
l men
with
thei
r la
dies
for
ce th
eir
way
into
the
audi
tori
um, r
efus
ing
to p
ay a
dmis
sion
s to
the
door
keep
er:
Doo
rkee
per.
Pra
y, s
ir, p
ay m
e; m
y m
aste
rs w
ill m
ake
me
pay
it.T
hird
Man
. Im
pude
nt r
asca
l! D
o yo
u as
k m
e fo
r m
oney
? T
ake
that
, sir
rah.
Seco
nd D
oork
eepe
r. W
ill y
ou p
ay m
e, s
ir?
Four
th M
an. N
o; I
don
't in
tend
to s
tay.
Seco
nd D
oork
eepe
r. S
o yt
.tz s
ay e
very
day
, and
see
two
or th
ree
acts
for
not
hing
.Fo
urth
Man
. I'll
bre
ak y
our
head
, you
ras
cal!
Firs
t Doo
rkee
per.
Pra
y, s
'r, p
ay m
e.T
hird
Man
. Set
it d
own;
I h
ave
no s
ilver
abo
ut m
e, o
r bi
d m
ym
an to
pay
you
.T
heod
osia
. Wha
t! d
o ge
ntle
men
run
on
tick
for
play
s?C
arlo
s. A
s fa
mili
arly
as
with
thei
r ta
ilors
.Se
cond
Man
. Pox
on
you,
sir
rah!
Go
and
bid
'em
beg
inqu
ickl
y...
.
Ora
nge-
Wom
an. O
rang
es!
will
you
hav
e an
y or
ange
s?Fi
rst B
ully
. Wha
t pla
y de
they
pla
y? S
ome
conf
ound
ed p
lay
or o
ther
.Pr
igg
A p
ox o
n't,
mad
am!
Wha
t sho
uld
we
do a
t thi
s da
mne
dpl
ayho
use?
Let
's s
end
for
som
e ca
rds
and
play
a la
ngtr
illo
in th
e bo
x. P
ox o
n 'e
m 1
I ne
'er
saw
a p
lay
bad
anyt
hing
in't;
som
e of
'em
hav
e w
it no
w a
nd th
en, b
ut w
hat c
are
Ifo
r w
it?Se
lfis
h. D
oes
my
crav
at f
it w
ell?
I ta
ke a
ll th
e ca
re I
can
itsh
ould
; I lo
ve to
app
ear
wel
l. W
hat l
adie
s ar
e he
re in
the
boxe
s? R
eally
, I n
ever
com
e to
a p
lay
but
on a
ccou
nt o
fse
eing
the
ladi
es...
.
Stan
mor
e. I
can
not f
ind
my
mis
tres
s; b
ut I
'll d
iver
t mys
elf
with
a vi
zard
in th
e m
eant
ime.
Firs
t Man
. Wha
t, no
t a w
ord!
All
over
in d
isgu
ise!
Sile
nce
for
your
fol
ly, a
nd a
viz
ard
for
your
ill f
ace.
TH
E R
EST
OR
AT
ION
TH
EA
TE
R21
3
Seco
nd M
an. (
To
a V
izar
d)G
adl s
ome
who
re, I
war
rant
you,
or c
ham
berm
aid
in h
er la
dy's
old
clo
thes
.
(He
sits
dow
n an
dlo
lls in
the
oran
ge-w
ench
'sla
p)
Thi
rd-M
an. S
he m
ust b
e a
wom
anof
qua
lity;
she
has
rig
htpo
int.
Four
th M
an. '
Faith
! sh
e ea
rns
all t
he c
loth
es o
n he
r ba
ckby
lyin
g on
't; s
ome
punk
late
lytu
rned
out
of
keep
ing,
her
liver
y no
t qui
te w
orn
out.
16.
MA
NN
ER
S O
F T
HE
RE
STO
RA
TIO
N v
GA
LL
AN
T
SAM
VIN
CE
NT
'S T
he Y
our
Gal
lant
's A
cade
my,
pub
lishe
d in
167
4,is
an
adap
tatio
n of
Dek
ker's
The
Gul
l'sH
ornb
ook
(160
9). V
ince
nt's
fif
thch
apte
r, "
Inst
ruct
ions
for
a y
oung
Gal
lant
how
to b
ehav
e hi
mse
lf in
the
Play
-hou
se,"
is a
mod
erni
zed
vers
ion
of D
ekke
r's p
layh
ouse
cha
pter
:
The
The
atre
is y
our
Poet
s-R
oyal
Exc
hang
e, u
pon
whi
chth
eir
Mus
es (
that
are
now
turn
ed to
Mer
chan
ts)
mee
ting,
bar
ter
away
that
ligh
tC
omm
odity
of
wor
ds, f
or a
light
er w
are
than
wor
ds, P
laud
ities
, and
the
brea
thof
the
grea
t Bea
st, w
hich
(lik
e
the
thre
atni
ngs
of tw
o C
owar
ds)
vani
sh in
to A
ir.
The
Pla
y-ho
use
is f
ree
for
ente
rtai
nmen
t, al
low
ing
Roo
m
as w
ell t
o th
e Fa
rmer
sSo
n as
to a
Tem
pler
; yet
it is
not
fit t
hat
he w
hom
the
mos
t Tay
lors
bill
s m
ake
room
for
whe
n he
com
es,
shou
ld b
e ba
sely
, lik
e a
Vio
l, ca
sed
upin
a c
orne
r: T
here
fore
,I
say,
let o
ur G
alla
nt (
havi
ngpa
id h
is h
alf
Cro
wn,
and
giv
enth
e D
oor-
keep
er h
is T
icke
t)pr
esen
tly a
dvan
ce h
imse
lf in
to th
em
iddl
e of
the
Pit,
whe
re h
avin
gm
ade
his
Hon
or to
the
rest
of
the
Com
pany
, but
esp
ecia
lly to
the
Viz
ard-
Mas
ks, l
et h
im p
ull
out h
is C
omb,
and
man
age
his
flax
en W
ig w
ith a
ll th
e G
race
he c
an. H
avin
g so
don
e, th
e ne
xtst
ep is
to g
ive
a hu
m to
the
Chi
na-O
rang
e-w
ench
, and
giv
e he
r ow
nra
te f
or h
er O
rang
es(f
or 't
is b
elow
a G
entle
man
tost
and
hagg
ling
like
a C
itize
nsw
ife)
and
then
to p
rese
nt th
efa
ires
t to
the
next
Viz
ard-
mas
k.A
nd th
at I
may
inco
urag
e ou
rG
alla
nt n
ot li
ke th
e T
rade
s-m
anto
sav
e a
shill
ing,
and
tosi
t but
in th
e M
iddl
e-G
alle
ry, l
ethi
m
but c
onsi
der
wha
t lar
ge c
omin
gs-i
n ar
epu
rsed
up
sitti
ng in
the
Pit.
56
lit
I1
I I!
214
SOU
RC
ES
OF
TH
EA
TR
ICA
L H
IST
OR
Y
a. F
irst
, A c
onsp
icuo
us E
min
ence
is g
otte
n, b
y w
hich
mes
asth
e be
st a
nd m
ost e
ssen
tial p
arts
of
a G
entle
man
, as
his
lime
Clo
aths
and
Per
ruke
, are
per
fect
ly r
evea
led.
2. B
y si
tting
in th
e Pi
t, if
you
be
a K
nigh
t, yo
u m
ay h
ap-
pily
get
you
a M
istr
ess.
. .. B
ut if
you
be
but a
mee
r Fl
eets
tree
tG
entle
man
, a W
ife:
but
assu
re y
our
self
, by
your
con
tinua
lre
side
nce
ther
e, y
ou a
re th
e fi
rst a
nd p
rinc
ipal
man
in e
lect
ion
to b
egin
the
num
ber
of W
e th
ree.
It s
hall
Cro
wn
you
with
ric
h C
omm
enda
tion,
to la
ugh
alou
din
the
mid
st o
f th
e m
ost s
erio
us a
nd s
udde
n Sc
ene
of th
e te
r-ri
bles
t Tra
gedy
, and
to le
t the
Cla
pper
(yo
urT
ongu
e) b
e to
ssed
so h
igh,
that
all
the
Hou
se m
ay r
ing
of it
: for
by
talk
ing
and
laug
hing
, you
hea
p Pe
lion
upon
Oss
a, G
lory
upo
n G
lory
: as
firs
t, al
l the
eye
s in
the
Gal
leri
es w
ill le
ave
wal
king
aft
erth
ePl
ayer
s, a
nd o
nly
follo
w y
ou: t
he m
ost P
edan
tick
Pers
onin
the
Hou
se s
natc
hes
up y
our
nam
e; a
nd w
hen
he m
eets
you
in th
eSt
reet
s, h
e'l s
ay, l
ie is
Suc
h a
Gal
lant
; and
the
peop
lead
mir
eyo
u.
Seco
ndly
, You
pub
lish
your
tem
pera
nce
to th
e w
orld
, in
that
you
seem
not
to r
esor
t thi
ther
to ta
ste
vain
Ple
asur
es w
ithan
hung
ry A
ppet
ite; b
ut o
nly
asa
Gen
tlem
an to
spe
nd a
foo
lish
hour
or
two,
bec
ause
you
can
do n
othi
ng e
lse.
Now
Sir
, if
the
Poet
be
a fe
llow
that
hat
h L
ampo
on'd
orlib
elle
d yo
u, o
r ba
th h
ad a
flir
t at
your
Mis
tres
s, y
ou s
hall
dis-
grac
e hi
m w
orse
ti,a
n to
ssin
g hi
m in
a B
lank
et, o
r gi
ving
him
the
Bas
tinad
o in
a T
aver
n, if
in th
e m
iddl
e of
the
Play
you
aris
e w
ith a
skr
ew'd
and
dis
cont
ente
d fa
ce(a
s if
you
had
the
grip
ing
in th
e G
uts)
and
be
gone
; and
fur
ther
to v
ex h
im, m
ewat
pas
sion
ate
Spee
ches
, bla
re a
t mer
ry, f
ind
faul
t with
the
Mus
ick,
whi
stle
at t
he S
ongs
, and
abo
ve a
ll,cu
rse
the
Shar
ers,
that
whe
reas
the
very
sam
e da
yyo
u ha
d be
stow
ed f
ive
poun
ds f
oran
em
broi
dere
d B
elt,
you
enco
unte
r w
ith th
eve
ry s
ame
on th
eSt
age,
whe
n th
e B
elt-
mak
er s
wor
e th
e im
pres
sion
was
new
but
that
mor
ning
.T
o co
nclu
de, h
oard
up
the
fine
st P
lay-
scra
psyo
u ca
n ge
t,up
on w
hich
you
r le
an W
it m
ay m
ost s
avou
rly
feed
for
wan
t of
othe
r st
uff;
for
this
is o
nly
Furn
iture
for
a C
ourt
ier
that
is b
uta
new
Beg
inne
r, a
nd is
but
in h
is A
B C
of
Com
plem
ent.
The
next
pla
ces
that
are
fill
ed a
fter
the
Play
-hou
ses
beem
ptie
d, a
reT
aver
ns.
57
TH
E R
EST
OR
AT
ION
TH
EA
TE
R21
5
17.
BE
TT
ER
TO
N'S
AC
TIN
G S
TY
LE
TH
OM
AS
BE
TT
ER
TO
N (
163S
- 1
710)
,th
e le
adin
g ac
tor
of th
eR
esto
ra-
tion
peri
od, a
ppea
red
firs
t on
the
Lon
don
stag
e in
166
0,in
a c
ompa
ny
of p
laye
rs h
astil
y re
crui
ted
atth
e en
d of
the
Civ
il W
ar b
yth
e bo
oer
,ks
ell
John
Rho
des.
Pla
ying
in th
e C
ockp
itin
Dru
ry L
ane,
nei
ther
Bet
tert
on n
or
any
one
of h
is y
oung
colle
ague
s w
ere
expe
rien
ced
acto
rs.
The
re w
ere 16
60still
sam
e of
the
olde
rpr
e-C
omm
onw
ealth
act
ors
left
, who
,al
so in
,
star
ted
to g
ive
perf
orm
ance
s at
the
Red
Bul
l. In
the
sam
e ye
ar, T
hom
aslli
lligr
ew a
nd S
ir W
illia
m D
aven
ant w
ere
give
n a
gran
t "to
ere
ct tw
oco
mpa
nies
of
play
ers,
con
sist
inge
resp
ectiv
ely
of s
uch
pers
ons
asth
ey
shal
l chu
se a
nd a
ppoi
nt, a
nd to
purc
hase
, bui
lde,
and
ere
ct, o
rhi
re a
t the
ir
char
ge, a
s th
ey s
hall
thin
ke f
itt, t
wo
hous
es o
r th
eatr
es."
Kill
igre
wch
ose
his
play
ers,
the
Kin
g's
Com
pany
,fr
om th
e ol
der
acto
rs a
tthe
Red
Bul
l.
Dav
enan
t sel
ecte
d th
e yo
unge
r ac
tors
Bet
tert
on a
mon
g th
emw
ho
fam
ed th
e D
ukes
Com
pany
. For
twen
ty-t
wo
year
s th
e co
mpa
nies
of
Dro
tnan
t and
Kill
igre
wco
ntin
ued
in r
ival
ry u
ntil
thei
rco
mpe
titio
n
ende
d in
uni
on in
168
2. P
rior
toth
is u
nion
Bet
tert
on p
laye
dth
e le
adin
g
role
s in
thos
e ol
der
play
s, a
ssig
ned
toD
aven
ant:
he w
as M
acbe
t rah
,H
enry
VII
I, H
amle
t, M
ercu
tio, K
ing
Lea
r, a
nd B
osol
a, a
side
fro
mch
acte
hepl
ayed
. in
the
new
er tr
aged
ies,
nota
bly
Otw
ay's
. Bet
tert
on w
asal
so s
uc-
cess
ful i
n co
med
y, b
oth
Eliz
abet
han
and
Res
tora
tion.
With
the
amal
ga-
mat
ion
of th
e tw
o co
mpa
nies
,he
was
giv
en th
e op
port
unity
of a
ctin
g th
e
lead
ing
part
s in
pla
ys th
atha
d be
long
ed to
the
Kin
g's
Com
pany
.T
hus
he w
as s
een
as O
thel
lo a
nd B
rutu
s.Fr
om c
onte
mpo
rary
acc
ount
s,ch
iefl
y
Ast
on's
Bri
ef S
uppl
emen
t, w
ega
ther
that
Bet
tert
on's
act
ing
was
free
from
ran
t and
exa
gger
atio
n:
MR
. BE
TT
ER
TO
N(a
lthou
gh a
sup
erla
tive
good
Act
or)
la-
bour
'd u
nder
ill F
igur
e, b
eing
clum
sily
mad
e, h
avin
g a
grea
tHea
d,
a sh
ort t
hick
Nec
k, s
toop
'd in
the
Shou
lder
s,an
d ha
d fa
t sho
rt
Arm
s, w
hich
he
rare
lylif
ted
high
er th
an h
is S
tom
ach.
His
Lef
t Han
d fr
eque
ntly
lodg
'd in
his
Bre
ast,
betw
een
his
Coa
t
and
Wai
stco
at, w
hile
,w
ith h
is R
ight
, he
prep
ar'd
his
Spee
ch.
His
Act
ions
wer
e fe
w, b
utju
st.
He
had
little
Eye
s; a
nd a
broa
d Fa
ce, a
littl
e Po
ck-f
rette
n, a
corp
ulen
t Bod
y, a
nd th
ick
Leg
s, w
ith la
rge
Feet
.H
e w
as b
ette
r to
mee
t, th
an to
follo
w;
for
his
Asp
ect w
as s
erio
us,
vene
rabl
e, a
nd m
ajes
tic; i
nhi
s la
tter
Tim
e a
little
Par
alyt
ic.
His
Voi
ce w
as lo
w a
nd g
rum
blin
g;
yet h
e co
uld
Tim
e it
by a
n ar
tful
Clim
ax,
whi
ch e
nfor
c'd
uni-
vers
al A
ttent
ion,
eve
n fr
omth
e Fo
ps a
nd O
rang
e-gi
rls.
He
was
inca
pabl
e of
danc
ing,
eve
n in
a C
ount
ry-D
ance
;as
was
Mrs
. BA
RR
Y: B
ut th
eir
good
Qua
litie
s w
ere
mor
e th
aneq
ual
to th
eir
Def
icie
ncie
s.W
hile
Mrs
. BR
AC
EG
IRD
LE
sun
g ve
ry
t 11*
*,'
5,0
491;
58
218
SOU
RC
ES
OF
TH
EA
TR
ICA
L H
IST
OR
YT
HE
RE
STO
RA
TIO
N T
HE
AT
ER
214
Ran
ts in
Nat
. Lee
's A
lexa
nder
the
Gre
at!
For
thou
gh I
can
allo
w th
is P
lay
a fe
w g
reat
Bea
utie
s, y
et it
is n
otw
ithou
t its
extr
avag
ant B
lem
ishe
s. E
very
Pla
y of
the
sam
e A
utho
rha
s m
ore
or le
ss o
f th
em. .
..
Whe
n th
ese
flow
ing
Num
bers
cam
e fr
omth
e M
outh
of
a B
ette
rton
, the
Mul
titud
e no
mor
e de
sire
dSe
nse
to th
em, t
han
our
mus
ical
Con
nois
seur
s th
ink
ites
sent
ial i
n th
ece
lebr
ate
Air
s of
an
Ital
ian
Ope
ra. D
oes
this
not
pro
ve,
that
ther
eis
ver
y ne
ar a
s m
uch
Enc
hant
men
t in
the
wel
l-go
vern
'dV
oice
of a
n A
ctor
, as
in th
e sw
eet P
ipe
of a
n E
unuc
h? I
f I
tell
you,
ther
e w
as n
o on
e T
rage
dy, f
or m
any
Yea
rs, m
ore
infa
vour
with
the
Tow
n th
an A
lexa
nder
. ..
.
Not
with
stan
ding
the
extr
aord
inar
y Po
wer
he
shew
'd in
blow
ing
Ale
xand
er o
nce
mor
e in
to a
bla
ze o
f A
dmir
atio
n,B
ette
r-to
n ha
d so
just
a s
ense
of
wha
t was
true
, or
fals
eA
ppla
use,
that
I ha
ve h
eard
him
say
, he
neve
r th
ough
t any
kin
d of
iteq
ual t
oan
atte
ntiv
e Si
lenc
e; th
at th
ere
wer
e m
any
way
sof
dec
eivi
ng a
nA
udie
nce
into
a lo
ud o
ne; b
ut to
kee
p th
em h
usht
and
quie
t,
was
an
App
laus
e w
hich
onl
y T
ruth
and
Mer
it co
uld
arri
ve a
t:O
f w
hich
Art
, the
re n
ever
was
an
equa
l Mas
ter
to h
imse
lf.
From
thes
e va
riou
s E
xcel
lenc
ies,
he
had
so f
ull a
Pos
sess
ion
of th
eE
stee
m a
nd R
egar
d of
his
Aud
itors
, tha
t upo
n hi
s E
ntra
nce
into
ever
y Sc
ene,
he
seem
'd to
sei
ze u
pon
the
Eye
s an
d E
ars
of th
eG
iddy
and
Ina
dver
tent
! T
o ha
ve ta
lk'd
or
look
'dan
othe
r w
ay,
wou
ld th
en h
ave
been
thou
ght I
nsen
sibi
lity
or I
gnor
ance
.In
all
his
Solil
oqui
es o
f m
omen
t, th
e st
rong
Int
ellig
ence
of h
is A
ttitu
dean
d A
spec
t, dr
ew y
ou in
to s
uch
an im
patie
ntG
aze,
and
eag
erE
xpec
tatio
n, th
at y
ou a
lmos
t im
bib'
d th
e Se
ntim
ent
with
you
rE
ye, b
efor
e th
e E
ar c
ould
rea
ch it
.
19.
BE
TT
ER
TO
N'S
OT
HE
LL
O A
ND
HA
ML
ET
OT
HE
R O
BS
ER
VE
RS
wer
e im
pres
sed
by B
ette
rton
's a
ctin
g in
spec
ific
sce
nes.
Ric
hard
Ste
ele,
in T
he T
alle
r, d
escr
ibed
a f
ew im
port
ant m
omen
ts in
Oth
ello
, whi
le T
he L
.ure
al, i
n 17
40, q
uote
d th
e m
emor
ies
of a
n ol
d pl
ay-
goer
who
rem
embe
red
Bet
tert
on's
Ham
let u
pon
mee
ting
the
Gho
st:
I ha
ve h
ardl
y a
notio
n th
at a
ny p
erfo
rmer
of
antiq
uity
coul
d su
rpas
s th
e ac
tion
of M
r. B
ette
rton
on
any
of th
e oc
casi
ons
in w
hich
he
has
appe
ared
on
our
stag
e. T
he w
onde
rful
ago
ny
whi
ch h
e ap
pear
ed in
, whe
n he
exa
min
edth
e ci
rcum
stan
ce o
fth
e ha
ndke
rchi
ef in
Oth
ello
; the
mix
ture
of lo
ve th
at in
trud
edup
on h
is m
ind
upon
the
inno
cent
ans
wer
s D
esde
mon
am
akes
,
betr
ayed
in h
is g
estu
re s
uch
a va
riet
yan
d vi
ciss
itude
of
pass
ions
,
as w
ould
adm
onis
h a
man
to b
e af
raid
of
his
own
hear
t, an
dpe
rfec
tly c
onvi
nce
him
, tha
t it i
s to
sta
bit,
to a
dmit
that
wor
stof
dag
gers
, jea
lous
y. W
hoev
er r
eads
in h
is c
lose
t thi
s ad
mir
able
scen
e, w
ill f
ind
that
he
cann
ot,
exce
pt h
e ha
s as
war
m a
n im
agi-
natio
n as
Sha
kspe
are
him
self
, fin
d an
ybu
t dry
, inc
oher
ent,
and
brok
en s
ente
nces
; but
a r
eade
r th
at h
as s
een
Bet
tert
on a
ct it
,ob
serv
es th
ere
coul
d no
t be
a w
ord
adde
d;th
at lo
nger
spe
ech
had
been
unn
atur
al, n
ay im
poss
ible
,in
Oth
ello
's c
ircu
mst
ance
s.T
he c
harm
ing
pass
age
in th
e sa
me
trag
edy,
whe
re h
e te
lls th
em
anne
r of
win
ning
the
affe
ctio
nof
his
mis
tres
s, w
as u
rged
with
so m
ovin
g an
d gr
acef
ul a
n en
ergy
,th
at w
hile
I w
alke
d in
the
cloi
ster
s, I
thou
ght o
f hi
m w
ith th
e sa
me
conc
ern
asif
I w
aite
dfo
r th
e re
mai
ns o
f a
pers
on w
ho h
adin
rea
l lif
e do
ne a
ll th
at I
had
seen
him
rep
rese
nt.
I ha
ve la
tely
bee
n to
ld b
y a
Gen
tlem
anw
ho h
as f
requ
ently
seen
Mr.
Bet
tert
onpe
rfor
m th
is p
art o
f H
amle
t, th
athe
has
obse
rv'd
his
Cou
nten
ance
(w
hich
was
natu
rally
rud
dy a
nd s
an-
guin
) in
this
Sce
ne o
f th
e fo
urth
Act
whe
re h
is F
athe
r's G
host
appe
ars,
thro
' the
vio
lent
and
sudd
en E
mot
ions
of
Am
azem
ent
and
Hor
ror,
turn
inst
antly
the
Sigh
t of
his
Fath
er's
Spi
rit,
aspa
le a
s hi
s N
eckc
loth
, whe
n ev
ery
Art
icle
of
his
Bod
y se
em'd
tobe
aff
ecte
d w
ith a
Tre
mor
inex
pres
sibl
e; s
oth
at, h
ad h
is F
athe
r'sG
host
act
ually
ris
en b
efor
e hi
m,
he c
ould
not
hav
e be
en s
ei7A
with
mor
e re
al A
goni
es; a
nd th
is w
asfe
lt so
str
ongl
y by
the
Aud
ienc
e, th
at th
e B
lood
see
med
tosh
udde
r in
thei
r V
eins
like
-w
ise,
and
they
in s
ome
Mea
sure
part
ook
of th
e A
ston
ishm
ent
and
Hor
ror,
with
whi
ch th
ey s
awth
is e
xcel
lent
Act
or a
ffec
ted.
20.
A M
AN
UA
L F
OR
AC
TO
RS
IN)7
41, T
he H
isto
ry o
f th
e E
nglis
hSt
age
appe
ared
as
a w
ork
wri
tten
by B
ette
rton
. Its
aut
hor,
how
ever
, was
eith
er th
e pu
blis
her,
Edm
und
Cur
l,or
Will
iam
Old
ys. C
erta
inse
ctio
ns in
whi
ch th
e du
ties
of a
pla
yer
are
GO
220
SOU
RC
ES
OF
TH
EA
TR
ICA
L H
IST
OR
Y
I Yal
e T
hest
rica
l Pri
vas
Co
Bea
ton
Bet
tert
on's
Ham
let
in th
eC
lose
t Sce
ne.
From
Nic
hola
s R
owe'
sSh
akes
pear
e,17
09.
enum
erat
ed, m
ay h
ave
been
bas
ed u
pon
auth
entic
Bet
tert
onia
n no
tes.
At
any
rate
, the
fol
low
ing
para
grap
hs a
re o
f co
nsid
erab
le in
tere
st to
any
one
tryi
ng to
rec
onst
ruct
the
actin
g st
yle
of th
e pe
riod
:
We
shal
l.
..be
gin
with
the
gove
rnm
ent,
orde
r an
d ba
;anc
e,of
the
who
le b
ody;
and
then
ce p
roce
ed to
the
regi
men
t and
prop
er m
otio
ns o
f th
e he
ad, t
he e
yes,
the
eye-
brow
s, a
nd in
deed
the
who
le f
ace;
then
con
clud
e w
ith th
e ac
tions
of
the
hand
s,m
ore
copi
ous
and
vari
ous
than
all
the
othe
r pa
rts
of th
e bo
dy.
The
pla
ce a
nd p
ostu
re o
f th
e bo
dy o
ught
not
be
be c
hang
edev
ery
mom
ent,
sinc
e so
fic
kle
an a
gita
tion
is tr
iflin
g an
d lig
ht;
61
TH
E R
EST
OR
AT
ION
TH
EA
TE
R22
1
nor,
on
the
othe
r ha
nd, s
houl
d it
alw
ays
keep
the
sam
e po
sitio
n,fi
xed
like
a pi
llar
or m
arbl
e st
atue
. For
this
, in
the
firs
t pla
ce,
is u
nnat
ural
, and
mus
t the
refo
re b
e di
sagr
eeab
le, s
ince
God
has
so f
orm
ed th
e bo
dy w
ith m
embe
rs d
ispo
sing
it to
mot
ion,
that
itm
ust t
rove
eith
er a
s th
e im
puls
e of
the
min
d di
rect
s, o
r as
the
nece
ssar
y oc
casi
ons
of th
e bo
dy r
equi
re. T
his
heav
y st
abili
ty, o
rth
ough
tless
fix
edne
ss, b
y lo
sing
that
var
iety
, whi
ch is
so
beco
m-
ing
of, a
nd a
gree
able
in th
e ch
ange
and
div
ersi
ty o
f sp
eech
and
disc
ours
e, a
nd g
ives
adm
irat
ion
to e
very
thin
g it
ador
ns, l
oses
likew
ise
that
gen
teel
ness
and
gra
ce, w
hich
eng
ages
the
atte
ntio
nby
ple
asin
g th
e ey
e. B
eing
taug
ht to
dan
ce w
ill v
ery
muc
hco
ntri
bute
in g
ener
al to
the
grac
eful
mot
ion
of th
e w
hole
bod
y,es
peci
ally
in m
otio
ns, t
hat a
re n
ot im
med
iate
ly e
mba
rras
sed
with
the
pass
ions
.T
hat t
he h
ead
has
vari
ous
gest
ures
and
sig
ns, i
ntim
atio
nsan
d hi
nts,
by
whi
ch it
is c
apab
le o
f ex
pres
sing
con
sent
, ref
usal
,co
nfir
mat
ion,
adm
irat
ion,
ang
er, &
c. is
wha
t eve
ry o
ne k
now
s,w
ho h
as e
ver
cons
ider
ed a
t all.
It m
ight
ther
efor
e be
thou
ght
supe
rflu
ous
to tr
eat p
artic
ular
ly o
f th
em. B
ut th
is r
ule
may
be
laid
dow
n on
this
hea
d in
gen
eral
; fir
st th
at it
oug
ht n
ot to
be
lifte
d up
too
high
, and
str
etch
ed o
ut e
xtra
vaga
ntly
, whi
ch is
the
mar
k of
arr
ogan
ce a
nd h
augh
tines
s; b
ut a
n ex
cept
ion
to th
isru
le w
ill c
ome
in f
or th
e pl
ayer
, who
is to
act
a p
erso
n of
that
char
acte
r. N
or o
n th
e ot
her
side
sho
uld
it be
hun
g do
wn
upon
the
brea
st, w
hich
is b
oth
disa
gree
able
to th
e ey
e, in
ren
deri
ngth
e m
ien
clum
sy a
nd d
ull;
and
wou
ld p
rove
ext
rem
ely
prej
-ud
icia
l to
the
voic
e, d
epri
ving
it o
f its
cle
arne
ss, d
istin
ctio
n,an
d th
at in
telli
gibi
lity,
whi
ch it
oug
ht to
hav
e. N
or s
houl
d th
ehe
ad a
lway
s le
an to
war
ds th
e sh
ould
ers,
whi
ch is
equ
ally
rus
tican
d af
fect
ed, o
r a
grea
t mar
k of
indi
ffer
ence
, lan
guid
ness
, and
afa
int i
nclin
atio
n. B
ut th
e he
ad, i
n al
l the
cal
mer
spe
eche
s at
leas
t,ou
ght t
o be
kep
t in
its ju
st n
atur
al s
tate
and
upr
ight
pos
ition
.In
the
agita
tion
inde
ed o
f a
pass
ion,
the
posi
tion
will
nat
ural
lyfo
llow
the
seve
ral a
cces
ses
and
rece
sses
of
the
pass
ion,
whe
ther
grie
f, a
nger
, &c.
We
mus
t far
ther
obs
erve
, tha
t the
hea
d m
ust n
ot b
e ke
ptal
way
s lik
e th
at o
f a
stat
ue w
ithou
t mot
ion;
nor
mus
t it o
n th
eco
ntra
ry b
e m
ovin
g pe
rpet
ually
, and
alw
ays
thro
win
g its
elf
abou
ton
eve
ry d
iffe
rent
exp
ress
ion.
It m
ust t
here
fore
shu
n th
ese
62
222
SOU
RC
ES
OF
TH
EA
TR
ICA
L H
IST
OR
Y
ridi
culo
us e
xtre
mes
, tur
n ge
ntly
on
the
neck
, as
ofte
n as
occ
asio
nre
quir
es a
mot
ion,
acc
ordi
ng to
the
natu
re o
f th
e th
ing,
turn
ing
now
to o
ne s
ide,
and
then
to a
noth
er, a
nd th
en r
etur
n to
suc
ha
dece
nt p
ositi
on, a
s yo
ur v
oice
may
bes
t be
hear
d by
all
or th
ege
nera
lity
of th
e au
dien
ce. T
he h
ead
ough
t alw
ays
to b
e tu
rned
on th
e sa
me
side
, to
whi
ch th
e ac
tions
of
the
rest
of
the
body
are
dire
cted
, exc
ept w
hen
they
are
em
plan
ed to
expr
ess
our
aver
sion
to th
ings
, we
refu
se;
or o
n th
ing.
: we
dete
st a
nd a
bhor
;fo
r th
ese
thin
gs w
e re
ject
with
the
righ
tha
nd, a
t the
sam
e tim
etu
rnin
g th
e he
ad a
way
to th
e le
ft.
..
.
Whe
n w
e ar
e fr
ee f
rom
pas
sion
, and
inan
y di
scou
rse
whi
chre
quir
es n
o gr
eat m
otio
n, a
s ou
r m
oder
n T
rage
dies
too
freq
uent
lysu
ffer
thei
r ch
ief
part
s to
be,
our
aspe
ct s
houl
d be
ple
asan
t, ou
rlo
oks
dire
ct, n
eith
er s
ever
eno
r as
ide,
unl
ess
we
fall
into
a p
as-
sion
, whi
ch r
equi
res
the
cont
rar.
For
then
natu
re, i
f w
e ob
eyhe
r su
mm
ons,
will
alte
r ou
r lo
oks
and
gest
ures
. Thu
s w
hen
am
an s
peak
s in
ang
er, h
is im
agin
atio
n is
infl
amed
, and
kin
dles
a so
rt o
f fi
re in
his
eye
s, w
hich
spa
rkle
s fr
om th
em in
suc
ha
man
ner,
that
a s
tran
ger,
who
und
erst
ood
not a
wor
d of
the
lan-
guag
e, o
r a
deaf
man
, who
cou
ld n
ot h
ear
the
loud
est t
one
ofhi
s vo
ice,
wou
ld n
ot f
ail o
fpe
rcei
ving
his
fur
y an
d in
dign
atio
n.A
nd th
is f
ire
of th
eir
eyes
will
eas
ily s
trik
e th
ose
of th
eir
audi
-en
ce w
hich
are
con
tinua
lly f
ixed
on
your
s; a
nd b
y a
stra
nge
sym
path
etic
infe
ctio
n, it
will
set
them
on
fire
too
with
the
very
sam
e pa
ssio
n.I
wou
ld n
ot b
e m
isun
ders
tood
, whe
n I
say
you
mus
t who
llypl
ace
your
eye
s on
the
pers
on o
r pe
rson
syo
u ar
e en
gage
d w
ithon
the
stag
e;I
mea
n, th
at a
t the
sam
e tim
e bo
thpa
rtie
s ke
epsu
ch a
pos
ition
in r
egar
d of
the
audi
ence
, tha
t eve
n th
ese
beau
ties
esca
pe n
ot th
eir
obse
rvat
ion,
thou
gh n
ever
so
just
ly d
irec
ted.
As
in a
pie
ce o
f H
isto
ry P
aint
ing,
thou
gh th
e fi
gure
s fi
x th
eir
eyes
ever
so
dire
ctly
to e
ach
othe
r, y
et th
e be
hold
er,
by th
e ad
-va
ntag
e of
thei
r po
sitio
n, h
as a
ful
l vie
w o
f th
eex
pres
sion
of
the
soul
in th
eey
es o
f th
e fi
gure
s.T
he lo
oks
and
just
exp
ress
ions
of
all t
heot
her
pass
ions
has
the
sam
e ef
fect
, as
this
we
have
men
tione
d of
ang
er. F
or if
the
grie
f of
ano
ther
touc
hes
you
with
a r
eal c
ompa
ssio
n, te
ars
will
flo
w f
rom
your
eye
s, w
heth
er y
ou w
ill o
r no
t..
..
You
mus
t lif
t up
or c
ast d
own,
your
eye
s, a
ccor
ding
to th
e
6f
TH
E R
EST
OR
AT
ION
TH
EA
TE
R22
3
natu
re o
f th
e th
ings
you
spe
ak o
f; th
us if
of h
eave
n, y
our
eyes
natu
rally
are
lift
ed u
p; if
of
eart
h, o
r he
ll, o
r an
yth
ing
ter-
rest
rial
, the
y ar
e as
nat
ural
ly c
ast d
own.
You
r ey
es m
ust a
lso
be d
irec
ted
acco
rdin
g to
the
pass
ions
; as
to d
ejec
tth
em o
n th
ings
of d
isgr
ace,
and
whi
ch y
ou a
re a
sham
ed o
f;an
d ra
ise
them
on
thin
gs o
f ho
nor,
whi
ch y
ou c
an g
lory
in w
ith c
onfi
denc
e an
dre
puta
tion.
In
swea
ring
, or
taki
ng a
sole
mn
oath
, or
atte
stat
ion
of a
ny th
ing,
to th
e ve
riet
y of
wha
t you
say
, you
turn
you
rey
es, a
nd in
the
sam
eac
tion
lift u
p yo
ur h
and
to th
e th
ing
you
swea
r by
, or
atte
st.
You
r ey
e-br
ows
mus
t nei
ther
be
imm
ovea
ble,
nor
alw
ays
in
mot
ion;
nor
mus
t the
y bo
th b
e ra
ised
on
ever
y th
ing
that
issp
oken
with
eag
erne
ss a
nd c
onse
nt;
and
muc
h le
ss m
ust o
ne b
era
ised
, and
the
othe
r ca
st d
own;
but
gen
eral
ly th
eym
ust r
emai
nin
the
sam
e po
stur
e an
d eq
ualit
y, w
hich
they
hav
e by
nat
ure,
allo
win
g th
em th
eir
due
mot
ion
whe
n th
e pa
ssio
ns r
equi
reit;
that
is, t
o co
ntra
ct th
emse
lves
and
fro
wn
in s
orro
w; t
osm
ooth
and
dila
te th
emse
lves
in jo
y; to
han
g do
wn
in h
umili
ty,
&c.
The
mou
th m
ust n
ever
be
wri
thed
, nor
the
lips
bit o
r lic
ked,
whi
ch a
re a
ll un
gent
eel a
nd u
nman
nerl
y ac
tions
, and
yet
wha
t
som
e ar
e fr
eque
ntly
gui
lty o
f; y
et in
som
eef
fort
s or
sta
rts
ofpa
ssio
n, th
e lip
s ha
ve th
eir
shar
e of
act
ion,
but t
his
mor
e on
the
stag
e, th
an in
any
oth
er p
ublic
spe
akin
g, e
ither
irk
the
Pulp
it,or
at t
he B
ar; b
ecau
se th
e st
age
is, o
r ou
ght
to b
e, a
n im
itatio
nof
nat
ure
in th
ose
actio
ns a
nd d
isco
urse
s, w
hich
are
pro
duce
dbe
twee
n m
an a
nd m
an b
y an
y pa
ssio
n, o
r on
any
bus
ines
s,w
hich
can
aff
ord
actio
n; f
or a
ll ot
her
has
in r
ealit
y no
thin
g to
do w
ith th
e sc
ene.
Tho
ugh
to s
hrug
up
the
shou
lder
s be
no
gest
ure
in o
rato
ry,
yet o
n th
e st
age
the
char
acte
r of
the
pers
on,
and
the
subj
ect
of h
is d
isco
urse
, may
ren
der
it pr
oper
eno
ugh;
thou
gh I
con
fess
,it
seem
s m
ore
adap
ted
to C
omed
y, th
an T
rage
dy, w
here
all
shou
ld b
e gr
eat a
nd s
olem
n.. .
.O
ther
s th
rust
out
the
belly
, and
thro
w b
ack
the
head
, bot
hge
stur
es u
nbec
omin
g an
d in
dece
nt.
We
com
e no
w to
the
hand
s, w
hich
, as
they
are
the
chie
fin
stru
men
ts o
f ac
tion,
var
ying
them
selv
es a
s m
any
way
s, a
s th
eyar
e ca
pabl
e of
exp
ress
ing
thin
gs, s
o is
it a
dif
ficu
lt m
atte
r to
giv
esu
ch r
ules
as
are
with
out e
xcep
tion.
Tho
se n
atur
al s
igni
fica
tions
6
224
SOU
RC
ES
OF
TH
EA
TR
ICA
LH
IST
OR
Y
of p
artic
ular
gest
ures
, and
wha
t I s
hall
here
add,
will
I h
ope,
be
som
e lig
ht to
the
youn
g ac
tor
in th
is p
artic
ular
. ist
. I w
ould
hav
ehi
m r
egar
d th
e ac
tion
of th
e ha
nds,
as to
thei
r ex
pres
sion
of
accu
satio
n, d
epre
catio
n,th
reat
s, d
esir
e, &
c. a
nd to
wei
gh w
ell
wha
t tho
se a
ctio
nsar
e, a
nd in
wha
t man
ner
expr
esse
d; a
nd th
enco
nsid
erin
g ho
w la
rge
a sh
are
thos
e ac
tions
hav
e in
all
man
ner
of d
isco
urse
, he
will
find
that
his
han
dsne
ed n
ever
be
idle
, or
empl
oyed
in a
n in
sign
ific
ant
or u
nbea
utif
ul g
estu
re.
In th
e be
ginn
ing
ofa
sole
mn
spee
ch o
r or
atio
n,as
in th
atof
Ant
hony
on
the
deat
h of
Ces
ar,
or o
f B
rutu
s on
the
sam
eoc
casi
on, t
here
is n
oge
stur
e, a
t lea
st o
f an
y co
nsid
erat
ion,
unle
ssit
begi
n ab
rupt
ly,
as 0
Jup
iter,
0 h
eave
ns!
is th
isto
be
born
e?th
e ve
ry s
hips
then
inou
r ey
es, w
hich
I p
rese
rved
, &c.
exte
nd-
ing
here
his
han
ds f
irst
to h
eave
n, a
ndth
ento
the
ship
s. I
n al
lre
gula
r ge
stur
es o
f th
eha
nds,
they
oug
ht p
erfe
ctly
to c
orre
spon
dw
ith o
ne a
noth
er;
as in
sta
rtin
g in
amaz
e, o
n a
sudd
en f
righ
t,as
Ham
let i
n th
e sc
ene
betw
een
him
and
his
mot
her,
on
the
ap-
pear
ance
of
his
fath
er's
Gho
st.
"Sav
em
e, a
nd h
over
o'e
r m
e w
ithyo
ur w
ings
,Y
ou h
eave
nly
Gua
rds!
"T
his
is s
poke
with
arm
s an
d ha
nds
exte
nded
, and
expr
essi
nghi
sco
ncer
n, a
s w
ell a
s hi
sey
es, a
nd w
hole
fac
e. I
f an
act
ion
com
es to
be
used
by
only
one
hand
, tha
t mus
t be
by th
e ri
ght,
it be
ing
inde
cent
to m
ake
a ge
stur
e w
ithth
e le
ft a
lone
;ex
cept
you
shou
ld s
ay a
ny s
uch
thin
gas
,"R
athe
r th
an b
egu
ilty
of s
o fo
ul a
dee
d,I'd
cut
this
rig
ht h
and
off,
&c.
For
here
the
actio
nsm
ust b
e ex
pres
sed
by th
e le
ft h
and,
beca
use
the
righ
t is
the
mem
ber
to s
uffe
r.W
hen
you
spea
k of
your
self
, the
rig
ht n
ot th
ele
ft h
and
mus
t be
appl
ied
to th
ebo
som
, dec
lari
ngyo
ur o
wn
facu
lties
, and
pass
ions
; you
r he
art,
your
sou
l, or
you
r co
nsci
ence
.B
ut th
is a
ctio
n,ge
nera
lly s
peak
-in
g, s
houl
d be
onl
yap
plie
d or
exp
ress
edby
layi
ng th
e ha
ndge
ntly
on
the
brea
st, a
ndno
t by
thum
ping
itas
som
e pe
ople
do.
The
ges
ture
mus
t pas
s fr
om th
e le
ftto
the
righ
t, an
d th
ere
end
with
gen
tlene
ssan
d m
oder
atio
n,at
leas
t not
str
etch
to th
eex
trem
ity o
f vi
olen
ce. Y
oum
ust b
e su
re, a
syo
u be
gin
your
ac-
tion
with
wha
tyo
u sa
y, s
o yo
u m
ust e
nd it
whe
n yo
u ha
ve6;
)
TH
E R
EST
OR
AT
ION
TH
EA
TE
R22
5
done
spe
akin
g; f
or a
ctio
n ei
ther
bef
ore
oraf
ter
utte
ranc
e. is
high
ly r
idic
ulou
s. T
he m
ovem
ent o
r ge
stur
esof
you
r ha
nds
mus
t&
way
s be
agr
eeab
le to
the
natu
re o
f th
e w
ords
, tha
t you
spe
ak;
for
whe
n yo
u sa
y co
me
in, o
r ap
proa
ch, y
ou m
ust n
otst
retc
hou
t you
r ha
nd w
ith a
rep
ulsi
ve g
estu
re; n
or, o
nth
e co
ntra
ry,
whe
n yo
u sa
y, s
tand
bac
k, m
ust y
our
gest
ure
be in
vitin
g; n
orm
ust y
ou jo
in y
our
hand
s, w
hen
you
com
man
d se
para
tion;
nor
open
them
, whe
n yo
uror
der
is c
losi
ng; n
or h
ang
them
dow
n,w
hen
you
bid
rais
e su
ch a
thin
g, o
r pe
rson
; nor
lift
them
up,
whe
n yo
u sa
y th
row
them
dow
n. F
or a
ll th
ese
gest
ures
wou
ld
be s
o vi
sibl
y ag
ains
t nat
ure,
that
you
wou
ld b
e la
ughe
dat
by
all t
hat s
aw o
r he
ard
you.
By
thes
e in
stan
ces
of f
aulty
act
ion,
you
may
eas
ily s
eeth
e ri
ght,
and
gath
er th
is r
ule,
that
as
muc
has
pos
sibl
e ev
ery
gest
ure
you
use
shou
ld e
xpre
ss th
e na
ture
of
the
wor
ds y
ou u
tter,
whi
ch w
ould
suf
fici
ently
and
bea
utif
ully
empl
oy y
our
hand
s. .
..
In th
e lif
ting
up th
e ha
nds,
to p
rese
rve
the
grac
e, y
ouou
ght n
ot r
aise
them
abo
ve th
e ey
es; t
ost
retc
h th
em f
arth
erm
ight
dis
orde
r an
d di
stor
t the
bod
y; n
or m
ust t
hey
be v
ery
little
low
er, b
ecau
se th
at p
ositi
on g
ives
a b
eaut
y to
the
figu
re;
besi
des,
this
pos
ture
bei
ng g
ener
ally
on
som
e su
rpri
se,
adm
ira-
tion,
abh
orre
nce,
&c.
whi
ch p
roce
eds
from
the
obje
ct,
that
aff
ects
the
eye,
nat
ure
by a
sor
t of
mec
hani
c m
otio
n th
row
s th
e ha
nds
out a
s gu
ards
to th
e ey
es o
n su
ch a
n oc
casi
on.
You
mus
t nev
er le
t eith
er o
f yo
ur h
ands
han
g do
wn,
a-,
if la
me
or d
ead;
for
that
is v
ery
disa
gree
able
to th
e ey
e, a
ndar
gues
no
pass
ion
in th
e im
agin
atio
n.In
sho
rt, y
our
hand
s m
ust
alw
ays
be in
vie
w o
f yo
ur e
yes,
and
., c
orre
spon
ding
with
the
mot
ions
of
the
head
, eye
s, a
nd b
ody,
that
the
spec
tato
r m
ay s
eeth
eir
conc
urre
nce,
eve
ry o
ne in
its
own
to s
igni
fy th
e sa
me
thin
g,w
hich
will
mak
e a
mor
e ag
reea
ble,
and
by
cons
eque
nce
a de
eper
impr
essi
on o
n .th
eir
sens
es, a
nd th
eir
unde
rsta
ndin
g.Y
our
arm
s yo
u sh
ould
not
str
etch
out
sid
e w
ays,
abo
ve h
alf
a fo
ot f
rom
the
trun
k of
you
r bo
dy; y
ouw
ill o
ther
wis
e th
row
your
ges
ture
qui
te o
ut o
f yo
ur s
ight
,unl
ess
you
turn
you
r he
adal
so a
side
to p
ursu
e it,
whi
ch w
ould
be
very
rid
icul
ous.
In s
wea
ring
, atte
stat
ion,
or
taki
ng a
ny s
olem
n vo
w o
r oa
th,
you
mus
t rai
se y
our
hand
. An
excl
amat
ion
requ
ires
the
sam
eac
tion;
but
so
that
the
gest
ure
may
not
onl
y an
swer
the
pro-
66
;I ;' '11
226
SOU
RC
ES
OF
TH
EA
TR
ICA
L H
IST
OR
Y
nunc
iatio
n, o
r ut
tera
nce,
but
bot
h th
e na
ture
of
the
thin
g, a
ndth
e m
eani
ng o
f th
e w
ords
. In
publ
ic s
peec
hes,
ora
tions
, and
serm
ons,
it is
true
you
r ha
nds
ough
t ^ot
to b
e al
way
s in
mot
ion,
a vi
ce w
hich
was
onc
e ca
lled
the
babb
ling
of th
e ha
nds;
and,
perh
aps,
it m
ay r
each
som
e ch
arac
ters
, and
spe
eche
s in
pla
ys;
but I
am
of
opin
ion,
that
the
hand
s in
act
ing
ough
t ver
y se
ldom
to b
e w
holly
qui
esce
nt, a
nd th
at if
we
had
the
art o
f th
e Pa
nto-
mim
es, o
f ex
pres
sing
thin
gs s
o cl
earl
y w
ith th
eir
hand
s, a
s to
mak
e th
e ge
stur
es s
uppl
y w
ords
, the
join
ing
thes
e si
gnif
ican
tac
tions
to th
e w
ords
and
pas
sion
s ju
stly
dra
wn
by th
e po
et,
wou
ld b
e no
con
tem
ptib
le g
race
in th
e pl
ayer
, and
ren
der
the
dive
rsio
n in
fini
tely
mor
e en
tert
aini
ng, t
han
it is
at p
rese
nt. F
orin
deed
act
ion
is th
e bu
sine
ss o
f th
e st
age,
and
an
erro
r is
mor
epa
rdon
able
on
the
righ
t, th
an th
e w
rong
sid
e.T
here
are
som
e ac
tions
or
gest
ures
, whi
ch y
ou m
ust n
ever
mak
e us
e of
in T
rage
dy, a
ny m
ore
than
in p
lead
ing,
or
serm
ons,
they
bei
ng lo
w, a
nd f
itter
for
Com
edy
or b
urle
sque
ent
erta
in-
men
ts. T
hus
you
mus
t not
put
you
rsel
f in
to th
e po
stur
e of
one
bend
ing
a bo
w, p
rese
ntin
g a
mus
ket,
or p
layi
ng o
n an
y m
usic
alin
stru
men
t, as
if y
ou h
ad it
in y
our
hand
s.Y
ou m
ust n
ever
imita
te a
ny le
wd,
obs
cene
or
inde
cent
post
ures
, let
you
r di
scou
rse
be o
n th
e de
bauc
heri
es o
f th
e ag
e,or
any
thin
g of
that
nat
ure,
whi
ch tn
e de
scri
ptio
n of
an
Ant
hony
and
Ver
res
mig
ht r
equi
re o
ur d
isco
urse
of.
21.
MR
S. B
AR
RY
BE
TT
EK
TO
WS
lead
ing
trag
ic a
ctre
ss w
as M
rs. E
lizab
eth
Bar
ry (
1658
-17
13).
She
cel
ebra
ted
her
grea
test
triu
mph
s as
Mon
imia
and
Bel
vide
ra in
Otw
ay's
The
Orp
han
and
Ven
ice
Pres
erve
d, a
nd a
s Is
abel
la in
Sou
ther
ne's
The
Fat
al M
arri
age
part
s in
whi
ch s
he "
forc
'd T
ears
fro
m th
e E
yes
ofL
er A
udito
ry"
(Dow
nes)
. Her
art
istic
pro
file
em
erge
s fr
om C
ibbe
r's a
ndA
ston
's s
ketc
hes:
Mrs
. Bar
ry w
as th
en [
by th
e en
d of
the
seve
ntee
nth
cent
ury]
in p
osse
ssio
n of
alm
ost a
ll th
e ch
ief
Part
s in
Tra
gedy
: With
wha
t Ski
ll sh
e ga
ve L
ife
to th
em, y
ou w
ill ju
dge
from
the
Wor
dsof
Dry
den,
in h
is P
refa
ce to
Cle
omen
es, w
here
he
says
,M
rs. B
arry
, alw
ays
exce
llent
, has
in th
is T
rage
dy e
xcel
l'd
6!
TH
E R
EST
OR
AT
ION
TH
EA
IER
227
hers
elf,
and
gai
n'd
aR
eput
atio
n, b
eyon
d an
y W
oman
1 ha
ve
ever
see
n on
the
The
atre
. ..
.
Mrs
. Bar
ry, i
n C
hara
cter
sof
Gre
atne
ss, h
ad a
Pres
ence
of e
leva
ted
Dig
nity
, her
Mie
n an
d M
otio
n su
perb
, and
grac
eful
ly
maj
estic
k; h
er V
oice
ful
l, cl
ear,
and
stro
ng, s
o th
at n
o V
iole
nce
of P
assi
on c
ould
be
too
muc
h fo
r he
: : A
nd w
hen
Dis
tres
s, o
r
Ten
dern
ess
poss
ess'
d he
r, s
hesu
bsid
ed in
to th
e m
ost a
ffec
ting
Mel
ody,
and
Sof
tnes
s. I
n th
eA
rt o
f ex
citin
g Pi
ty, s
heha
d a
Pow
er b
eyon
d al
l the
Act
ress
esI
have
yet
see
n, o
r w
hat y
our
Imag
inat
ion
can
conc
eive
. Of
the
form
er o
f th
ese
two
grea
tex
celle
ncie
s, s
he g
ave
the
mos
tde
light
ful P
roof
s in
alm
ost
all
the
Her
oic
Play
s of
Dry
den
and
Lee
; and
of
the
latte
r, in
the
soft
er P
assi
ons
of O
tway
'sM
onim
ia a
nd B
elvi
dera
. In
Scen
esof
Ang
er, D
efia
nce,
or
Res
entm
ent,
whi
le s
he w
as im
petu
ous,
and
terr
ible
, she
pou
r'd o
utth
e Se
ntim
ent w
ith a
p en
chan
ting
Har
mon
y; a
nd it
was
this
par
ticul
arE
xcel
lenc
e, f
or w
hich
Dry
den
mad
e he
r th
e ab
ove-
reci
ted
Com
plim
ent,
upon
her
act
ing
Cas
sand
ra in
his
Cle
omen
es. B
ut h
ere,
I am
apt
to th
ink
his
Par-
tialit
y fo
r th
at C
hara
cter
, may
hav
ete
mpt
ed h
is J
udgm
ent t
ole
t it p
ass
for
her
Mas
ter-
piec
e;w
hen
he c
ould
not
but
kno
w,
ther
e w
ere
seve
ral o
ther
Cha
ract
ers
in w
hich
her
Act
ion
mig
htha
ve g
iven
her
a f
aire
r Pr
eten
ce to
the
Prai
se h
e ha
s be
stow
'd
on h
er, f
or C
assa
ndra
;fo
r, in
no
Part
of
that
, is
ther
eth
e le
ast
grou
nd f
or C
ompa
ssio
n, a
s in
Mon
imia
; nci
r eq
ual c
ause
for
Adm
irat
ion,
as
in th
e no
bler
Lov
e of
Cle
opat
ra, o
r th
e te
mpe
stu-
ous
Jeal
ousy
of
Rox
ana.
'Tw
as in
thes
e L
ight
s, I
thou
ght
Mrs
.
Bar
ry s
hone
with
a m
uch
brig
hter
Exc
elle
nce
than
in C
assa
ndra
.
She
was
the
firs
t Per
son
who
seM
erit
was
dis
tingu
ishe
d, b
yth
e In
dulg
ence
of
havi
ng a
n an
nual
Ben
efit-
Play
, whi
ch w
asgr
ante
d to
her
alo
ne, i
f I
mis
take
not
,fi
rst i
n K
ing
Jam
es's
time,
and
whi
ch b
ecam
e no
t com
mon
to o
ther
s, 't
ill th
e D
ivis
ion
of th
is C
ompa
ny, a
fter
the
Dea
thof
Kin
g W
illia
m's
Que
en M
ary.
Mrs
. Bar
ry o
ut-s
hin'
d M
rs.
Bra
cegi
rdle
in th
e C
hara
cter
of Z
AR
A in
the
Mou
rnin
gB
ride
, aith
o' M
r. C
ongr
eve
desi
gn'd
Alm
eria
for
that
Fav
our.
And
yet
, thi
s fi
ne C
reat
ure
was
not
hand
som
e, h
er M
outh
op'
ning
mos
t on
the
Rig
ht S
ide,
whi
ch s
he
stro
ve to
dra
w t'
othe
r W
ay,
and,
at T
imes
, com
posi
ng h
er F
ace,
as if
sitt
ing
to h
ave
her
Pict
ure
draw
n.M
rs. B
arry
was
6 8
AC
TO
RS
ON
AC
TIN
GT
he A
rt o
f Pe
rsua
sion
If s
omeb
ody
aske
d m
e to
put
in o
ne s
ente
nce
wha
t act
ing
was
, I s
houl
d sa
y th
atac
ting
was
the
art o
f pe
rsua
sion
. The
act
or p
ersu
ades
him
self
, fir
st, a
nd th
roug
hhi
mse
lf, t
he a
udie
nce.
In
orde
r to
ach
ieve
that
, wha
t you
nee
d to
mak
e up
you
rm
akeu
p is
obs
erva
tion
and
intu
ition
. At t
he m
ost h
igh-
falu
ting,
the
acto
r is
as
impo
rtan
t as
the
illum
inat
or o
f th
e hu
man
hea
rt, h
e is
as
impo
rtan
t as
the
psyc
hi-
atri
st o
r th
e do
ctor
, the
min
iste
r if
you
like
.T
hat's
put
ting
him
ver
y hi
gh a
ndm
ight
ily. A
t the
opp
osite
end
of
the
pole
you
've
got t
o fi
nd, i
n th
e ac
tor,
a m
anw
ho w
ill n
ot b
e to
o pr
oud
to s
cave
nge
the
tinie
st li
ttle
bit o
f hu
man
cir
cum
stan
ce;
obse
rve
it, f
ind
it, u
se it
som
e tim
e or
ano
ther
. I'v
e fr
eque
ntly
obs
erve
d th
ings
, and
than
k G
od, i
fI
have
n't g
ot a
ver
y go
od m
emor
y fo
r an
ythi
ng v
ise,
I'v
e go
t am
emor
y fo
r lit
tle d
etai
ls.
I've
had
thin
gs in
the
back
of
my
min
d fo
r as
long
as
eigh
teen
yea
rs b
efor
e I'v
e us
ed th
em. A
nd it
wor
ks s
omet
imes
that
, out
of
one
little
thin
g yo
u've
see
n so
meb
ody
do, s
omet
hing
cau
ses
you
to s
tore
it u
p. I
n th
e ye
ars
that
fol
low
you
won
der
wha
t it w
as th
at m
ade
them
do
it, a
nd, u
ltim
atel
y, y
oufi
nd in
that
the
illum
inat
ing
key
to a
who
le b
it of
cha
ract
eriz
atio
n.Q
z,E
sTio
N: I
sup
pose
it w
as y
our
perf
orm
ance
of
Ric
hard
III
at t
he O
ld V
ic, t
owar
dsth
e en
d of
the
war
, tha
t set
you
on
the
sum
mit
of o
ur c
lass
ical
dra
ma.
Did
you
know
at t
he ti
me
that
it w
as g
oing
to b
e on
e of
the
key
perf
orm
ance
s of
you
rca
reer
?A
NSW
ER
: No,
no.
A lo
t of
thin
gs c
ontr
ibut
ed to
it. O
ne th
ing
that
may
lead
an
acto
rto
be
succ
essf
ul in
a p
art,
not a
lway
s, b
ut it
may
, is
to tr
y to
be
unlik
eso
meb
ody
else
in it
. At t
he ti
me
whe
n I
firs
t beg
an to
thin
k ab
out t
he p
art D
onal
dW
olfi
t had
mad
e an
eno
rmou
s su
cces
s as
Ric
hard
onl
y ei
ghte
en m
onth
s pr
evio
usly
.I
didn
't w
ant t
o pl
ay th
e pa
rt a
t all,
bec
ause
I th
ough
t it w
as m
uch
too
clos
e to
this
col
leag
ue's
suc
cess
.I
had
seen
it, a
nd w
hen
I w
as le
arni
ng it
I co
uld
hear
noth
ing
but D
onal
d's
voic
e in
my
min
d's
car,
and
see
not
hing
but
him
in m
ym
ind'
s ey
e. A
nd s
o I
thou
ght,
"Thi
s w
on't
do, I
've
just
got
to th
ink
of s
omet
hing
else
." A
nd it
was
the
child
ishl
y ap
pi:A
ched
dif
fere
nces
, rea
lly, t
hat s
tart
c-1
me
on a
cha
ract
eriz
atio
n th
at, w
ithou
t com
pari
ng it
with
Don
ald'
s at
all,
at
mad
e it
diff
eren
t.I
thin
k an
y ac
tor
wou
ld u
nder
stan
d th
is d
esir
e on
my
part
not
to lo
ok th
e sa
me
as a
noth
er a
ctor
. Now
this
can
get
you
ver
y w
rong
som
etim
es,
and
land
you
in v
ery
hot w
ater
inde
ed; a
t oth
er ti
mes
it m
ay la
nd y
ou o
n to
a n
ice
fert
ile b
each
, tha
nk y
ou v
ery
muc
h.Fi
rst o
f al
l I b
hear
d im
itatio
ns o
f ol
d ac
tors
imita
ting
Hen
ry I
rvin
g; a
nd s
oI
did,
rig
ht a
way
, an
imita
tion
of th
ese
old
acto
rs im
itatin
g H
enry
Irv
ing'
s vo
ice
that
's w
hy I
took
a r
athe
r na
rrow
kin
d of
voc
al a
ddre
ss. T
hen
I th
ough
t abo
utlo
oks.
And
I th
ough
t abo
ut th
e B
ig B
ad W
olf,
and
I th
ough
t abo
ut J
ed H
arri
s, a
dire
ctor
und
er w
hom
I'd
suf
fere
d in
exi
t-m
i.; in
New
Yor
k. T
he p
hysi
ogno
my
ofD
isne
y's
orig
inal
Big
Bad
Wol
f w
as s
aid
to h
ave
been
fou
nded
upo
n Je
d H
arri
she
nce
the
nose
, whi
ch, o
rigi
nally
, was
ver
y m
uch
bigg
er th
an it
was
fin
ally
in th
efi
lm. A
nd s
o, w
ith o
ne o
r tw
o ex
tran
eous
ext
erna
ls, I
beg
an to
bui
ld u
p a
char
-ac
ter,
a c
hara
cter
izat
ion.
I'maf
raid
lao_
wor
k m
ostly
fs,
nm_t
he o
utsi
de in
.I
- -- Ken
neth
Tyn
an in
terv
iew
s L
aure
nce
Oliv
ier
in G
reat
Act
ing.
edi
ted
by H
al B
urto
n. N
ewY
ork
Bill
& W
ang,
196
7, p
p. 2
3-32
. Cop
yrig
ht ©
aut
hors
and
BB
C 1
966-
1967
.F
irst p
ublis
hed
m th
e U
.S in
Tul
ane
Dra
ma
Rev
iew
,V
ol. X
I,N
o. 3
, Win
ter,
196
6. R
epri
nted
by
perm
issi
on o
fsu
Lau
renc
e O
bi ie
r J
NI
Ken
neth
Tyn
an.
EN
GL
AN
D A
ND
IR
EL
AN
D(t
usu
ally
col
lect
a lo
t of
deta
ils, a
lot o
f ch
arac
teri
stic
s, a
nd f
ind
a cr
eatu
re s
wim
min
gab
out s
omew
here
in th
e m
iddl
e of
them
..
Perh
aps
I sh
ould
men
tion
now
wha
t eve
rybo
dy's
bee
n ta
lkin
g ab
out f
or y
ears
,an
d th
at's
the
Act
ors
Stud
io a
nd th
e M
etho
d. W
hat I
've
just
sai
d is
abs
olut
ely
agai
nst t
heir
bel
iefs
, abs
olut
e he
resy
. And
it m
ay b
e, a
s lo
ng a
s yo
u ac
hiev
e th
ere
sult
of, d
on't
let's
cal
l it n
atur
alis
m, d
on't
even
let's
cal
l it r
ealis
m, l
et's
all
ittr
uthf
ulne
ss, t
hat i
t doe
sn't
mat
ter
whi
ch m
etho
d yo
u us
e. B
ut in
exe
rcis
es li
keSh
akes
pear
e or
Gre
ek tr
aged
y it
is a
n en
orm
ous
task
, bec
ause
you
've
got s
o m
any
face
ts, s
o m
any
angl
es a
nd s
o m
any
cons
ider
atio
ns to
con
tend
with
, in
orde
r to
achi
eve
the
real
ity o
r th
e tr
uthf
ulne
ss th
at is
nec
essa
ry. S
ome
peop
le s
tart
fro
mth
e in
side
, som
e pe
ople
sta
rt f
rom
the
peri
pher
y.1
wou
ld s
ay, a
t a g
uets
, tha
tA
lec
Gui
nnes
s is
wha
t we
wou
ld c
all a
per
iphe
ral a
ctor
.I
thin
k I'm
the
sam
e.T
he a
ctor
who
sta
rts
from
the
insi
de is
mor
e lik
ely
to f
ind
him
self
in th
e pa
rts
he p
lays
, tha
n to
fin
d th
e pa
rts
in h
imse
lf; p
erha
ps n
ot n
eces
sari
ly in
him
self
, but
sim
ply
to f
ind
the
part
s, g
o ou
t to
them
and
get
them
, and
be
som
ebod
y el
se.
QuE
srio
N: W
ho w
ould
you
say
was
a ty
pica
l exa
mpl
e of
the
inte
rior
met
hod?
AN
swE
R: W
ell,
I th
ink
pers
onal
ly th
at m
ost f
ilm a
ctor
s ar
e in
teri
or p
eopl
e.It
isne
cess
ary
for
them
to b
e so
trut
hful
und
er th
e ex
trao
rdin
ary
mic
rosc
opic
per
cep-
tion
of th
e ca
mer
a; it
's v
ery
seld
om th
at y
ou g
et a
film
act
or w
ho d
ares
to c
har-
acte
rize
ver
y th
ickl
y.Q
UE
STIO
N: S
ince
we'
re ta
lkin
g ab
out e
xter
nals
, whi
ch d
o yo
u re
gard
as
your
mos
tim
port
ant p
hysi
cal a
ttrib
ute,
you
r vo
ice,
you
r ha
nds,
you
r ey
es, w
hich
?A
NSW
ER
: Wel
l, on
ce u
pon
a tim
e yo
u as
ked
me
that
que
stio
n an
d I
said
the
eyes
.T
hat w
as s
ome
year
s ag
o. I
t dep
ends
wha
t you
arc
real
ly it
's a
fus
ion
of e
very
sing
le p
art o
f yo
u th
at h
as to
go
into
it. T
he m
ime
acto
r do
esn'
t nee
d th
e vo
ice;
the
film
act
or h
ardl
y ne
eds
the
voic
e, h
ardl
y ne
eds
the
body
, exc
ept t
o us
e it
as a
mar
vello
us p
hysi
cal s
peci
men
in s
uch
role
s as
dem
and
that
attr
ibut
e. T
he s
tage
acto
r ce
rtai
nly
need
s th
e vo
ice.
cer
tain
ly n
eeds
all
the
voca
l con
trol
, all
the
brea
thco
ntro
l, al
l the
tech
niqu
es o
r th
e vo
ice,
cer
tain
ly n
eeds
all
the
mim
ing
pow
er I
,,im
agin
able
, cer
tain
ly n
eeds
the
hand
s, c
erta
inly
nee
ds th
e ey
eshe
nee
ds th
em a
ll.Q
UE
STIO
N: W
hen
you
wer
e pl
ayin
g R
icha
rd, w
as th
ere
a m
omen
t whe
n yo
u kn
ewyo
u w
ere
ther
e, th
at a
ll w
as s
et f
air
for
your
fut
ure?
AN
SWE
R: W
ell,
I'd b
een
on th
e st
age
now
for
twen
ty y
ears
. I'd
just
fin
ishe
d m
akin
gH
enry
V a
nd, I
don
't kn
ow h
ow, o
r w
hy, I
just
wen
t int
o it
with
the
sam
e di
stru
stof
the
criti
cs, t
he s
ame
fear
of
publ
ic o
pini
on a
s I
had
alw
ays
expe
rien
ced.
I w
ent
on to
the
stag
e fr
ight
ened
, hea
rt b
eatin
g, c
ame
on, l
ocke
d th
e do
or b
ehin
d m
e,ap
proa
ched
the
foot
light
s an
d st
arte
d. A
nd I
I ju
st s
impl
y w
ent t
hrou
gh it
.I
don'
t thi
nk a
nybo
dy in
the
com
pany
bel
ieve
d in
the
proj
ect a
t all.
I th
ink
ever
y-bo
dy w
as r
athe
r in
des
pair
abo
ut th
e w
hole
pro
duct
ion.
And
nob
ody
part
icul
arly
belie
ved
in m
y pe
rfor
man
ce, n
one
of u
s pa
rtic
ular
ly b
elie
ved
in a
ny o
f ou
r pe
r-fo
rman
ces;
I d
on't
thin
k ev
en o
ur p
rodu
cer,
Joh
n B
urre
ll, b
elie
ved
in it
muc
h. I
nth
e fi
rst t
hree
pla
ys w
hich
we
pres
ente
d, R
alph
Ric
hard
son
had
brou
ght P
eer
Gyn
t off
bri
llian
tly, A
rms
and
the
Man
was
a s
ucce
ss o
n its
ow
n, a
nd n
ow th
ere
was
this
rat
her
poor
rel
atio
n, w
ith a
par
t tha
t peo
ple
had
seen
qui
te a
lot o
f. A
ndso
I d
idn'
t kno
wI
didn
't kn
ow; I
was
just
onc
e m
ore
goin
g to
hav
e, a
s w
e sa
y, a
bash
.I
had
deve
lope
d th
is c
hara
cter
izat
ion,
and
I h
ad g
ot a
lot o
f th
ings
on
my
side
, now
I c
ome
to th
ink
of it
, fro
m th
e po
int o
f vi
ew o
f tim
elin
ess.
One
had
Hitl
er o
ver
the
way
, one
was
pla
ying
it d
efin
itely
as
a pa
rano
iac,
so
that
ther
ew
as a
cor
e of
som
ethi
ng to
whi
ch th
e au
dien
ce w
ould
imm
edia
tely
res
pond
.I
[ 41
1 ]
7 0
AC
TO
RS
ON
AC
TIN
Gfa
ncy,
I m
ay b
e qu
ite w
rong
, but
I f
ancy
I p
ossi
bly
fille
d it
out,
poss
ibly
enr
iche
dit
a hi
t with
a li
ttle
mor
e hu
mou
r th
an a
lot o
f ot
her
peop
le h
ad d
one,
but
I'm
not s
ure
abou
t tha
t.1
only
kno
w th
at I
rea
d a
few
not
ices
, sta
yed
up ti
ll th
ree
and
dran
k a
little
bit
too
muc
h.M
y ne
xt p
erfo
rman
ce w
as th
e ne
xt-d
ay m
atin
ee, f
or w
hich
I w
as a
ll to
o ill
-pr
epar
ed. B
ut th
ere
was
som
ethi
ng in
the
atm
osph
ere.
The
re is
a p
hras
ethe
swee
t sm
ell o
f su
cces
sand
I c
an o
nly
tell
you
(I'v
e ha
d tw
o ex
peri
ence
s of
that
),it
just
sm
ells
like
Bri
ghto
n an
d oy
ster
-bar
s an
d th
ings
like
that
. And
as
I w
ent
dow
n to
the
prom
pt c
orne
r, d
arlin
g D
iana
Bod
ding
ton,
my
stag
e m
anag
er, a
ndst
ill o
ne o
f ou
r st
age
man
ager
s at
the
Nat
iona
l, so
rt o
f he
ld o
ut h
er h
and
and
said
,"I
t's m
arve
lous
, dar
ling,
" or
som
ethi
ng li
ke th
at, a
nd I
sai
d, "
Oh,
is it
?" a
nd a
s I
wen
t on
to th
e st
aget
he h
ouse
was
not
eve
n fu
llI f
elt t
his
thin
g. I
felt
for
the
firs
t tim
e th
at th
e cr
itics
had
app
rove
d, th
at th
e pu
blic
had
app
rove
d, a
nd th
eyha
d cr
eate
d a
kind
of
grap
evin
e, a
nd th
at p
artic
ular
aud
ienc
e ha
d fe
lt im
pelle
dto
com
e to
see
rne
.It
was
an
over
whe
lmin
g fe
elin
g, a
hea
d-re
elin
g fe
elin
g, a
nd it
wen
t str
aigh
t to
my
head
.I
felt
the
feel
ing
I'd n
ever
fel
t bef
ore,
this
com
plet
eto
rdid
ence
. Ife
lt, if
you
like
, wha
t an
acto
r m
ust f
inal
ly f
eel:
Ife
lt a
little
pow
erof
hyp
notis
m; I
felt
that
I ha
d th
em. I
t wen
t to
my
head
, as
I sa
id, t
o su
ch a
nex
tent
that
I d
idn'
t eve
n bo
ther
to p
ut o
n th
e lim
p.I
thou
ght,
I've
got t
hem
anyw
ay, I
nee
dn't
both
er w
ith a
ll th
is c
hara
cter
izat
ion
any
mor
e.It
's a
n aw
ful
stor
y re
ally
.Q
l.FC
TIO
N:
You
sai
d th
ere
was
ano
ther
occ
asio
n w
hen
you
felt
this
whi
ff in
the
air.
Whe
n w
as th
at?
AN
SWE
R: T
hat w
as a
fter
The
Ent
erta
iner
.It
was
whe
n w
e'd
fini
shed
the
run
atth
e C
ourt
and
we
revi
ved
it a
few
mon
ths
late
r at
the
Pala
ce, a
nd m
y de
ar o
ldfr
iend
Geo
rge
Rel
ph a
nd I
wen
t dow
n to
the
thea
tre
toge
ther
, wal
ked
on to
the
stag
e an
d sa
id to
geth
er, "
Smel
l it,
it's
okay
."()
PE
ST
ION
:In
the
1945
-6 s
easo
n th
ere
was
Oed
ipus
and
I c
an r
emem
ber
a no
tice
Iw
rote
in w
hich
I tr
ied
to a
nsw
er s
ome
of y
our
criti
cs w
ho w
ere
sayi
ng th
at y
ouha
d tr
icks
, voc
al m
anne
rism
s an
d ph
ysic
al m
anne
rism
s.I
said
that
thes
e tr
icks
mig
ht e
xist
, but
that
they
wer
e un
ique
and
onl
y yo
u co
uld
pull
them
off
. Do
you
thin
k yo
u ha
ve m
anne
rism
s?A
NS
WI-
R:
I'd li
ke n
ot to
thin
k so
, of
cour
se.
I kn
ow I
hav
e be
caus
e I
see
them
,an
d w
hen
they
're p
oint
ed o
ut I
fee
l the
m. B
ut w
hat a
rc m
anne
rism
s? M
anne
r-is
ms
are
cush
ions
of
prot
ectio
n w
hich
an
acto
r de
velo
ps a
gain
st h
is o
wn
self
-co
nsci
ousn
ess.
An
acto
r co
mes
on
to th
e st
age
on a
fir
st n
ight
and
han
gs h
is h
ead,
or d
oes
som
ethi
ng o
r ot
her,
and
for
that
sec
ond
it's
a co
mfo
rt to
him
, it g
ives
him
a li
ttle
mom
ent o
f re
ality
at t
his
terr
ifyi
ng m
omen
t; an
d it
goes
into
the
wor
ks. I
n th
e fu
ture
, if
he's
not
ver
y ca
refu
l, he
res
orts
to it
on
any
firs
t nig
ht,
and
thos
e th
ings
col
lect
and
col
lect
up,
and
you
've
got a
bout
twen
ty-f
our,
thir
ty-
seve
n th
ings
that
you
fin
ally
can
't do
with
out.
Tho
se a
rc m
anne
rism
s.Q
iFs-
rioN
: One
of
them
, for
inst
ance
, is
your
hab
it of
lilti
ng a
n up
war
d in
flec
tion
at th
e en
d of
a li
ne, l
ike
"God
for
Har
ry, E
ngla
nd a
nd S
t Geo
rge"
in H
enry
V,
whe
n yo
ur v
oice
sud
denl
y so
ars
up. I
t's v
ery
exci
ting.
Nsw
:I
don'
t thi
nk th
at w
as f
or a
ny f
eelin
g of
pro
tect
ion.
Ith
ough
t it w
as a
good
thin
g to
do;
I p
roba
bly
thou
ght i
t was
exc
iting
. You
mus
t rem
embe
r th
atpa
rts
of th
at s
ize
are
not u
sual
ly p
arts
into
whi
ch y
ou c
an s
egre
gate
any
one
par
tof
you
r pe
rson
ality
.I
(lid
do
a ve
ry s
peci
al, r
athe
r lim
ited
char
acte
riza
tion
in
71[
412
]
EN
GL
AN
D A
ND
IR
EL
AN
DR
icha
rd I
II, t
hat t
hin
voic
e an
d al
l tha
t, in
ord
er to
pre
sent
mys
elf
in a
n en
tirel
ydi
ffer
ent l
ight
fro
m a
nyth
ing
else
I w
as d
oing
that
sea
son.
But
Shak
espe
are,
as
aru
le, d
oes
not t
oler
ate
a ve
ry s
harp
ligh
t thr
own
acro
ss h
isw
ork.
You
get
into
grea
t tro
uble
if y
ou th
ink
of a
spe
cial
or
topi
calt
hem
e fo
r a
Shak
espe
area
n pr
oduc
-tio
n; h
e ju
st d
oesn
't to
lera
te it
.I
rem
embe
r M
icha
el R
edgr
ave
once
did
a v
ery
brav
e an
d co
urag
eous
thin
g at
Str
atfo
rd: h
e pl
ayed
Ric
hard
II a
s an
out
-and
-out
quee
r w
ith a
ll th
e ef
fem
inat
e m
anne
rism
s.H
e si
mpl
y sa
id, "
Ric
hard
II
was
a h
omo-
sexu
al, i
n m
y op
inio
n, a
nd I
'm g
oing
to p
lay
it lik
e th
at."
Wel
l,it
wor
ked,
it w
orke
dbr
illia
ntly
; but
I d
on't
thin
k, a
nd I
've
neve
r ta
lked
tohi
m a
bout
this
, tha
t it
wor
ked
all t
he w
ay th
roug
h, b
ecau
se a
t the
end
Sha
kesp
eare
say
sof
Ric
hard
III
,R
icha
rd I
I, H
otsp
ur a
nd a
lot o
f pa
rts
you
coul
d ha
ve ta
ken
a ve
rysh
arp
char
-ac
teri
stic
sla
nt u
pon,
"I'm
not
tole
ratin
g th
at, y
ou're
now
goin
g to
bec
ome
StG
eorg
e."
So y
ou c
an't
do it
, you
hav
e to
sto
p al
l tha
tch
arac
teri
zatio
n.Q
UE
STIO
N: D
id y
ou e
ver
find
that
you
had
to c
hang
e yo
urpe
rfor
man
ces
whe
n yo
utr
ansl
ated
a S
hake
spea
rean
cha
ract
er f
rom
sta
ge to
scr
een?
AN
SWE
R: N
ot v
ery
muc
h. O
nly
out o
f re
spec
t for
the
tech
niqu
eof
the
med
ium
,I
thin
k.Q
UE
STIO
N: N
ow le
t's ta
lk a
bout
Oth
ello
. At t
he b
egin
ning
you
wer
e ve
ryre
luct
ant
to p
lay
the
part
at a
ll. W
hy w
as th
at?
AN
SWE
R: W
ell,
I kn
ew it
was
a te
rror
.I
knew
fro
m p
ast e
xper
ienc
e th
at it
was
alm
ost i
mpo
ssib
le. W
hen
Iw
as o
n to
ur in
Eur
ope
one
time
doin
g T
itus
And
roni
cus,
and
Ant
hony
Qua
yle
was
pla
ying
Aar
on, w
eha
d a
little
inte
rval
toge
ther
, abo
ut f
ive
min
utes
.It
was
ver
y ho
t in
that
par
t of
Eur
ope
and
we
didn
't bo
ther
to g
o to
our
dre
ssin
g-ro
oms,
with
thos
e hu
ge s
tage
s, w
esa
t at t
heba
ck o
n a
sofa
and
use
d to
talk
a li
ttle
bit,
goss
ip a
littl
e bi
t. O
neda
y he
sai
d to
me,
"Is
this
a v
ery
bad
one
for
you,
this
Titu
s A
ndro
nicu
s?"
and
I sa
id, "
Yes
,aw
ful,
awfu
l," a
nd I
sai
d, "
But
you
've
play
ed M
acbe
th to
o.I
thin
k yo
u'll
agre
e.th
at M
acbe
th is
the
wor
st."
And
he
said
, "Y
ou h
aven
't do
neth
e bl
ack
one
yet,
have
you
?" A
nd I
sai
d, "
Now
hy?
Is th
at te
rrib
le?"
He
said
, "T
erri
ble.
The
wor
st p
arts
, the
mos
t dif
ficu
lt on
es to
bea
r, a
re th
e on
esth
at a
re c
ompl
aini
ng a
llth
e tim
e, th
e on
es th
at m
oan.
Mac
beth
is a
ll ri
ght b
ecau
se h
e is
posi
tive,
" he
sai
d,"b
ut y
ou k
now
wha
t you
hat
e ab
out T
itus,
he'
s al
way
s go
ing
'oh,
oh,
oh,
look
atfa
ncy
them
doi
ng th
at to
me,
oh,
oh,
oh.
' And
how
man
y w
ays
are
ther
e of
sayi
ng 'o
h, o
h.'
It's
ver
y to
ugh
on y
our
imag
inat
ion,
it's
ver
y to
ugh
on y
our
re-
sour
cefu
lnes
s of
var
iatio
ns o
f al
l kin
ds, a
nd, t
here
fore
, it's
als
o a
very
gre
atst
rain
phys
ical
ly."
He
said
, "O
thel
lo is
all
of th
at a
nd y
ou h
ave
to b
lack
up
asw
ell."
QU
EST
ION
: You
'd b
een
invo
lved
in th
e pl
ay ju
st b
efor
e th
e w
arw
hen
Ral
phR
icha
rdso
n pl
ayed
Oth
ello
and
you
pla
yed
lago
. Was
ther
e an
ythi
ngof
f be
atab
out t
hat p
rodu
ctio
n?A
NSW
ER
: Yes
, ver
y m
uch
inde
ed. T
ony
Gut
hrie
and
I, a
s I
told
you
befo
re, h
adst
udie
d th
e w
orks
of
Prof
esso
r Jo
nes.
Now
Pro
fess
or J
ones
was
qui
te s
ure
that
it w
asn'
t the
Oed
ipus
com
plex
. The
trou
ble
was
the
part
of
Iago
, not
the
part
of
Oth
ello
. Nob
ody
has
ever
rea
lly d
ispu
ted
wha
t mak
es u
p O
thel
lo,
but t
hey'
vece
rtai
nly
won
dere
d ab
out I
ago,
wha
t mak
es h
im s
uch
a th
orou
ghly
beas
tly f
ello
was
he
is; a
nd J
ones
's th
eory
was
that
lago
was
subc
onsc
ious
ly in
love
with
Oth
ello
.W
ell,
Ton
y G
uthr
ie a
nd I
wer
e co
mpl
etel
y so
ld o
n th
is id
ea. R
alph
wou
ldn'
the
ar o
f it
at a
ll. H
owev
er, t
here
cam
e on
e m
omen
t in
rehe
arsa
l, so
the
stor
y go
es,
and
I do
n't r
emem
ber
this
, but
this
is th
e st
ory
that
is to
ldth
at lo
sing
all c
ontr
ol
[ 41
3 ]
AC
TO
RS
ON
AC
TIN
Gof
mys
elf,
I f
lung
my
arm
s ro
und
Ral
ph's
nec
k an
d ki
ssed
him
. Whe
reat
Ral
ph,
mor
e in
sor
row
than
in a
nger
, sor
t of
patte
d m
e an
d sa
id, "
Dea
rfe
llow
, dea
r bo
y,m
uch
mor
e pi
tyin
g m
e fo
r ha
ving
lost
con
trol
of
mys
elf
than
des
pisi
ng m
efo
r
bein
g a
very
bad
act
or.
QU
EST
ION
: Whe
n yo
u ca
me
to p
lay
Oth
ello
you
rsel
f, d
id y
ou f
eel p
hysi
cally
equi
pped
for
it in
eve
ry r
espe
ct?
AN
SWE
R: N
o, I
did
n't.
Tha
t was
ano
ther
thin
g th
at h
ad tr
oubl
ed m
e.I
didn
'tth
ink
that
I h
ad th
e vo
ice
for
it.B
ut I
did
go
thro
ugh
a lo
ng p
erio
d of
voc
altr
aini
ng e
spec
ially
for
it, t
o in
crea
se th
e de
pth
of m
y vo
ice,
and
I a
ctua
lly m
an-
aged
to a
ttain
abo
ut s
ix m
ore
note
s in
the
bass
.I
neve
r us
ed to
be
able
to s
ing
belo
w D
, but
now
, aft
er a
littl
e ex
erci
sing
, I c
an g
et d
own
to A
, thr
ough
all
the
sem
itone
s; a
nd th
at h
elps
at t
he b
egin
ning
of
the
play
, it h
elps
the
viol
etve
lvet
that
I f
elt w
as n
eces
sary
in th
e tim
bre
of th
e vo
ice.
And
then
, fro
m th
e ph
ysic
alpo
int o
f vi
ew, I
wen
t thr
ough
, and
I s
till d
o, a
ver
y se
vere
phy
sica
l tra
inin
g co
urse
.Q
u E
s-ri
oN: W
hat w
as th
ere
in y
our
conc
eptio
n of
the
part
that
mad
e it
diff
eren
tfr
om th
e co
nven
tiona
l Oth
ello
s th
at w
e're
use
d to
see
ing?
A.4
swE
R: W
ell,
you
know
that
ver
y ro
ugh
estim
ate
of th
e th
eme
of ,:
iake
spea
rean
trag
edy.
It's
con
stan
tly s
aid
that
Sha
kesp
eare
an tr
aged
y is
fou
nded
by
Shak
espe
are
upon
the
them
e of
a p
erfe
ct s
tatu
e of
a m
an, a
per
fect
sta
tue;
and
he
show
s on
efi
ssur
e in
the
stat
ue, a
nd h
ow th
at f
issu
re m
akes
the
stat
ue c
rum
ble
and
disa
ppea
rin
to u
tter
diso
rder
. Fro
m th
at id
ea y
ou g
et th
at O
thel
lo is
per
fect
exc
ept t
hat h
e's
too
easi
ly je
alou
s; th
at M
acbe
th is
per
fect
exc
ept t
hat h
e's
too
ambi
tious
;tha
t Lea
ris
per
fect
exc
ept t
hat h
e's
too
bloo
dy-m
inde
d, to
o pi
ghea
ded;
that
Cor
iola
nus
isto
o pr
oud;
that
Ham
let l
acks
res
olut
ion;
and
so
on. B
ut th
ere
seem
s to
me,
and
ther
e ha
s gr
own
in m
e a
conv
ictio
n ov
er th
e la
st f
ew y
ears
, tha
t in
mos
t of
the
char
acte
rs, n
ot a
ll, b
ut in
mos
t of
them
, tha
t wea
knes
s is
acc
ompa
nied
by
the
wea
knes
s of
sel
f-de
cept
ion,
as
a co
mpa
nion
fau
lt to
wha
teve
r fa
ult m
ay b
e sp
ecif
ied
by th
e ch
arac
ter
in th
e pl
ay.
It's
qui
te e
asy
to f
ind
in O
thel
lo, a
nd o
nce
you'
vefo
und
it I
thin
k yo
u ha
ve to
go
alon
g w
ith it
; tha
t he
sees
him
self
as
this
nob
lecr
eatu
re.
It's
so
easy
in th
e se
nate
sce
ne f
or y
ou to
pre
sent
the
abso
lute
ly c
old-
bloo
ded
man
who
doe
sn't
even
wor
ry a
bout
mar
ital r
elat
ions
with
his
wif
e on
his
hone
ymoo
n ni
ght,
to r
eass
ure
the
sena
te th
at h
e's
utte
rly
perf
ect,
pure
bey
ond
any
repr
oach
as
to h
is c
hara
cter
, and
you
can
fin
d th
at, a
nd tr
ace
it, c
onst
antly
thro
ugh-
out.
He'
s co
nsta
ntly
wis
hing
to p
rese
nt h
imse
lf in
a c
erta
in li
ght,
even
at
the
end,
whi
ch is
rem
arka
ble.
I be
lieve
, and
I'v
e tr
ied
to s
how
, tha
t whe
n he
say
s "N
otea
sily
jeal
ous"
it's
the
mos
t app
allin
g bi
t of
self
-dec
eptio
n. H
e's
the
mos
t eas
ilyje
alou
s m
an th
at a
nybo
dy's
eve
r w
ritte
n ab
out.
The
min
ute
he s
uspe
cts,
or
thin
kshe
has
the
smal
lest
gro
unds
for
sus
pect
ing
Des
dem
ona,
he
wis
hes
to th
ink
her
guilt
y, h
e w
ishe
s to
. And
the
very
fir
st th
ing
he d
oes,
alm
ost o
n to
p of
that
, is
togi
ve w
ay to
the
pass
ion,
per
haps
the
wor
st te
mpt
atio
n in
the
wor
ld, w
hich
ism
urde
r. H
e im
med
iate
ly w
ants
to m
urde
r he
r, im
med
iate
ly. T
here
fore
he'
s an
extr
emel
y ho
t-bl
oode
d in
divi
dual
, an
extr
emel
y sa
vage
cre
atur
e w
ho h
as k
idde
dhi
mse
lf a
nd m
anag
ed to
kid
eve
rybo
dy e
lse,
all
this
tim
e, th
at h
e's
noth
ing
of th
eki
nd. A
nd if
you
've
got t
hat,
I th
ink
you'
ve r
eally
got
the
basi
s of
the
char
acte
r.L
odov
ico
says
it f
or u
s: "
Is th
is th
e no
ble
Moo
r ...
who
m p
assi
on c
ould
not
sha
ke.
...I
am s
orry
that
I a
m d
ecei
ved
in h
im."
Qut
.s-r
ioN
: The
re is
als
o a
sens
e of
a c
aged
ani
mal
in y
our
perf
orm
ance
. I r
emem
ber
wri
ting
that
you
com
mun
icat
e m
ore
than
alm
ost a
ny a
ctor
I k
now
a s
ense
of
dang
er, y
ou f
eel a
t any
mom
ent t
hat t
he g
reat
paw
may
lash
out
and
som
eone
's
731
414
EN
GL
AN
D A
ND
IR
EL
AN
Dgo
ing
to g
et h
urt.
Are
you
con
scio
us o
f th
ispo
wer
you
hav
e ov
er a
udie
nces
--an
dov
er o
ther
act
ors
for
that
mat
ter?
AN
SWE
R: I
'm n
ot v
ery
cons
ciou
s of
the
wor
king
s of
it.
I fe
el c
onsc
ious
ness
of
the
desi
rabi
lity
of h
avin
g th
at in
gred
ient
inm
y w
ork,
ver
y m
uch
so.
Oth
ello
, of
cour
se, s
crea
ms
for
it.It
's th
e on
ly p
lay
in th
e w
hole
of
Shak
espe
are
in w
hich
am
an k
ills
a w
oman
, and
if S
hake
spea
re g
ets
an id
ea h
e go
es a
ll ou
t for
it; h
ekn
ows
very
wel
l tha
t for
a b
lack
man
to k
ill a
whi
te w
oman
is a
ver
y bi
g th
rill
inde
ed, t
o th
e au
dien
ce, a
nd h
e do
esn'
t pul
lan
y pu
nche
s. A
s an
alc
hem
ist S
hake
-sp
eare
get
s ho
ld o
f th
at o
ne a
ll ri
ght.
The
refo
re, i
f yo
u fe
d th
at th
ing
in y
ours
elf,
that
sor
t of
easi
ly r
elea
sed
or c
lose
ly g
uard
ed a
nim
al in
side
you,
you
mus
t use
it in
this
par
t of
all p
arts
.Q
UE
STIO
N: P
erha
ps w
e'd
bette
r m
ove
on to
you
r ex
curs
ions
into
con
tem
pora
ry p
lays
.T
hing
s lik
e T
he S
leep
ing
Prin
ce b
y T
eren
ce R
attig
an, J
ohn
Osb
orne
's T
he E
nter
-ta
iner
, [on
esco
's R
hino
cero
s, a
nd S
emi-
deta
ched
.A
NSW
ER
: I a
bsol
utel
y ad
ored
them
all,
par
ticul
arly
The
Ent
erta
iner
.I
thin
k it'
s th
em
ost w
onde
rful
par
t tha
t I'v
e ev
er p
laye
d.I
love
d R
hino
cero
s a
little
less
wel
l.I
didn
't fi
nd it
qui
te s
uch
a go
od w
ork.
It
was
ver
y in
tere
stin
g, v
ery
inte
rest
ing
adne
tdac
hee
I w
as ju
st m
ad f
or it
bec
ause
itw
as a
noth
er m
oder
n pa
rt.
I ad
ored
Sem
i-
QU
EST
ION
: Why
do
you
thin
k it
was
n't
a su
cces
s?A
NSW
ER
: I li
ke to
thin
k it
was
n't
my
faul
t, bu
t it m
ay w
ell h
ave
been
.I
thin
k it
was
a v
ery
crue
l pla
y, a
nd I
rem
embe
r co
min
g m
oani
ng to
you
once
and
say
ing,
"I d
on't
know
why
it is
they
don
't lik
e th
is p
iece
," a
ndyo
u sa
id, "
Wel
l, it'
sex
trem
ely
crue
l and
you
are
mak
ing
the
audi
ence
suf
fer,
and
that
's th
e id
ea o
f th
epl
ay; b
ut y
ou c
an't
alw
ays
do th
at a
ndge
t aw
ay w
ith it
."Q
UE
STIO
N: W
hat I
mea
nt w
as th
at it
was
the
firs
t tim
e yo
u'd
play
ed a
com
plet
esw
ine
with
out a
ny r
edee
min
g ch
arm
or p
atho
s.A
re th
ere
any
acto
rs w
ho h
ave
had
a pa
rtic
ular
infl
uenc
e on
you
?A
NSW
ER
: Yes
, lot
s of
them
. I'v
e m
entio
ned
Fair
bank
s an
d B
arry
mor
ew
hose
Ham
let
Ifi
rst s
aw w
hen
I w
as s
even
teen
year
s ol
d. N
oel C
owar
d in
his
way
infl
uenc
edm
e a
grea
t dea
l, he
taug
ht m
e a
very
ste
rn p
rofe
ssio
nalis
m. A
icre
d L
unt t
augh
tm
e an
eno
rmou
s am
ount
, by
wat
chin
g hi
m, i
n th
e fi
eld
of r
eally
nat
ural
istic
act-
Itin
g; h
e ha
d as
toni
shin
g gi
fts,
an a
ston
ishi
ng v
irtu
osity
in o
verl
ap, m
arve
llous
.T
hat w
as w
hen
I fi
rst s
aw h
im in
192
9 in
Cap
rice
at th
e St
Jam
es's
The
atre
.Q
UE
STIO
N: O
verl
ap m
eani
ng w
hat?
AN
SWE
R: O
h, o
verl
appe
d co
nver
satio
ns w
ith h
is w
ife,
Lyn
nFo
ntan
ne. T
hey
mus
tha
ve r
ehea
rsed
it f
or m
illio
ns o
fye
ars,
it w
as d
elic
ious
, abs
olut
ely
delic
ious
tow
atch
, and
they
car
ried
on
thei
row
n tr
aditi
on in
that
way
for
man
y, m
any
year
s.V
alen
tino
mad
e m
e se
e th
at n
arci
ssis
m is
impo
rtan
t. O
f al
l the
peo
ple
I've
ever
wat
ched
with
the
grea
test
del
ight
, Ith
ink,
in a
noth
er f
ield
ent
irel
y, w
as S
idFi
eld.
I w
ould
n't l
ike
anyb
ody
to th
ink
that
Iw
as im
itatin
g Si
d Fi
eld
whe
n I
was
doi
ng T
he E
nter
tain
er.
QU
EST
ION
: Wel
l, th
ere
wer
e lit
tle th
ings
in it
.A
NSW
ER
: Litt
le th
ings
, but
Sid
Fie
ldw
as a
gre
at c
omic
and
Arc
hie
Ric
e w
as a
lous
yon
e. B
ut I
kno
w w
hen
I im
itate
Sid
Fie
ld to
this
day
, I s
till b
orro
w f
rom
him
free
ly a
nd u
nash
amed
ly. I
wat
ch a
llm
y co
lleag
ues
very
car
eful
ly, a
dmir
e th
em a
llfo
r di
ffer
ent q
ualit
ies.
I th
ink
the
mos
t int
eres
ting
thin
g to
see
is th
at a
n ac
tor
is m
ost s
ucce
ssfu
l whe
n no
t onl
y al
l his
vir
tues
but
all h
is d
isad
vant
ages
com
ein
to u
sefu
l pla
y in
a p
art.
The
man
who
, I th
ink,
gav
e m
e th
e be
st s
ort o
f
( 41
5 ]
74
AC
TO
RS
ON
AC
TIN
Gth
ough
ts a
bout
act
ing
was
my
frie
nd R
alph
Ric
hard
son.
I wat
ch R
ex H
arris
onfo
r tim
ing.
I wat
ch a
ll m
y co
lleag
ues
for
diffe
rent
qua
litie
s th
at I
adm
ire, a
nd I
imita
te th
em a
nd c
opy
them
una
sham
edly
.Q
UE
ST
ION
: You
talk
ed a
bout
act
ors
usin
g th
eir
disa
dvan
tage
s. W
hich
of
your
ow
nqu
aliti
es, f
or in
stan
ce, d
o yo
u di
slik
em
ost a
s a
pers
on?
AN
SW
ER
: N.V
ell,
I've
got a
n aw
ful
way
of f
lingi
ng m
y ha
nds
abou
t whi
ch I
dete
st,
and
Itr
y to
con
trol
it.
But
som
etim
es, a
sI
say,
som
etim
es a
par
t req
uire
s al
lyo
u've
got
, wea
knes
ses
and
all,
and
I jus
t let
mys
elf
go; I
let i
t all
happ
en a
ndho
pe fo
r th
e be
st.
QU
ES
TIO
N: T
alki
ng a
bout
nar
ciss
ism
, are
you
com
petit
ive
as a
n ac
tor?
AN
SW
ER
: Not
with
any
body
els
eon
the
stag
e, a
nd n
ot w
ith y
oung
er a
ctor
s or
any
-th
ing
like
that
. No,
no,
no,
Ine
ver
feel
that
.I n
ever
hav
e be
en, I
'm g
lad
to s
ay;
I'm v
ery
than
kful
for
it. N
o, th
e te
amw
ork
on th
e st
age
is a
gre
at e
ssen
tial t
o m
e.T
he a
ctor
s m
ust u
nder
stan
d ea
ch o
ther
, kno
w e
ach
othe
r, h
elp
each
oth
er, a
bso-
lute
ly lo
ve e
ach
othe
r: m
ust,
abso
lute
lym
ust.
QU
FS
TiO
N: H
ow a
war
e ar
e yo
u of
oth
erac
tors
on
stag
e, o
f wha
t the
y're
doi
ng, w
here
they
are
, how
thei
r pe
rfor
man
ces
are
goin
g'A
NS
WE
R: O
h, v
ery
muc
h, v
ery
mu
.Y
ou c
an u
pset
eac
h ot
her
with
out m
eani
ngto
ver
y ea
sily
.If
you
sudd
enly
nav
e a
men
tal a
berr
atio
n an
d fo
rget
a lin
e, o
rfo
rget
a w
ord,
and
you
see
it's
upse
t the
act
or,
it up
sets
you
too.
And
, sur
een
ough
, if o
ne a
ctor
sta
rts
dryi
ngup
, ano
ther
will
and
ano
ther
, it b
ecom
es a
sor
tof
rou
nd th
e co
mpa
ny d
ryin
gup
; it c
atch
es o
n lik
e a
terr
ible
dis
ease
.I c
ould
n't
act c
ompe
titiv
ely
with
any
body
.I c
ould
n't d
o th
e th
ing
that
Kea
n di
d to
Mac
read
yan
d ac
t him
off
the
stag
e.I t
hink
it w
ould
be
terr
ibly
wro
ng a
nd I
don'
t thi
nk I
wou
ld h
ave
the
pow
er to
do
itan
yway
.Q
UE
ST
ION
: In
an u
ngua
rded
mom
ent
you
once
sai
d th
at y
ou n
eed
to b
e a
bit o
f aba
star
d to
be
a st
ar.
Is th
at tr
ue?
AN
SW
ER
: Wel
l, I t
hink
that
cam
eou
t of t
he fa
ct th
at, a
t one
tim
e, I
may
hav
eth
ough
t tha
t som
ebod
y la
cked
the
nece
ssar
y ed
ge to
be
a st
ar.
I thi
nk y
ou'v
e go
tto
hav
e a
cert
ain
edge
, tha
t mig
ht b
e tr
aced
to b
eing
a b
it of
a ba
star
d, in
side
.Y
ou'v
e go
t to
be a
bit
of a
bas
tard
to u
nder
stan
d ba
star
ds, a
nd y
ou'v
e go
t to
unde
rsta
nd e
very
body
.I t
hink
the
mos
t diff
icul
t equ
atio
n to
sol
ve is
the
unio
nof
the
two
thin
gs th
at a
re a
bsol
utel
yne
cess
ary
to a
n ac
tor.
One
is c
onfid
ence
,ab
solu
te c
onfid
ence
, and
the
othe
ran
equ
al a
mou
nt o
f hum
ility
tow
ards
the
wor
k.T
hat's
a v
ery
hard
equ
atio
n.Q
UE
ST
ION
: Do
you
thin
k ac
tors
oug
htto
be
influ
ence
d at
all
by th
eir
priv
ate
con-
vict
ions
and
pol
itica
l ide
as?
For
inst
ance
, wou
ldyo
u ac
cept
a r
eally
firs
t -ra
te p
art
in a
n an
ti N
egro
pla
y'A
NS
WE
R: O
nly
if, in
the
char
acte
r co
ncer
ned,
Iw
as a
ble
to s
how
som
ethi
ng th
at w
astr
ue a
bout
peo
ple,
and
that
's q
uite
pos
sibl
e.I w
ould
n't l
ike
polit
ics
to ta
ke h
old
of a
pla
y m
ore
dire
ctly
, mor
e ob
viou
sly,
than
is d
one
byA
nton
Che
khov
, the
grea
t pro
phet
of t
he r
evol
utio
n.e
wa
he d
id it
was
al
an il
lum
inat
ion
of th
e hu
man
hea
rt, t
o sh
ow th
eea
rly,
aTiii
es7U
7-27
111r
e--"
Tar
--",
anin
tzy.
But
he
does
n't g
o ou
t an
ma
e re
.,ac
,v5
i17,
--"O
rbIu
e w
in, o
r an
ythi
ng li
ke th
at,
or s
ay th
ey're
rig
ht o
r w
rong
.Q
UE
sTIo
N: A
re th
ere
any
maj
or p
arts
, Sha
kesp
eare
or o
ther
s, th
at y
ou'd
stil
l lik
eto
hav
e a
crac
k at
?A
NS
WE
R: N
o, n
o, th
ere
aren
't, r
eally
.It
soun
ds v
ery
self-
satis
fied.
I don
't m
ean
toso
und
like
that
, but
the
fact
is th
at,
as y
ou s
aid,
1 h
ave
got o
ther
wor
k.I t
hink
[ 416
]
7 3
EN
GL
AN
D A
ND
IR
EL
AN
Dth
at w
ork
give
s m
e en
ough
opp
ortu
nity
to d
o w
hat I
'm a
ble
to d
o. A
s on
e ge
tsol
d-r,
qui
te n
atur
ally
, one
's r
ange
bec
omes
mor
e lim
ited.
I m
ean
age
does
sho
w,
we
can'
t hel
p th
at. I
f you
're a
kid
of s
even
teen
you
can
't pl
ay K
ing
Lear
pro
perly
you
mig
ht m
ake
a ve
ry g
ood
shot
at i
t, bu
t if y
ou're
a k
id o
f fift
y-ei
ght t
hen
I'm a
frai
d yo
u ca
n't p
lay
Rom
eo a
ny m
ore;
ther
efor
e th
e fie
ld d
oes
narr
ow. I
t'sbo
und
to n
arro
w a
s th
e gr
ey h
airs
cre
ep in
or
they
dis
appe
ar a
ltoge
ther
. You
rlim
itatio
ns a
re b
ound
to s
how
mor
e, th
eref
ore
you'
re m
ore
incl
ined
not
to b
othe
rso
muc
h ab
out c
arvi
ng y
ours
elf u
p in
to d
iffer
ent f
a :e
ts, t
o su
it di
ffere
nt c
har-
acte
rizat
ions
whe
n di
ffere
nt c
hara
cter
izat
ions
are
n't g
oing
to b
e al
l tha
t diff
eren
t.I'm
afr
aid,
as
time
goes
on,
one
's a
mbi
tions
are
nec
essa
rily
narr
owed
by
Dam
eN
atur
e.Q
UE
ST
ION
: You
dev
elop
ed in
to th
e ki
nd o
f act
or y
ou a
re w
hen
ther
e w
ere
no r
eal
perm
anen
t ens
embl
es, s
ubsi
dize
d en
sem
bles
, in
this
cou
ntry
. Do
you
thin
k yo
uw
ould
hav
e de
velo
ped
in th
e sa
me
way
if y
ou h
ad jo
ined
a c
ompa
ny o
f tha
t kin
dw
hen
you
wer
e be
ginn
ing?
AN
SW
ER
: Wel
l, in
a w
ay, f
rom
tim
e to
tim
e, th
at h
as b
een
so w
ith m
e. I
was
with
the
Birm
ingh
am R
ep. f
or tw
o se
ason
s.I w
as a
t the
Old
Vic
for
two
year
s.I
was
with
Ral
ph R
icha
rdso
n, e
ngag
ed o
n w
ork
for
the
Old
Vic
at t
he N
ewT
heat
re, f
or fi
ve y
ears
, whe
n w
e ta
sted
the
bles
sing
s of
a p
erm
anen
t tro
upe.
Whe
na
fore
ign
com
pany
, suc
h as
the
Mos
cow
Art
The
atre
, whi
ch is
use
d to
the
idea
of
a pe
rman
ent e
nsem
ble,
arr
ives
upo
n ou
r sh
ores
, and
we
see
thei
r w
ork,
it is
that
hot b
reat
h of
uni
ty th
at a
lway
s se
ems
to m
e to
be
mor
e im
port
ant t
han
the
star
syst
em.
Ulti
mat
ely
itis
mor
e im
port
ant t
o an
aud
ienc
e th
an th
e st
ar s
yste
m,
thou
gh g
oodn
ess
know
s ho
w m
any
year
s it'
s go
ing
to ta
ke u
s to
mak
e th
at c
lear
to th
em...
.Q
UE
ST
ION
: Our
situ
atio
n no
w is
that
we'
ve g
ot p
lent
y of
ope
ning
s fo
- ac
tors
in th
isco
untr
y. O
ur s
ubsi
dize
d th
eatr
e ha
s op
ened
up
so m
uch.
But
if y
ou c
ould
look
ahea
d, s
ay fi
ve o
r te
n ye
ar's
hen
ce, w
hat c
hang
es w
ould
you
look
for
in o
ur o
wn
com
pany
at t
he V
ic?
Wha
t wou
ld y
ou li
ke it
to h
ave
deve
lope
d in
to?
AN
SW
ER
: I'd
like
bet
ter
cond
ition
s fir
st o
f all:
I'd
like
a be
tter
thea
tre,
bet
ter
cond
i-tio
ns in
ord
er to
incr
ease
our
act
iviti
es, s
o th
at e
vent
ually
, per
haps
, the
art
of t
heac
tor
may
fina
lly b
e re
gard
ed a
s an
impo
rtan
t par
t of t
he li
fe o
f the
peo
ple.
PAU
L S
CO
FIE
LD
(b. 1
922)
Pau
l Sco
field
was
bor
n in
Birm
ingh
am, b
ut g
rew
up
in S
usse
x, w
here
his
fath
erw
as h
eadm
aste
r of
a C
hurc
h of
Eng
land
sch
ool.
He
play
ed J
ulie
t and
Ros
alin
dat
the
boys
sch
ool i
n B
right
on a
nd h
is s
ucce
ss d
eter
min
ed h
im to
bec
ome
anac
tor.
Tw
o te
rms
at th
e C
royd
on R
eper
tory
The
atre
Sch
ool o
utsi
de o
f Lon
don,
and
then
a p
erio
d at
a s
choo
l atta
ched
to th
e W
estm
inst
er T
heat
re g
ave
him
his
firs
tfo
rmal
trai
ning
.In
the
sum
mer
of 1
944
he jo
ined
the
Birm
ingh
am R
eper
tory
The
atre
of S
ir B
arry
Jac
kson
, who
had
pro
vide
d op
port
uniti
es to
sev
eral
gen
erat
ions
of E
nglis
h ac
tors
. He
was
ask
ed to
go
to S
trat
ford
-on-
Avo
n w
hen
Sir
Bar
ry b
ecam
ead
min
istr
ativ
e di
rect
or in
194
6. W
ith h
im w
as P
eter
Bro
ok w
ith w
hom
he
was
tow
ork
over
the
year
s w
ith g
reat
suc
cess
. At S
trat
ford
he
gain
ed c
onfid
ence
in h
iscr
aft a
nd w
as a
ble
to e
xplo
re "
aspe
cts
of h
uman
nat
ure
that
I w
ante
d to
mak
e de
arto
the
audi
ence
." H
e pl
ayed
Clo
ten
in C
ynsb
elin
e, L
ucio
in M
easu
re fo
r M
easu
re,
Mer
cutio
in R
omeo
and
Jul
iet,
Per
icle
s an
d H
enry
V. I
n hi
s th
ird s
easo
n he
pla
yed
[ 417
]
Master works in Restoration Comedy
Sample Lesson Plan
Mary V. Dunkerly
June 16, 1992
t
Master Works in Restoration Comedy Sample Lesson Plan
I. This lesson is intended for a developmental reading class ofinner-city sophomores and juniors of average or slightlybelow-average reading ability. The focus will be ondeveloping critical reading skills, such as comparing andcontrasting, judging author's purpose, drawing conclusions.
II. The purpose of this lesson is to examine and compare theimage of women as presented in Restoration Comedy with theimage of women as presented in currently popular movies,videos, and advertisements, focusing on ridicule of women,violence against women, and women as sex objects.
III. Lesson Plan:A. Pieparation:
1. Students will be aiven copies of advertisements fromsuch current magazines as Elle, Glamour,Mademoiselle(samples enclosed).
2. Students may be grouped in pairs or may workindividually to answer the questions that follow:
(Questions for the pictures that ridicule women)a. Look at the picture(s) before you and write down
three adjectives that immediately come to mind thatwould describe the woman in the picture. Whenasked, recite your adjectives to the recorder whowill write them on the board. Compare your adject-ives with those of others in the class. Note thefrequency or similar adjectives.
b. How would you feel if you were the woman in thepicture?
c. For what purpose would a manufacturer want to usethis type of advertisement to sell a product?
(Questions for the pictures of women as sex objects)a. Look at the pictures before you. What is the cen-
tral focus of the picture? (Where do your eyes fo-cus first?) If a product is not shown in the ad,try to guess what is being sold in the ad. Compareyour answers with those provided by the teacher.
b. For what purpose would a manufacturer want to usethis type of advertisement to sell a product?
(Questions for pictures of violence against women or ofwomen as victims)
a. Look at the series of pictures as they arepresented to you. What expressions, if any, areshown on the faces of the women in the ads? (Namethree possible expressions.)
b. What expressions are shown on the faces of the menin the ads?
c. In what position do you find the bodies of the
Master Works in Restoration Comedy Sample Lesson Plan
women in the ads?d. If men appear in the ads, what are they doing?e. How do the positions and expressions of the men in
the ads compare to the positions and expressions ofthe women in the ads? What does this tell youabout the message that is intended to be presentedby the ads?
f. Do the people depicted in the ads remind you of anyother characters that you have seen in televisionads or music videos?
g. Is there any humor or attempt at humor in theseads? Why would a manufacturer use humor in asituation that is potentially threatening to thewomen in these ads?
3. Students from each group, or individually, willpresent their answers orally and discuss theiropinions of the results.
4. Adjectfves used in students' answers may be listed onthe board to compare similarities and differences ineach group.
5. Ask students to discuss the problems a woman faceswhen she is continually presented as an object ofridicule, sex, or violence.
B Homework Assignment:1. Ask students to watch ten to fifteen music videos
over a period of two to three days, or, if musicvideos are not available for a student's viewing,place him/her in a group with students to whom thevideos will be available.
2. Students will record their findings as they watch thevideos, paying particular attention to thepresentation of women in the videos.
3. Students will answer such questions as:a. What is the name of the singer or group?b. Is it male, female, or a mixed group?c. If there are women in the group, are they
singing?d. If the women in the group are not singing, what
are they doing?e. How are the women in the video dressed?f. Is there any physical contact between the members
of the group? Is it violent? Does it ridiculewomen? Is it suggestive of sexual activity?
g. What is the song about? (Main Idea)4. Students will bring their results to class, form
groups, discuss the answers to their homeworkquestions, and record the similarities of theiranswers. Those students who were unable to watch thevideos will be assigned to record the answers of therest of the group and to form generalizations about
2
Master Works in Restoration Comedy Sample Lesson Plan
these answers.C. Class Discussion:
1. What was the total number of videos that eachperson in your group watched? Of this number,what percentage portrayed women as objects ofsex, violence, or ridicule?
2. For what purpose are these videos shown?3. Of all the members of your group, how many found
at least one of the videos disturbing?4. Each group should develop their own theory of
what the use of such videos suggests about thestatus of women in our society.
5. After viewing these videos, what conclusions canyour group draw about what is acceptabletreatment of women in our society?
6. What might prolonged viewing of such videossuggest to young people after extended periods oftime?
D. Comparison of current media portrayals of women withthe portrayal of women in Restoration Comedy1. Students will be assigned to read Act IV, Scene
IV of The Country Wife, Act IV, Scene V of TheRover and Act V, Scene 1 of The Man of Mode.
2. Discussion Questions:a. What threat does Pinchwife pose to his wife in
this scene?(The Country Wife)b. How does Mrs. Pinchwife react to her husband?c. Do you find this scene humorous?d. How is Mrs. Pinchwife portrayed in this scene?
Can you think of a female character from arecent film that would resemble Mrs. Pinchwifein her predicament or in her behavior?
e. Consider the character of Blunt (The Rover).How does he behave in this scene? Is hisbehavior justified? Would his behavior bejustified if Florinda had been a common streetwench?
f. Compare Florinda's treatment at the hands ofBlunt with the character portrayed by JodiFoster in the recent movie The Accused.
g. What added tension does Frederick bring to thescene?
h. Would audiences today find this scene amusing?i. Consider Mrs. Loveit in The Man of Mg e. How
is she portrayed? Do you feel sorry for her?j. Dorimant is the hero of this play. What do
you think of his behavior towards Mrs. Loveit?Does he remind you of any heroes in currentmovies? Is he amusing? honourable?
k. Is Dorimant the type of character that you
3
RESTORATION COMEDY UNIT PLAN
Imagine a unit on Restoration Comedy beginning with the introduction of
Huntington's production of, The Way Of The World.
A. Introductory preparation (lesson plans) prior to attendance of the live
performance.
B. Live professional theatre performance
C. Script analysis and translation of The Way of The World
Melissa Shaffer
'El
RESTORATION COMEDY UNIT
STUDENT DESCRIPTION;High school age Deaf students with limited exposure to formal theatre or scriptexperience due to lack of language accessibility. Cultural range /ethnicbackground/economic background is diverse.
PURPOSE OF UNIT;1. To experience translation process of poetic English into American Sign Languagewith hidden agenda to enjoy analysis of both languages thereby gaining respect andappreciation for both languages.2. To discover cultural history as it relates to the Theatre Arts... compare societyresponse to theatre in the 1600's to the response theatre receives today.3. To discuss and compare ethical issues and situations that occur in the script(sexism, lies, etc.)4. To evaluate comedy elements... compare humor from the script to the comedyseen on stage in the production.5. To expose students to a formal stylized theatre experience
THIS UNIT'S PRIMARY PRUPOSE IS TO BECOME A LANGUAGE ANDLITERATURE UNIT BY USING THATRE AS A TOOL FOR INSPIR
E2
INTRODUCTORY PREPARATION
LESSON PLAN ONE
Write a list of words on the boardProvide several dictionariesExplain Dictionary Game competition rules:
1. Teams of two2. Set a time limit3. Each team writes a definition for each word - can be actual dictionary definition
or falsely created to save time.4. Definitions are shared and discussed as to their believability or huhior5. Team with most acceptable definitions by the class... wins the competition6. Teacher provides the true definitions for comparison
Word List:witcoquetterakefopcuckholddowerycoxcombenamoredodious
83
LESSON PLAN TWO
Show photos and/or artwork from each time period;
1920's 1600's
Lead an open discussion of visual similarities and differences between the styles.
Students create their own descriptive word list for each period based on thediscussion. Example;1920's 1600'sangular lines intricateart deco circularloose clothing fancysimple too muchect. ect.
LESSON PLAN THREE
Teacher presentation on historical similarities between 1920's and 1600's and whythe director would choose to update the 1680 script to the 1920's. (ie; post warcelebration, economically wealthy, class conscious, cultural revolution, ect.)
Student Assignment:Read The Way of the World
84
LIVE THEATRE PERFORMANCE EXPERIENCE
The Way of the Worldby William Congreve
LESSON PLAN THREE
Lead an open discussion and critique of the performance.
Student assignment:Write a brief newspaper review article on the performance.The newspaper is published for the local Deaf community, so write the article as itpertains to the Deaf community.
LESSON PLAN FOUR
Students review and self-correct newspaper articles with guidance from teacher
SCRIPT TRANSLATION PROCESS
The next several class-times will be involved with reading the play together as aclass and going through the translation process as a method or tool for reading,When the play has been completed, the class goes back and decides on which sceneor act to be formally performed.
LESSON PLAN FIVE
Choose an act from the play to be translated into American Sign Language and thenlater performed.
As a whole group, discuss and brainstorm ideas for translation.Teacher describes the intent or function of each English line and then the studentsoffer ideas that match in concept in American Sign Language.This process will reguire several (or more) lessons/class-times.Script scene translation sample is attached:
Once the translation of the act is completed... preparation for performance is ready tobegin. This process reguires a separate curriculum and schedule.
85
SCENE I]
crif i 1 Ji a v e_ 4.,i sE. n31:51. Ines cu r10+-es ,
THE WAY OF THE WORLD
dormitives, those I allow. These provisos admitted, in otherthings I may prove a tractable and complying husband.
MILLAMANT
Oh horrid provisos! Filthy strong waters! I toast fellows,odious men! I hate your odious provisos!
MIRABELL
Then we're agreed. Shall I kiss your hand upon the con-tract? And here comes one to be a witness to the sealing of thedeed.
81
245
250
ok c .5)-T/a itio\9 b
n e_ -i-ca s tori-6-71 ,
Enter MRS. FAINALL
Fainall, what shall I do? Shall I have him? I think I must C;',:. -do? Q° -clo?. liccePi '.?". -iNIILLAMANT e.),.4.the
have him.ti c c sefi ?(Yif 0 cdi vt) (A) h i CA
MRS. FAINALLAy, ay, take him, take him, what should you do? fq cc_zfoi 0 C c'epf not k.)hk.h?. P C C E IT 577
MILLANIANT -------- . . . - --Well thenI'll take my death I'm in a horrid fright 15-1-tifilc)True.-0;2_ - acceptFainall, I shall never say itwellI thinkI'll endure you. ckerf-h gderti-k n eAter I
MRS. FAINALL
Fie, fie, have him, have him, and tell him so in plain terms;for I am sure you have a mind to him. -Ten
plain4 cc cc t you
MILLAMANT
Are you? I think I have; and the horrid man Too s as he 7-thought so too. Well, you ridiculous thing you, I'll have you 'rut , I 1"L'e. - biz po;n4._
hand thoughso, hold your tongue now, and don't say a -i c esiu - z up\Y
5-ira
u
C SQs etc*. olv,te I/1}-4` A;ni point
I won't be lussed, nor I won't be thankedhere, kiss my 260 iSY11/4-i +cv 1<- 6K S" I yOU
word..MRS. FAINALL 'Cc 1.)5.e__ .44,_
Mirabell, there's a necessity for your obedience: you have ' 54-vcci k cl fric4,4 c-or /NI ssneither time to talk nor stay. My mother is coming, and, in jleac Siletk. yesmy conscience, if she should see you, would fall into fits and 265maybe not recover time enough to return to Sir Rowland,who as Foible tells me is in a fair way to succeed. Therefore,spare your ecstasies for another occasion and slip down theback stairs, where Foible waits to consult you.
MILLAMANTAy, go, go. In the mean timesomething to please me.
261 and don't Ql, Q2 (don't Ww)
I suppose you have said
4.urr 111 ill 6
Lk..11 ess ec
270 Cto-zy
Csrace_A-o
244 dormitives drinks to induce sleep
66
SAAk) -Jai% OC
!riceci you go?) e,er acrivt. Otr'n /1/(s. Fre_. dosed-57Y.) Poirt+-irm. bi evict-al'
n+ -kteripe-44rm-±-s,itt- reso/vf..
/art ar esfi
doryic elescei)ve) 5roe(\54 54Vrt h -+) etidTtelt Powlarlei
4-itrytship cre,tciyou 5n ectg tOci ou+ Fo;
uJai -wqip.
*:1
L.,r;
82 WILLIAM CONGREVE (ACT IV
MIR.113E1.1.
I am all obedience. ExitMRS. FAINALI.
Yonder Sir Wilfull's drunk, .and so noisy that my motherhas been forced to leave Sir Rowland to appease him; but heanswers her only with singing and drinking. What they have 275done by this time I know not, but Petulant and he were uponquarrelling as I came by.
MILLAMANTWell, if Mirabell should not make a good husband, I am alost thing, for I find I love him violently.
MRS. FAINALL
So it seems, when vou mind not what's said to you. If you 280doubt him, you had best take up with Sir
MILLAMANTHow can vou name that superannuated lubber? Foli!
Enter WITWOUD from drinking
MRS. FAINALL
So, is the fray made up, that you have left 'em?WITWOUD
Left 'em? I could stay no longer. I have laughed like tenchristenings; I am tipsy with laughing. If I had stayed any 285longer I should have burst, I must have been let out andpieced in the sides like an unsized camlet ! Yes, yes, the fray iscomposed; my lady came in like a nolle prosequi and stoppedtheir proceedings.
MILLAMANTWhat was the dispute? 290
WITWOUD
That's the jest, there was no dispute, they could neither of'em speak for rage, and so fell a-sputtering at one anotherlike two roasting apples.
Enter PETULANT drunk
275 they have Ql, Q2 (they may have Ww)280 when you Ql, Q2 (for you Ww)289 their proceedings Ql, Q2 (the proceedings Ww)
287 pieced enlarged with pieces of inserted material287 unsized candlt unstiffened material, originally rich and Oriental, but
subsequently a debased shoddy imitation288 nolle prosequi term for ending legal proceedings
S7
SCENE I] THE WAY OF THE WORLD 83
Now Petulant, all's over, all's well; Gad, my head begins towhim it about! Why dost thou not speak? Thou art both as 293drunk and as mute as a fish.
PETULANT
Look you Mrs. Millamant, if you can love me, dear nymphsay itand that's the conclusion; pass on, or pass offthat'sall.
WITWOL7D
Thou hast uttered volumes, folios, in less than decimo se.wo, 300my dear Lacedemonian, Sirrah Petulant: thou art an epito-miser of words.
PETULANTWitwoud, vou are an annihilator of sense.
wrr wow)Thou art a retailer of phrases, and dost deal in remnants ofremnants, like a maker of pincushions. Thou art in truth 303(metaphorically speaking) a speaker of shorthand.
PETULANT
Thou art (without a figure) just one half of an ass; andBaldwin yonder, thy half-brother, is the rest. A gemini ofasses split would make just four of you.
WITWOUD
Thou dost bite, my dear mustard seed; kiss me for that. 310PETULANT
Stand off! I'll kiss no more males ; I have kissed your twinyonder in a humour of reconciliation till he (hiccup) risesupon my stomach like a radish.
M IL LAMANT
Eh! Filthy creature! What was the quarrel?PETULANT
There was no quarrel. There might have been a quarrel. 315W ITWOUD
If there had been words enow between 'em to have expressed
295 whim it about spin300 decimo sexto a book of very small size in which each sheet is folded into
sixteen leaves (whereas a folio is composed of sheets folded into twoleaves)
301 Lacedemor ian. Spartan brevity is Petulant's gift.308 Baldwin an ass in the beast epic Reynard the Fox reprinted in 1694
(Davis)308 gemini pair of twins313 radish perhaps reminiscent of Sir Toby's difficulties with pickled
herring in Twelfth Night, I, v, 114
88
84 WILLIAM CONGREVE [ACT IV
provocation they had gone together by the ears like a pair ofcastanets.
PETULANTYou were the quarrel.
MILLAMANTMe! 320
PETULANTIf I have a humour to quarrel, I can make less matters con-clude premises. If you are not handsome, what then, if I havea humour to prove it? If I shall have my reward, say so;if not, fight for your face the next time yourselfI'll go sleep.
WITWOUDDo, wrap thyself up like a woodlouse and dream revenge! 325And hear me, if thou canst learn to write by tomorrow morn-ing, pen me a challenge: I'll carry it for thee.
PETULANTCarry your mistress's monkey a spider! Go flea dogs, andread romances! I'll go to bed to my maid. Exit
MRS. FAINALLHe's horridly drunk. How came you all in this pickle? 330
WITWOUDA plot, a plot, to get rid of the knight; your husband's advice;but he sneaked off.
Enter LADY [WISHFORT] and SIR WILFULL drunk
LADY WISHFORTOut upon't, out upon't, at years of discretion, and comportyourself at this rantipole rate?
SIR WILFULLNo offence, aunt.
LADY WISHFORTOffence! As I'm a person I'm ashamed of you fogh! How
335
325 woodlouse reminiscent of The Silent Woman, II, iv, 140-42: 'Or asnaile, or a hog-louse: I would roule my selfe vp for this day, introth,they should not vnwinde me.'
328 Carry . . . spider bawdy, as in Marston, The Malcontent (ed. BernardHarris, 1968) I, iii, 40-41:
PIETROHow dost thou live nowadays, Malevole?
MALEVOLEWhy, like the knight, Sir Patrick Penlolians, with killing of spidersfor my lady's monkey.
334 rantipole grossly ill-mannered
SCENE I] THE WAY OF THE WORLD 85
you stink of wine! D'ye think my niece will ever endure sucha borachio? You're an absolute borachio !
SIR WILFULL
Borachio !LADY WISHFORT
At a time when you should commence an amour and put 340your best foot foremost
SIR WILFUL'Sheart, an you grutch me your liquor, make a billgive memore drink, and take my purse! (sings)
Prithee fill me the glassTill it laugh in my face 345With ale that is potent and mellow;He that whines for a lassIs an ignorant ass,For a bumper has not its fellow.
But if you would have me marry my cousin, say the word 350and I'll do't; Wilful' will do't, that's the word; Wilfull willdo't, that's my crest; my motto I have forgot.
LADY WISHFORT
My nephew's a little overtaken, cousin, but 'tis with drinkingyour health ; o' my word you are obliged to him.
SIR WILFULLIn vino veritas, aunt. If I drunk your health today, cousin, I 355am a borachio ! But, if you have a mind to be married, say theword, and send for the piper, Wilfull will do't. If not, dust itaway, and let's have t'other round. Tony! Od^, heart where'sTony? Tony's an honest fellow, but he spits after a bumper,and that's a fault. (sings) 360
We'll drink and we'll never ha' done boys,Put the glass then around with the sun boys,Let Apollo's example invite us;For he's drunk every nightAnd that makes him so bright 365That he's able next morning to light us.
345 laugh Q1, Ww (laughs Q2)
338 borachio the Spanish leathern bottle for wine, hence the term for drunk-ard and the name of the minor character in Much Ado About Nothing
342 grutch begrudge349 bumper brim-full glass of wine355 In vino veritas drunkards speak the truth
1-11_
IJf )
-1-
This 5-day unit is designed for low and middle-income students for an
urban setting for grades 9-12, in a special education environment. These
-3tdents reading skills range from very low to high. Therefore the activities
in the lessors are designed to encourage focusing, critical thinking, writ-
ing and same hands-on-activities. 'Jowever, lots of discussion will be
initiated for each lesson. The following lessons will provide students with
an inside overview unit of the "Restoration Feriod" in a productive and ex-
citing way.
Students will make a time line historical chart about women from the
Restoration Period 1:ntil present. We be using different plays i. e.,
"-he Rover," "The 'ay of the World," and "The "'an of ::ode." The students
will take a close lock at females during that period and compare how women
are viewed today and valued as well as yesterday.
DAY l-7AY 3 The students will select one of the female characters of their
choice from each of the 2 plays and compare them. The students will not read
the total play. The students will read the introduction to each play to decidE
upon the female character. Some students may want to read a bit more in
depth to get a fuller picture of the character and this may or may not be
permissible.
AFFRCAC=r: The teacher will help to speed-up the lesson by providing the class
with some basic and interesting facts about the Restoration Period and how
women were treated or noticed. The students will discuss the personalities,
styles, dress, behaviors and manners of these women. From time to time,
students may need to refer to different sections or specific lines of each
play to understand each character in greater detail. Special needs students
may need two to three days to gather this information and move forward.
The teacher should be patient and sensible and allow the needed time so, the
student will not become frustrated and give-pp. The lesson may need to be
explained more than once and in a different way.
91
-2-
DAY 4: After the unit has progressed for a few days other thoughts and themes
will come forward. Today, will be a day cf sharing, discussing and high-
lighting facts and information abstracted from the 2 plays we have perused
in part. Each strident will do a five minute oral class presentation. Ten
minutes will be allowed at the end to summarize the rewly found facts from the
readings. Students will be allowed to present their thoughts in poetry, paint-
ings, collages, etc. Students who are unable to do oral presentations com-
fortably may do an essay to be placed on display to share.
DAY 5: Today, we will have pre-discussions about the play, "The Way of the
World."
The three suggested plays from the "Restoration Period":
The Way cf the World and The Rover.
Possible questions: 1) What are the sexual expectations of women today?
2) What were the sexual expectations of women during the Restoration Period?
3) Do some women make themselves more sexually available to men today than
yesterday.? 4) Do women look at men differently today than they did during
the Restoration Period? 5) What may have happened to women during the Rest-
oration Period- -had women been more independent or totally different than they
are today? 4) Could there have been a women's magazine during the Restoration
Period? -) uow many female rulers did we have during the Restoration Period?
'low many females were involved in public politics? 9) That would have
happened to female gangs during the Restoration Period? 10) What would have
happened 'o women who kept secrets from their spouses or refused to asK their
The ::.an of Iv.ode,
husbands permission for an example:
Themes, thoughts and ideas:
- -money alliances
--marrying for
- -marrying who
-- inheritances
- -marrying for
an :bortior., etc.
--having sex trying to hold on to a lover,relationship or husband.
love
you love
of_fortunes
money, prestige or by appointment
--having sex for favors
S2
2tudent Resources:
Aphra =ehn, -The ?over." ':niversity of 7"ebraska Fress, Lincoln andLondon,
William Congreve, "The Way cf the World.- A 3 C Hack/icndon, W.ortorPew York, 10'4).
-eorge Etherege, "The ::an of . C '-'lack/London, W. W. :-orton/"ew York,
Zther resources: :ccal and national newspapers, magazines and books.
Submitted by:
Patricia ij.aye-WilsonSpecial Needs Teacher,:radison Park :4igh School
THE WIVES EXCUSE Thomas Southern
This series of lessons is designed for students in an eleventh gradeEnglish class in an inner city public high school.
The class period lasts for 45 minutes.
The class has already had preparation in the historical background of theplay. They have read other works that have acquainted them with much ofthe vocabulary of the period.
Act I Scene 1
The class is divided into groups of four to six students so that eachstudent can play the role of one footman (or more , if necessary). Forexample, a class of twenty four could be divided into four groups with onestudent taking the roles of Footmen 1 and 7.Each group reads the scene simultaneously.
Students re-group according to the roles they played. All Footmen Itogether, all Footmen 2, etc.One person is appointed scribe.Students collaborate to list information that their character hasimparted.
The class re-assembles as one group.The information form each group is written on the chalkboard in briefphrases, grouped by role i.e. all information from Footman 1 on one panel,Footman 2 on another, etc.
Students are asked to list the characters in their notebooks that theFootmen have discussed. They should put one person on each page andunder.the name write anything that is known about the person as a resultof the first scene. They will take these notes from what has been writtenon trie chalkboard.
Working through the information imparteCi by the Footmen will ;ead thestudents to understand the author's purpose in beginning the play in thisway.
The notes the students take will serve as a reference for the characterswhen they appear in the play and also help them to understand the plot asit unfolds.
After each reading assignment the students will be required to add anyspecific information they receive about the characters as they appear inthe play.
Due to the fact that the language and conventions of restoration comedyare relatively alien to the students' own experience, tney are often askedto read for content. When they are given a home assignment, they mustspend enough time reading to answer specific questions Tney are notrequired to understand everything in the play. Instead they focus onissues that enlighten them about the restoration, provide the basis for a
discussion of current attitudes on the same subjects, and offer them theopportunity to relate their personal opinions.
Day 1
Students are asked to read Act I Scene I at home. The class proceeds asdescribed on the first two pages.Homelesson ;ead pages 51 55 to find the answers to these questions:1. What is Wilding's complaint?2. Why did Springame's sister marry?3. What does Springame suggest she do?4. Does Mrs. Wittwould accept Springame's proposition?
Why?5. What do you think of Wittwould's intentions as expressed in lines
333-5?
Day 2
Review students' answers to questions.Discuss Mrs. Wittwould's views on men, husbands and ladies' virtue.Students volunteer for roles and read pages 55 -58Classroom discussion:Plot developments suggested by the converstion between Lovemore andFriendail. What could possibly happen as a result of Friendall's request?How does Mrs. Friendal I say she feels about her husband? In your opinionis she justified?
Homelesson Read pages 59 -66 to answer these questions:1. Why does Courtall's name fit so well?2 What lines on page 60 hint at further plot development?3. How does Mrs. Friendall help her husband save face?Take notes on the references to 'reputation' Mrs. Friendall's, Fanny's,Mrs. Wittwould's.
Day 3
Compare students' answers to questions from assignment.Discuss information on "reputation".Students read pages 66 and 67 silently.Discuss the importance of "reputation" as it relates to Mr. and Mrs.Friendall as revealed on these two pages.Two student volunteers read the roles of Springame and Mrs. Friendall topage 69. Have one student summarize their "plot"Students continue reading through page 70 until someone can explainLovemore's "hidden agenda."
Home lesson Read to page 78 Continue notes on "reputation." Be able toexplain why Wilding thinks that women fall for him in spite of hischaracter.
Day 4
Discuss "reputation" as it appears in the pages read the prWous night.Progresssing through the assignment from beginning to end ask studentsto volunteer their observations from their notes and comment on the"character" of the various characters expressing their opinions.
Home lesson Read pages 78-83 Explain how the problem of the duel isresolved.
Day 5
Students explain the motives of Mrs. Friendall, Ruffles, Lovemore, andSpringame.Students take roles and read aloud pages 83 through 92.Point out the ruse that Lovemore now puts into action.Discuss: the things that damage a man's reputation, a woman's, thedifferences in the way that restoration society views a husband and awife, the difference between Mrs. Wittwould and Mrs. Sightly.Students read silently to page 95 until someone finds out why women areburdened with a double obligation with respect to reputation.
Home lesson read pages 97 105 to find the answers to these questions:1. How does Mrs. Friendall justify her defense of her husband?2. What does she know about Lovemore?3. What is her opinion of him?4. What is Lovemore's opinion of women in general?5. How doen Sightly react to Wel lvi le's revelations?
Day 6
Students volunteer answers to homelesson questions.Beginning at page 107, students read aloud, one speech each to the end ofA;.:t: IV
Discuss whether or not Wittwould is upset at the loss of Sightly'sFriendship. Find lines in the text that support the answer.Students continue reading silently to discover Wittwould's plan. Onestudent paraphrases the plot and Wittwould's motives.Students assume roles and read through Scene V Act II. (small masks maybe used)Home lesson Finish the play
Day 7Students debate the possibility/probability of Mrs. Friendall andLovemore having a "future" together.Discuss the importance of REPUTATION: Is it meaningful or superficial in
this play? Is it important in today's society? What is a "bad" reputation?How can it harm one? Are all members of society judged bythe same standards? i.e. politicians? sports figures? entertainers ?Does the reputation of a famous person have any effect on you?
As a final evaluation of the students experience with The Wives Excusethey will be asked to write an essay on one of the following topics:
1. Describe one character's view of marriage. How does it compare toyour own?2. Give an analysis of Wittwould's personalilty.3. Explain "cuckolds make themselves."
M.L. Burke
Barry Lew June 2. 1992Theatre Arts TeacherLeominster High SchoolLeominster MA
A ONE MONTH LESSON PLAN FOR MASTER WORKSIN RESTORATION COMEDY
A) This lesson will be presented to Advanced Theatre Arts
students. who have had one year of learning the basics
concerning theatrical production. Students in this class
must be recommended by their Theatre Arts Teacher and their
Guidance Councelor. All students in this class have
participated in a similar assignment before in basic Theatre
Arts. called "Theatrical Dinner Party". Students in this
assigment, were required to design a theme dinner party and
research and create authenticity for such an evening.
This assignment could be executed through it's planning
stages, or actually be presented in entirety by the class.
At any given time, because of budget constraints,
authenticity could be substituted with creativity. The main
thrust of this assignment i3 the research, preparation and
creative decisions that are needed in order to create a
presentation.
A RESTORATION THEATIR I CAL.F' ARTY
B) THE CLASS ASSIGNMENT IS TO CREATE AND DESIGN AN EVENING
PARTY. THIS PARTY WILL BE DESIGNED AS IF TO TAKE PLACE
DURING A SPECIFIC TIME PERIOD AND PLACE, RESTORATION
ENGLAND. BEYOND CLASS MEMBERS INVITED GUESTS WILL BE
INVITED TO YOUR PARTY. EVERYTHING THAT YOUR GUESTS SEE.
HEAR, TASTE. TOUCH AND SMELL WILL AFFECT THEIR PERCEPTIONS
AND ENJOYMENT OF THE EVENING AND IS TOTALLY UNDER THE CLASS'
CONTROL. THE CLASS MUST CAREFULLY DETERMINE AND PLAN THE
FOLLOWING:
1) How will the class decorate the room?
2) What historical characters will be attending this
evenings festivities?
3) Specifically, what mood/background music will be played
throughout the evening?
4) What will everyone at the party be wearing, specifically,
(the class members as characters, servers, entertainers
etc.). How will the guests be greeted? (Guests may be
instructed or encouraged to attend in costume, that
decision is left up to the class)
5) Specifically, what foods and drink(s) will be served and
how will they be served?
6) What special events will occur throughout the evening in
order to enhance the experience?
7) What social conventions existed? How did people speak?
What games did they play? How did they entertain
themselves during Restoration England?
8) What historical events might be used to enhance the
evening?
C) AFTER A BRIEF INTRODUCTION, THE CLASS WILL BRAINSTORM
IDEAS ABOUT HOW WE WILL BREAK UP INTO GROUPS, IN ORDER TO
RESEARCH AND ANSWER THE ABOVE QUESTIONS. WHEN GROUPS AND
GROUP LEADERS ARE DETERMINED, THE TEACHER MUST RECORD WHAT
EACH STUDENT'S RESPOSIBILITIES WILL BE FOR THE ASSIGNMENT.
A CONTRACT COULD BE DRAWN FOR EACH STUDENT, USING A BASIC
FORM. THAT THE TEACHER AND STUDENT COULD BOTH AGREE UPON.
D) THE NEXT WEEK WILL TAKE PLACE IN THE SCHOOL LIBRARY WITH
GROUPS CONDUCTING RESEARCH FOR THE ABOVE <QUESTIONS. DURING
THAT TIME, IT IS NECESSARY FOR THE TEACHER TO SET ASIDE
SPECIFIC TIMES FOR PROGRESS REPORT MEETINGS WITH EACH GROUP.
THESE MEETINGS AND ALSO BEING PRESENT AT THE RESEARCH
SESSIONS, WILL GIVE THE TEACHER A GOOD IDEA OF WHO IS
PULLING THEIR OWN WEIGHT. RESEARCH TIME OUTSIDE OF CLASS
WILL ALSO BE DETERMINED AT THE PROGRESS REPORT SESSIONS.
E) AT THE END OF THE WEEKLONG RESEARCH PERIOD (THIS TIME
FRAME COULD BE FLEXIBLE) EACH GROUP WILL REPORT THEIR
FINDINGS TO THE CLASS. EACH GROUP IS RESONSIBLE FOR BOTH AN
ORAL AND WRITTEN PRESENTATION OF THEIR FINDINGS.
F) AFTER PRESENTATION OF GROUP REPORTS THE ENTIRE CLASS WILL
102
PARTICIPATE IN THE FOLLOWING LESSON:
1) All of the students, in this class, have completed an
extensive unit on Viola Spolin's "Improvisation for the
Theater". They should have an understanding of how to
develop and use "POINTS OF CONCENTRATION" that are fully
explained in her curriculum.
2) The purpose /gals of this unit is to have the
students understand some of the costume fashions and styles
of The Restoration Period and how these would affect and/or
reflect a Restoration character's movement, expression and
attitudes.
3) The approach/way that this lesson will be presented
will follow the format presented in Viola Spolin's book
mentioned in paragraph 1). This lesson be could integrated
into an improvisation curriculum. or be used by itself with
a class already familiar with Viola Spolin's methods.
a) First the class will view slides of Restoration
prints of people (the ones that we saw in class
would be great).
b) While they are watching, students will be asked
specifically to jot down their descriptions of the
fashion clothing and accesories that they see. What
do they show us about these people? How do they
look like these people feel? How does the clothing
and wigs make them feel physically (i.e. the wigs on
103
their heads) and emotionally? Can you project what
they might be thinking?
c) After viewing the slides, we will discuss their
thoughts and findings.
d) We will then do some improvisation exercises.
The first improvisation exercises will use the
entire class, in our open space, at the same time.
Students will be told that the "POINT OF
CONCENTRATION" is to imagine specifically what they
would be wearing if they lived in the Restoration
Period and how does this affect their movement.
After thinking about it on their own, the teacher
will then choose one student to be first actor and
leader. When that person is ready call "curtain".
First actor moves around stage in imaginary costume.
After costume has been established, the other
students will be told to join In the action when
they are ready. While the action is going on, the
teacher will side coach with these ideas,
(Concentrate on how your head feels! Concentrate on
your feet! Concentrate on your midsection! Without
speaking greet your neighbor! Move along, greet
someone else! Ignore eveything around you except
the people in the scene!). When the entire class
joins in, or when it looks like no one else will
join in, call "cut" and have group sit ready for
dicussion.
le4
e) Discuss, how did you feel during exercise? What
worked? What people looked like they belonged in
those slides that we watched? What could you do to
make your movement and manner more realistic?
f) The second improvisation will be conducted the
same way as the first. However, the "POINT OF
CONCENTRATION" this time will be, what do the
clothes say about yoy and the way that you feel.
Side coaching examples: (Stand in costume! Hold your
head in costume! Look around in costume! Examine
your space! Make contact with specific things around
you! Examine your neighbor and what they are
wearing!
g) Same discussion as subsection 5.
h) If time permits, do some "where" exercises, using
our new imaginary costumes and manners.
4) Evaluation process. How many people involve
themselves in the improvisations? Do the ones that usually
lead the way, continue? Do students. who are usually
reticent about joining, participate')
G) AT THIS TIME LESSON COULD BE CONCLUDED OR ACTUAL PARTY
COULD BE EXECUTED.
1C 5
H) EVALUATION PROCESS FOR THE ENTIRE LESSON:
STUDENTS WILL BE GRADED FOR THEIR GROUP WORK.
INDIVIDUALLY AND ALSO THE GROUPS WILL BE GRADED. CLASSROOM
PARTICIPATION WILL ALSO BE MEASURED ALONG WITH ENTHUSIASM
AND THE ABILITY TO FULFILL THE ASSIGNED TASKS.
106
Virginia ByrneMasterworks ClassJune 1992
Restoration Comedy Curriculum Unit
One Week unitObjective for UnitFive 45-minute period lesson plansFive assignmentsOne extra credit assignmentSuggestion for evaluation
"Understanding The Women of the Restoration"
Objective: To glimpse the mind of the 17th century Englishwoman and to try to understand the attitudes that prevailedtoward her through a study of the period's FemalePlaywrights,Actresses and Heroines.
Target Audience:College or Secondary Women's Studies'Course
Class #1
The Playwrights
Divide the class into five sections. Provide for eachsection readings from Fidelis Morgan's "The Female Wits"on and by the five writers:
Aphra Behn and "the Lucky Chance"Catherine Trotter and "The Fatal Friendship"Mary Delarivier Manley and "The Royal Mischief'Mary Pix and "The Innocent Mistress"
107
Susannah Centlivre and "A Wonder :a Woman Keepsa Secret"
This class should be spent reading the materials andpreparing a brief oral report on the playwright and rehearsingone two-minute scene from the play assigned.
The rest of the class will be required to take notes on allreports.
Each section will also prepare a brief quiz on thematerials which will be taken at the end of the week.
Assignment:Read over your part of the presentation and pass in
tomorrow your contribution to the written quiz forcompilation by the instructor.
Class # 2
Perform the prepared presentacions opening up to questionsafter each segment.
Assignment: Study notes for a quiz on material at thebeginning of Class # 3.
Each section will be given a actress of the period to researchand prepare a monlogue about which will be presented to theclass as if it were a visit from this 17th century actress tellingabout herself.
108
3.Rebecca MarshallElizabeth BarryNell GwynneAnn BracegirdleMargaret Hughes
Day # 3
Quiz compiled from the 50 questions passed in duringyesterday's class.
Presentaion of the five monologues of the SeventeenthCentury Actresses.
The monologues should also include a description of thetheaters of the times and how the women were received inthe plays.
Assignment:prepare for a quiz on the period theaters and theactresses presented.
Day # 4
Quiz on the assignment.
Ffilvir,' class into the five sections again.Pass out five designated scenes from Restoration Plays.
Give the groups time to read and analyze the scenes with anemphasis on the way women are within the context of theplays.
109
4.1700 Congreve's "The Way of the World" Act II sc. 1
lines 89-220 Fainall and Mrs. Mar wood
1675 Wycherly's "The Country Wife"Act II sc.1 to line130Pinchwife, Mrs. Pinchwife, Alithea
1677 Behn's "The Rover" Act III sc, 5 Florinda,Willmore
1676 Etheridge's "The Man of Mode"Act ii sc. 1
1632 Shirley's "Hyde Park" Act I sc.2
The scenes must be presented in the next class preferably inchronological order. The students should be encouraged tolook at the whole play if not in detail at least in an overview.
Class #5
Presentation of the scenes followed by discussion led by thefollowing questions:
Do you think that 17th Century England was a pleasant timeand place to be a woman?Support the arguments.Why were there no women playwrights prior to this periodand why do you think they emerged at this time?How were actresses viewed?W hy were there no actresses onthe English stage to this point and why did they emerge atthis time?
110
J.
Assignment: Prepare a two page essay on one aspect of Womenand the Restoration Theatre
EXtra Credit Assignment
This assignment can be offered at the beginning the the Unit.
Investigate women in government or the trades during thisperiod including the Queen and prepare a written OR oralreport.
Prepare a report on the art of the period looking at eitherWomen Artists or Women in Art. This repart would open thepossibilities of discussion of women as they are portrayed inVisual Art.
111
Tina LangsonBrockton High SchoolBrockton, MA 02q01
RESTORATION COMEDY UNIT
I took some liberties with guidelines and devised activities Fortwo different classes. Since I currently teach both Freshmen andseniors, I planned these projects For them; however, I think the plansFor The Relapse and The Rover are suitable For any high school year.I designed the activities For The Way_of the World and comedy Forseniors who are so sophisticated, urbane, witty, and literate they justastound.
I would allow a week for reading each play and one to two weeks Foreach activity.
Brockton High School is a large, urban school whose student body isracially, ethnically, and economically diverse. Course offerings aretracked on a basic to Advanced Placement level.
112
Tina LangsonBrockton high SchoolBrockton, MA 02401
These questions on The Wail of the World are suitable For seniors, or forthose students who have an extensive background in literary analysis.How many you assign is your choice. Many of these questions lendthemselves to lengthy analysis.
Writing
1. What is there in Millament's character that makes her one of the mostcomic figures in literature?
2. How does Congreve portray the shallowness of his characters?
3. Comment upon Sir Ifor Evans' crticism that in this play, triumphoccurs in the form of the witty over the dull, of the gracefulover the boorish "
4. What is there in this play that resembles the way people act today?What similarities do you see with your own racial, ethnic, orreligious group?
S. In what ways are characters' personalities reflected by theirsurnames?
6. Draw a web of the relationships among the characters.
7. Diction is important in this play. "While I hated my husband, I
could bear to see h im; but since I have despised him, he's toooffensive. Find other such examples and explain the impact of thechosen words and their order in the sentence.
B. Mirabell says people commit rash acts in order to preserve theirreputations. Discuss this statement in relation to the entireplay.
9. What does Congreve say about women when Mirabell says, "a man mayas soon make..., or a fortune by his honesty, as win a woman by plaindealing and sincerity." Support this assertion by citing quotationsand referrring to events in the play.
10. Cite examples of Sir Willful's ignorance.
11. Discuss Millament's views of a woman's role in marriage. What isMirabell's view of women? How are their views similar or unlike theviews people hold today?
12. Discuss Mirabell as a man of sense, principles, and modesty.Contrast him to Petulant.
13. Discuss Millament as an independent woman.
14. What difficulties are presented to the reader by having charactersmentioned in Act I not appear until Act II?
113
15. Discuss Edwin Muir's observation that Millament "is a sensitivegirl in an insensitive world."
16. Discuss: Characterization is more important than plot in this play.
17. Comment on Ashley Thorndike's evaluation of WOTW as a presentationof manners of a particular social group, as the refinement ofraillery, flirtation and affection, as a model of style it is closeto perfection." What are the typical actions (mannersand beliefs) of your social (ethnic, religious, or racial) group?
Research
1. Compare and contrast sexual attitudes and mores during the Restorationand the Jazz Age.
2. In an art book, Find drawings by Rowlandson and Hogarth. Which oneswould you choose to illustrate this play? Why did you select them ?
3. Read a selection of poems by John Suckling. Why does Mrs. Fainallquote him? What is the relationship between his poetry and theplay's plot?
Li. Look up all the allusions to Greek mythology and write a shortbiography of each god and goddess.
Role Playing
1. Two teenage girls discuss their boyfriends.
2. Two women in their forties discuss their husbands.
3. Two teenage boys discuss their girlfriends.
Li. Two men in their Forties discuss their wives.
Bibliography
Restoration Theatre Edward Arnold Publishers, Ltd.London 1965
Miner, Earl, ed. Restoration Dramatists Prentice-Hall, Inc.Englewood Cliff, NJ 1966
Nicoll, Allardyce British Drama Brown and Noble, Inc.NY 1963
Thorndike, Ashley British Comedu Cooper Square Publishers, Inc.NY 1965
114
Comedy as a Genre
Chose one of the following quotations to use as the basis of ananalytical essay. This essay should be at least 1000 words andincorporate quotations and incidents from The Way. of the World tosubstantiate your point of view.
1. "Art and discipline render seemly what would be unseemly withoutthem." George Santayana "Carnival" Comeau: M77anina and Form
2. "Comedy aims at representing mer as worse, Tragedy as better than inactual life." Aristotle Poetics chapter II
3. "Comedy is ... an imitation of persons inferior not, however, in theFull sense of the word bad." Aristotle Poetics chap. V
Li. "Comedy, then, is an organically complrate imitation of an action whichis ludicrous; in language, embellished with each kind of artisticornament, the several kinds found in separate parts of the play; inthe form of action, not of narrative; with incidents arousingpleasure and laughter, wherewith to accomplish its kartharsis of suchemotions." Nathan A. Swift, jr. Comedy: Meaning and Form
S. "One of the chiefest graces" of comedy and "the greatest pleasure ofthe audience is the chase of wit." Dryden An Essau of DramaticPoesy_
6. "Restoration comedy recreated a vivid likeness of that sophisticatedpart of society, which, however remote from the rest, marked thisperiod historically and histrionically." Walter SorrellFacets of Comeau
7. "It is the business of the comic poet to paint the vices and folliesof humankind." Congreve Preface to The Double Dealer
Additional project for seniors: Read chapter 13 of Hobbes' Leviathan.Apply his philosophy of mankind's need for power to The Wau of theWorld. This essay should be at least 1000 words and incorporatequotations and incidents from both primary sources to substantiateyour thesis.
1 1 5
Tina Langson
A FINAL ACTIVITY FOR THE ROVER"
I designed this activity for students who have trouble seeingthe relevance of literature. I do not have a certain trackin mind, for these students exist at all levels.
This as activity may draw its largest group of fans fromthose who believe writing to be one of their weaknesses.
Groups of four or five will work well in this project. I'dallow a week's time in the library and then two days forpresentations.
DIRECTIONS: Now that we have finished our reading anddiscussion of The Rover, it is your job to adapt the playto a new setting. The time is the 1960's; the plrce,America. Your mission is to recast the characters in 60'sroles; redefine the conflict in 60's causes; and set thewhole to 60's music.
Example: Florinda and Hellena are the daughters of a US Armygeneral who is stationed in Viet Nam. While their father isaway, Florinda and Hellena's brother Anthony, an ROTC cadetat MIT, is their guardian. Seeking a little excitement, thesisters go to Woodstock where they meet Blunt, Willmore, etal, all of whom are draft resisters. Florinda and Hellenaget themselves into a bit of a mess by falling in with a"hippie" crowd. Blunt and Willmore come to their aid, and aclose friendship Forms. Anthony, who has discovered theirreceipt from the travel agent, commandeers a NationalGuard helicopter and lands at Woodstock to bring his sistersback home and enroll them in a convent school. Anthonyhighly disapproves of Blunt and Willmore and their politics.(You continue from here.)
Suggested musical selections: The General -"Ballad of theGreen Berets"; the sisters "Born to Be Wild"; Blunt andWillmore "Steet Fightin' Man"; Anthony "Nowhere Man";Lucetta "Hanky Tonk Wome;"
You will need to spend time in the IRC's doing research onthe time period. There are books for specific decades andmore general encyclopedic volumes in the Azure and Red IRC's.The Green IRC has books on music.
1 1)
Tina Langson
CONFLICT IN "THE RELAPSE"
One of the thrusts of the ninth grade year at Brockton High,in both the English and social studies departments, isconflict and conflict resolution. This writing assignment,For advanced level students, Follows their reading anddiscussing the play. Given the number of characters and thesimplicity of plot, students will keep response journalsrather than answer comprehension and critical thinkingquestions. Thus, the final assingment is to analyze one ofthe major conflicts in the play. Students must incorporatethe appropriate terminology, have a clearly defined thesis,have supporting details, use quotations From the text, andanalyze the causeCs), the style of conflict, and theresolution.
IF your school has a computer lab, allow two class periodsfor them to type and print.
Peer editing, with two students reading each essay, isvaluable in getting students to recognize good writing and tosee their own weaknesses. IF you decide on peer editing Forthe rough drafts, it's a good idea to have students use IDnumbers rather than their names in order to insure aziimpartial reading. One class period required.
Sample peer editing sheet Follows.Conflict terminology sheet Folloiws.
Paper's IDYour ID
1. Copy down the thesis.
2. List all conflict terminology.
3. Copy the sentence that states the cause of the conflict.
4. List the details that support #3.
5. Copy the sentence that states the style of conflict.
6. List the details that support #5.
7. Copy the sentence that states the conflict resolution.
B. List the details that support #7.
9. Copy three direct quotations from the play used in theessay.
10. Write sp over misspelled words.11. Write frag over fragments.12. Write P over errors in punctuation.
13. Is the essay written in present tense?
14. Are there transitional words and phrases betweenparagraphs? From which paragraphs is trasnitionlacking?
15. What I like best about your essay is
16. You could improve your essay by
118
Jo-Ellen S. WoodRestoration ComedyJune 16, 1992
Three Week Plan for Classin
Restoration Comedy
Class makeup:This lesson plan is designed for an eleventh/twelvth grade elective surveycourse in drama. My classes are usually made up of a mixture of students withacademic abilities from basic to advanced. They are mostly students from anaffluent suburban community, but not all students are affluent. There are alsoMetco students of various backgrounds in the class.
Course background, overview:In a survey course, the students would have read Greek and Medieval dramabefore encountering Restoration Comedy. (They would have read at least oneplay from Shakespeare in earlier grades.) In this course the students wouldhave considered many aspects of drama, including the social, political,religious, intellectual, and even economic factors. They would havecontemplated theatre as a part of its society rather than apart from its society. Inkeeping with this overall approach, after reading and discussing the theatricaland literary approaches, they would look at the historical setting of RestorationComedy.
Objective:The goal of this assignment is to extend students' understanding of theatre asan integral part of its society, and that a comedy of manners should be seen inthe context of the Restoration Period.
Da! 1The teacher will introduce Seventeenth Century history, Aphra Behn, and
the manners and society of the Restoration. A chronology of major events andpersons will be presented in a lecture/discussion format. Discuss changes inthe theater since Shakespeare.
Assignment: Make a list of the proper topics for art and entertainment.
Day 2:Divide the class into groups. Each group is to reach concensus about
the following questions. The students must be prepared to explain and defendtheir decisions.
1. What are the major topics of today's entertainment?2. Is there a difference between art and entertainment?3. What are the appropriate topics for each?
In the last twenty minutes,hold a general discussion to allow a report from eachgroup and to discuss the answers.
1
Day 3:Describe the out of class assignment for the next two weeks. Before
reading the play in class, the teacher should hand out a broadside proclaiming:
Lie tlieatre4 are 4e1ieilated to lie ittpit LarkOiji4 14 iteee4intru Leeaa4e of tile moral
eorrkptiort itriiielj the plap extol it aKd etteottra.ge.
ex tile day after the elaila reabq the Flay, a lieariRa
to determtiRe die merit of tliia aetioR will Lie 11eld ik tIe elaitibroo ..
faeli groin of iRtere6ted rattiea may offer evideRee to a Panel ofjRilsea wryiel9 will make it fiRa1 deeiaioR Alma illtiEtijer to reeitul or toeRforee tte deeree.
Divide the class into groups which will act as interested parties. You may findthe following groups useful, but feel free to work out your own. The studentsthemselves may discover other groups they would like to represent.
Puritans circa 1(50 in EnglandJacobitesFriends of Charles IIServants and working class people circa 1650 in EnglandPlaywrights of the Restoration PeriodPlaywrights of other times or cultures, ie. Sophocles, Shakespeare,
Moliere (The class would not yet have studied Ibsen or Rostand.)Characters or real people from other periods of history which interest the
students
The students will have time outside of class to research the group theyrepresent while class time is given to reading and discussing the text. This will
120
probably take about six class periods. The researchers are to learn abouthistorical background, attitudes and beliefs, social and economic standing,education, leaders, and so forth for the group they represent. It would also bewise to be prepared for arguments which might be presented by oppositiongroups. Each group must also submit a preliminary and final outline of theirinformation and a bibliography. It might be practical to set a time limit for eachgroup's presentation.
Grading will be based on accuracy and thoroughness in both written and oralwork.
Ideally, some teachers and students from outside the class could serve as thepanel of judges. Obviously, this needs to be arranged well in advance of the"hearing "
Day 4:The class will visit the library to begin finding sources for information.
Begin group research.
Day 5 - 10:Begin reading aloud in class The Rover, by Aphra Behn. Students take
parts for reading. I do not usually have students prepare their parts in advance,but we do interrupt ourselves to ask questions, check comprehension, anddiscuss the play. It is helpful to keep the following charts on a blackboard orsheets of newsprint. There should be one chart for each character containingsome of the following information:
1. Character's name, physical and biographical information, andrelationships with other characters.
2. Major effects on events and other characters3. A few revealing and/or typical lines of dialogue.
Day 11 or 12:Groups must turn in their preliminary outline and bibliography for
research.
If a class reads particularly quickly, I would insert the following activityinto the Restoration Unit.
Present the class a copy of the scene from Etherege's Man of Mode inwhich Harriet gives instrucion on the way to convince people that one is in love(Act III, scene i, lines 87 - 162). Divide the class into pairs. After a brief time ofrehearsal, students may show the way in which they would deliver the scene
121
Day 13:Read from Collier's View of the Immorality and Profanities of the
English Stage and discuss the censorship issue. The students never havetrouble relating this subject to modern cases.
Day 14:The class period will be spent in hearing opinions for a decision about
allowing the theaters to continue operation.
At the end of each unit, I ask the students to write an evaluation of theproject. Thsy are to tell what part of the course worked well for them and tomake suggestions for what would have been better.
122
Paulette J. IdelsonJune 16, 1992
Huntington Theatre CompanyMaster Works Study in Restoration Comedy
Assignment
Develop a teaching unit using Restoration England backgroundand three plays studied thus far. The curriculum will bedivided into day to day teaching units with discussionquestions, writing assignments, activities, and quizzes.
Huntington Theatre CompanyMaster Works Study in Restoration Comedy
Teachin_a_ Unit Nssianment
Target Class: High School Seniors
Objectives: Students will demonstrate knowledge ofimportant historical events occurring inthe seventeenth century.
Students will exhibit a basic understandingof characteristics of Restoration Comedy.
Students will compare codes of socialbehavior in seventeenth century Englandwith contemporary codes of social behavior.
Time Frame: Twenty classes (1 1 1/2 hours per class)
Approach:
Materials:
Evaluation:
Class discussion, reading and writingassignments, class activities, vocabularyquizzes, and test on entire unit.
Plays:
The Wives Excuse
The Relapse
The Way of the World
Handouts:
(Thomas Southerne)
(John Vanbrugh)
(William Congreve)
Seventeenth Century ChronologyActivity ProjectsWriting AssignmentsRestoration Period Vocabulary
Writing AssignmentsVocabulary QuizzesParticipation in Class ActivitiesActivity ProjectTest on Entire Unit
124
Huntington Theatre CompanyMaster Works Study in Restoration Comedy
Day by DaY Teaching Units
Introduction to Restoration ComedyHandout: Seventeenth Century Chronology
Codes of Social Behavior, Male/Female RelationshipsLifestyle of the Upper Class
Restoration Comedy Character Types:Fops, rakes, mistresses, pseudo-wits
Prologue and EpilogueCharacternymsHomework: Read The Wives Excuse (Thomas Southerne)Handout: Vocabulary Sheet
Introduction of The Wives ExcuseBiography of the playwrightWhere the play was first presented and how
the audience liked itDescription of the charactersHandouts: Activity Projects
Writing Assignments
Discussion of Play, Scene by Scene
Discussion of Play, Scene by Scene
Vocabulary QuizPresentations of Activity Projects
Presentations of Writing AssignmentsDiscussionHomework: Read The Relapse (John Vanbrugh)Handout: Vocabulary Sheet
r
Day
9 Introduction of The RelapseWhere the play was first presented and how
the audience liked itDescription of the characters
Handouts: Activity ProjectsWriting Assignments
10 Discussion of Play, Scene by Scene
11 Discussion of Play, Scene by Scene
12 Vocabulary QuizPresentations of Activity Projects
13 Presentation of Writing AssignmentsDiscussionHomework: Read The Way of the World (Wm Congreve)Handout: Vocabulary Sheet
14 Introduction of The Way of the WorldWhere the play was first presented and how the
audience liked itDescription of the charactersHandouts: Activity Projects
Writing Assignments
15
16
17
Discussion of Play, Scene by Scene
Discussion of Play, Scene by Scene
Vocabulary QuizPresentations of Activity Projects
18 Presentation of Writing AssignmentsDiscussion
19 Class timer, devoted to review of essential materialcovered in class.
Field Trip: View a Restoration Comedy Play (or movie).
20 Test on entire unit.
126
The Wives Excuse
Discussion Questions
A. Why e-.1 Southerne create the footman scene at thebeginning of the play?
B. What is the main plot of the play?What are the secondary plots?
C. In a moral system of rewards and punishments viciousaction should be punished and constancy in virtue should berewarded. Is this true in "The Wives Excuse"?
Consider:
Mrs. FriendallFrieodallMrs. WittwoudWelvilieFanny
D. Could Southerne have created "The Wives Excuse" todepict real life in the world of 1691?
Writing Assignment
Write an alternate ending to the play. Be prepared todiscuss your changes with the class.
Activities (Choose One)
A. Sketch a set for one act in the play. Indicate whereprops are to be placed.
B. Design the costumes for one scene in the play.
C. Describe a typical day in the life of one of thecharacters.
D. Explain the meaning of one song in the play.
127
Restoration Period Vocabulary Quiz
The Wives Excuse
Twenty Questions; Five points each
1. chere entire (whatever one wishes)
2. bones (dice)
3. set (wager)
4. pretious (precious)
5. spark (a fool)
6. bilk (cheat)
7. joynture (dowry)
8. clutter (clatter)
9. borachio (leather wine skin)
10. pam (jack of clubs)
11. intelligence (news, instructions)
12. parl (talk)
13. writings (marriage contracts)
14. fresko (in the fresh air)
15. lanterlow (card game)
16. cogitabund (meditating)
17. upper galleries (theatre seats for lowest classes)
18. commodes (womens' tall head-dresses)
19. dog'd (closely trailed)
20. rake-hell (rascal)
128
The Relapse
Discussion Ouestions
A. In the play Vanbrugh contrasts provincial life withtown life. How do these life styles differ from one another?
B. What do the following characters desire?
LovelessAmandaBerinthiaWorthyLord FoppingtonYoung FashionHoyden
State which characters are successful in achievingtheir desires.
C. Berinthia becomes Amanda's confidant in trying todeal with Worthy. How does she treat Amanda?
D. Contrast the philosophy of life of Hoyden and Amandawith that of Hoyden's Nurse and Berinthia.
Writing Assignment
A charge against Vanbrugh is that he offendeddeliberately against accepted social morality. Yet hepresented contemporary conduct with a frankness andacceptance which delighted as much as it shocked.
What, in your opinion, are the major offenses which theplay commits against morality?
Is anyone corrupted by the behavior of the characters?
Activities
A. Design a total look for Lord Foppington. Describehow he would attempt to achieve this look.
B. Act out the role of Lord Foppington, selecting partsof the play denoting his self-occupation with the role of abeau.
C. Sketch a set for one act in the play. Indicate whereprops are to be placed.
D. Explain the Epilogue spoken by Lord Foppington.
129
Restoration Period Vocabulary Quiz
The Relapse
1.
2.
3.
Twenty Questions;
portmantle
Jacobite
rents
Five points each
(traveling-bag)
(supporter of James II)
(pay, or salary)
4. by tale (tally, counting by numbers)
5. perspective (telescope)
6. bubble (cheat)
7. padnag (easy-going)
8. running horse (racehorse)
9. ombre (a card game)
10. strollers (vagabonds)
11. degage (nonchalant)
12. chatre (castrated)
13. physic (medicine)
14. babies (dolls)
15. Phtlasic (asthmatic)
16. scour (run)
17. skip-jack (professional deceiver)
18. Baal (false god)
19. murrain (plague)
20. gibberidge (gibberish)
13C)
The Way of the World
Discussion Questions
A. Compare Mirabell with Fainall. How are they alike?How are they different?
B. Contrast the love scene between Millament andMirabell with that between Lady Wishfort and Sir Rowland(Waitwell in disguise).
C. Which of the characters use the term "the way of theworld"? What does it mean?
D. This play has been praised for the wit of itsdialogue. Cite some examples.
Writing Assignment
Congreve's purpose in writing The Way of the World wasto find a means of reconciling the ideals of moral conductwith the actualities of social experience at the time.Explain, by citing some examples from the play, how heendeavored to accomplish this goal.
Activities
A. Draw a chart depicting how some of the characters inthe play are related to Millament.
B. Design costumes for Witwoud and Petulant
C. Design a set for a scene in the play.
D. Pretend you are Mirabell. Write a monologuerevealing how you feel when you see Millament.
.131
Restoration Period Vocabulary Quiz
The Way of the World
1.
2.
3.
4.
Twenty Questions;
prefer
sufficiency
fable
bubbles
Five points each
(offer)
(ability)
(plot)
(victims of fraud)
5. buttered (lavishly flattered)
6. humours (moods)
7. shift (take care)
8. understanding (intellect)
9. condition (gentle birth)
10. fobbed (tricked)
11. of force (of necessity)
12. prevent (anticipate)
13. moity (half)
14. streamers (balloons)
15. peruke (wig)
16. crips (crisp)
17. watch-light (night-light)
18. frippery (old ragged clothes)
19. burnish (grow plump)
20. strange (reserved)
132
Dorothy DudleyMasterworks CurriculumRestoration Comedy Unit16 June 1992
Congreve's The Way of the World
Objectives:
* To bridge the curriculun_ gap that currently exists betweenShakespeare and Sheridan in the grade eleven British literature course forcollege prep. and honors level classes.
* To acquaint students with the historical background as well as the"look" and "feel" of the Restoration.
* To expose students to The Way of the World as a "masterpiece" ofRestoration comedy.
* To familiarize students with use of denotative names [characternyms]in drama.
* To examine the significance of the title of the play in context ofromantic relationships: viz. the hero/heroine; villain/ villainess.
* To explore various plot devices, characterizations, and conventionsin comparison/contrast to Shakespearean drama and in anticipation ofSheridan and Wilde.
Estimated duration- two weeks
133
Dudley 2
Procedures:
Week One: Introduction to the Restoration and to Congreve's The Wayof the World.
* Day One- Before students begin to read the play itself, spend one ortwo days on Introduction. (See 'The Restoration: An Introduction" enclosed)
* Day Three- Begin to read the play in class with students taking parts.Use this forum to explore the characternyms as Congreve applies them.Compare to Bunyan's allegorical use of names in Pilgrim's Progress.
* Day Four- Review the notes on "Love and Marriage in Congreve'sEngland" before continuing to read with the class.
* Day Five- Review student responses to Mirabell as a prospectivehusband. (See homework Day 4, below). Some lively discussion will providea chance to note the Restoration tendency for deference, verbal indirection,excessive politeness. These same tendencies may also abet the aims of self-seeking, manipulative types. Also review some characternyms: Fainall,Marwood, Witwoud, Petulant, Wishfort, etc.
Homework assignments:
* Day One-Read selections from Pepys' Diary : "Personal Affairs," 'TheExecution of a Regicide," "The Coronation of Charles II," 'The London Fire."
* Day Two- Write a paragraph or two in which you compare/ contrastthe "look" of Commonwealth (1649-1660) fashion with that of theRestoration. (See Exhibits A & B)
134
Dudley 3
* Day Three - Begin to read The Way of the World. Complete Act I.
* Day Four- Prepare a brief summary of Mirabell's "love" matches asgleaned from your reading of the exposition in Act I. Comment on Mirabellas a potential husband. Does he seem like a promising prospect? Would hemake a good husband by today's standards?
* Day Five- Read Acts II and III.
Week Two: Finish reading and analysis of The Way of the World.
* Day_p_rie- Since students have now completed three acts, they willneed little help identifying characters once terms like wit, truewit, dunce,fop, rake, mistress, and coquette have been made clear. Ask the class toreview mentally the events of the play. Have them comment on therelationships that they see. What has gone on between Mrs. Fainall andMirabell? What about Mrs. Marwood and Mr. Fainall? What are the Fainallsfeigning? What do you think of Millamant? Is she a match for Mirabell? ArePetulant and Witwoud serious love interests for Millamant? And what aboutSir Wilfull Witwoud? Is he seroious at all?
* Day TwQ- Discuss the comic effect of Sir Wilfull's arrival. NoteCongreve's use of the rustic as a clown. How are other characters madecomic? Foible? Mincing? Lady Wishfort? Remember how Petulant's flawswere made to look like virtues by Witwoud in Act I? Does social class havesomething to do with comedy? Are any of these stock characters that wemay expect to see again in comedy? Which ones? How do you know? DidShakespeare make use of such characters so far as you know?
135
Dudley 4
* Day Three- Begin by asking students if they were struck by anyparticular scene in Act IV. Then examine the famous "Proviso Scene," usingthe questions from the Huntington Study Guide as a basis for discussion.
* Day Four- Now that stuck ..-its have finished reading the play, it isimportant to ask for comments about the title. Have students locate thethree times that the title is used. (Twice by Fainall; once by Mirabell)How does this title encapsulate what we have seen about love, marriage,money, manipulation, scheming, and human nature however civilized itmight be? Does Congreve intend to have Millamant simply "dwindle into awife?" Do any of the other female characters have any better chance forhappiness than Millamant? What do you think Congreve's point is?
Homework Assignments:
* Dv One- In a paragraph, summarize Lady Wishfort's objection toMirabell as a suitor for Millamant. State the "problem" that Lady Wishfort'sdisapproval poses for Mirabell. Indicate in a separate paragraph the planthat Mirabell has put together in order to force Lady Wishfort's consent.
* Day Two- Read Act 1V.
* Day Three-Read Act V.
* Day Four- Prepare final essay by exploring the following premise.According to experts, The Way of the World is a masterpiece of Restorationcomedy, and it sets the standard for the comedy of manners as a literarygenre. Defend this thesis by citing examples from the play. Be sure todefine comedy of manners somewhere in your proof. (approx. 500 words)
136
Dudley 5Outcome:
* To give students a significant taste of the Restoration and itsprincipal comedy.
* To establish the groundwork for future dramatic study, citing TheWay of the World as an integral part of the evolution of British comedy ofmanners.
* To establish the comedy of manners genre as a basis for comparisonwhen students study Sheridan's The Rivals and Wilde's The Importance ofBeing Earnest later in the course.
Bibliography:
Congreve, William. The Way of the World. London: A&C Black, 1991.
Huntington Theatre Company. The Way of the World: Study and CurriculumGuides. Boston: Huntington Theatre Company 1992.
Pepys, Samuel. "Excerpts from the Diary." Reprinted in Adventures inEnglish Literature. New York: Harcourt, 1990.
MASTERWORKS TEACHING UNIT
RESTORATION COMEDY
June 16, 1992
Bill Collins
(about 10 class days)
Students for whom this curriculum is designed: a sel-ior English IV class;college-bound students from both inner city and suburbs; in anindependent ( Jesuit) high school.
Goals of the unit.
Each student will: --have a heightened capacity for enjoying andappreciating a live performance of Congreve'sThe wa of the World.
- - understand the genre of comedy better--its vocabulary,traditions.
--have a sense of Restoration comedy (comedy of manners).
- -have an understanding of the challenges of producinga classic script for a modern audience, particularlythe actor's contribution and the problem of language.
preparation: A reading of The az of the World. Library research and group workas in the one-day lesson plan (June 2, Mastereinorks).
Day 1. Vocabulary of comedy and traditional stock characters of the genre.
Assignment: Read Act II, scene ii of Shakespeare's merchant of Venice (Xerox)prepare for reading aloud and think about how to bring theselines to life as an actor.
Day 2. a) ask for five volunteers to act the role of Launcel five others toact the father's role.
b) divide into five groups of five: two actors, three "coaches."c) edit and adapt the script where needed.d) today and tonight: rehearse the scene; look up the word cameo.
Day 3. Five performances.Show video: PBS productionDiscuss the importance of the actor's contribution to the total effect
in comedy; cf. Charles Dean as Sir Willful Witwoud in theJune 1992 Huntington production.
Assignment: read selections from Vanbrugh's The Relapse (Xerox).
138
Day 4. a) ask for new volunteers to act the roles of Lory and Fashion.b) divide into five "companies"--two actors and three "coaches."c) today and tonight, rehearse and adapt the script for performance;
the focus this time is on the language.
Day 5. The Relapse: mini-performances; discuss the problems of languagewhen producing a classic play, especially: allusion, alliterationand assonance, onomatopoeia, humor.Assign one act of The Wad of the World to each "company."
Assignment: each student read the assigned act, looking for a five-minutescene to present.
Day 6. In groups: a) choose the scene for presentation;b) do one aloud reading, considering changes in the script
(especially language);c) rehearse, after selecAng the actors in your group.
Assignment: work on your scene; the goal: to make the comedy come alive.
Day 7. Rehearse.
Days 80: Performances.Discussion of the problems of acting and language in comedy.
Assignment: see your other teachers to get homework for the class youwill miss tomorrow; do that homework.
Day 10. Performance at the Huntington.
Assignment: each student will write a five-paragraph essay based on thematerial in this unit. During the day of the play, be thinkingabout what topic interests you (see the suggestions from theHuntington Curriculum Guide, p.9 (Xerox)
Bring your choice of topic and a preliminary outline with youto class tomorrow.
Evaluation: in reading the writing assignments, t#e primary focus will beto see an appreciation for Restoration comedy in a modern production.
139
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"sa
ys th
e fi
end,
-"B
udge
not
!" s
ays
my
cons
cien
ce.
"Con
scie
nce"
say
I, "
you
coun
sel w
ell,-
Fien
d" s
ay20
I, "
you
coun
sel w
ell,"
-to
be r
ul'd
by
my
cons
cien
ce,
I sh
ould
sta
y w
ith th
e Je
w m
y m
aste
r, w
ho (
God
g. b
eds.
] Q
s; b
oles
; Q, F
.to
. Fia
!) L
a (i
talic
) Q
, F; V
ia R
owe.
away
!)aw
ay Q
, F.
t t. f
or)
Q, F
; 'fo
re C
ollie
r (i
i).
12. r
un.]
Q,;
nmne
; Q, F
.t8
. not
!] n
ot, Q
, F.
Bud
ge!)
bou
ge Q
, F.
19. n
ot!]
not
Q, F
.co
n-sc
ienc
e.)
Qt;
cons
cien
ce, Q
, F.
so-t
. I, .
.. I,
j I ..
. I Q
, F.
20. w
ell]
Q,
F; il
l The
obal
d.21
. Wei
ll (Z
, F; i
ll Q
t.22
. who
(G
od]
Qt;
(who
God
Q, F
.
8-9.
aw
ns. h
eels
] C
f. A
do, a
n. is
.50
-t: "
0 iB
egith
ng te
con
stru
ctio
n! I
scor
n th
at w
ith m
y he
els.
"to
. pac
k] b
e go
ne.
Fla.
')vi
a; "
an a
duer
be o
f en
-co
urag
ing,
muc
h w
ed b
y ri
ders
to th
eir
hors
es, a
nd b
y co
mm
ande
rs"
(Flo
rio,
Wor
d ft
' Wor
ds (
1598
), q
uote
d D
yee)
Els
ewhe
re in
Sha
kesp
eare
the
mor
eus
ual f
orm
ois
is f
ound
; her
e th
e sp
ell-
ing
may
be
infl
uenc
ed b
y fi
nd f
ollo
w-
ing,
or
may
rep
rese
nt a
dia
lect
(so
uth-
ern)
for
m (
cf. K
liker
itx, p
. 323
).it.
for
the
ham
s] 'f
ore
heav
en, b
yhe
aven
; a p
etty
oat
h (c
f. J
onso
n,T
ieC
are
it A
ltere
d (1
6o9)
, 1. v
. 42-
3: 'f
orth
e he
auen
s yo
u m
ad C
apri
ccio
, hol
dho
oke
and
line"
). T
he w
it lie
s in
mak
ing
the
Len
d us
e it
(so
Can
di),
15-1
2. b
rave
no]
For
a si
mila
rab
surd
ity, s
ee t
H 4
, it.
iv. 5
1-4:
"dar
est t
hou
be s
o va
liant
as
to p
lay
the
cow
ard
with
thy
inde
ntur
e, a
ndsh
ow it
a f
air
pair
of
beds
and
rem
fro
mit
?" (
so P
oolc
r).
13. h
angi
ng .
.. h
eart
] i.e
., lik
e th
etim
id w
ife
or m
istr
ess-
a va
rian
t of
Ham
let's
"co
nsci
ence
loth
mak
eco
war
ds o
f us
all"
(so
X.C
.S.)
.15
. Mis
t] F
or h
ose
chas
te,
faith
ful,
cf. L
r.,i.
ii. 9
.16
. son
teth
isig
] ad
v., t
o so
me
degr
ee,
a lit
tle.
stre
ack]
hav
e a
flav
our;
for
fig
urat
ive
use
d. jo
in, 1
.1.2
08 -
9.17
gro
w to
] "A
hou
seho
ld p
hras
eap
plie
d to
milk
whe
n bu
rnt t
o th
e bo
t-to
m o
f th
e sa
ucep
an, a
nd th
ence
ac-
quir
ing
an u
nple
asan
t tas
te"
(Cla
ren-
don)
. But
ther
e is
pro
babl
y a
baw
dyim
plic
atio
n; c
f. V
as.,
mo
and
Web
-st
er, D
evil'
s L
a G
IST
(16
23),
1-
ii. 2
78:
"how
they
gro
w to
geth
er".
test
s] C
f.ba
r., E
gg: "
His
tast
e de
licio
us, .
.."20
-1. w
ell .
.w
ell)
Q2'
S ot
her
"cor
-re
ctio
ns"
in th
is s
cene
(es
peci
ally
at
I. 3
5 be
low
) sh
ow a
lack
of
hum
our;
ther
e is
no
reas
on to
bel
ieve
that
ill i
sau
thor
itativ
e.22
-3.
mat
h] P
roba
bly
orig
i-na
ting
as a
for
mul
a to
ave
rt a
n ev
ilom
en (
so O
.E.D
.), t
he p
hras
e w
as u
sed
as a
n ap
olog
y be
fore
a p
rofa
ne o
r in
-de
cent
rem
ark;
cf.
Gat
t., tv
. iv.
21.
141
sc. 0
]T
HE
ME
RC
HA
NT
OF
VE
NIC
E37
bles
s th
e m
ark)
is a
kin
d of
dev
il; a
nd to
run
aw
ayfr
om th
e Je
w I
sho
uld
be r
uled
by
the
fien
d, w
ho(s
avin
g yo
ur r
ever
ence
) is
the
devi
l him
self
: cer
tain
ly25
the
Jew
is th
e ve
ry d
evil
inca
rnat
ion,
and
in m
y co
n-sc
ienc
e, m
y co
nsci
ence
is b
ut a
kin
d of
har
d co
n-sc
ienc
e, to
off
er to
cou
nsel
me
to s
tay
with
the
Jew
;th
e fi
end
give
s th
e m
ore
frie
ndly
cou
nsel
: I w
ill r
unfi
end,
my
heel
s ar
e at
you
r co
mm
andm
ent,
I w
ill r
un.
3o
Ent
er O
ld G
OB
BO
with
a b
aske
t.
Cob
. Mas
ter
youn
g m
an, y
ou I
pra
y yo
u, w
hich
is th
e w
ayto
Mas
ter
Jew
's?
Lau
n. [
Asi
de.]
0 h
eave
ns!
this
is m
y tr
ue-b
egot
ten
fath
er,
who
bei
ng m
ore
than
san
d-bl
ind,
hig
h gr
avel
-blin
d,kn
ows
me
not,-
I w
ill tr
y co
nfus
ions
with
him
.G
ob. M
aste
r yo
ung
gent
lem
an, I
pra
y yo
u w
hich
is th
ew
ay to
Mas
ter
Jew
's?
Lau
n. T
urn
up o
n yo
ur r
ight
han
d at
the
next
turn
ing,
but a
t the
nex
t tur
ning
of
all o
n yo
ur le
ft; m
arry
at
the
very
nex
t tur
ning
turn
of
no h
and,
but
turn
dow
nin
dire
ctly
to th
e Je
w's
hou
se.
Gob
. Be
God
's s
ontie
s 'tw
ill b
e a
hard
way
to h
it,-c
an
23. m
ark)
) Q
. F.
26. i
ncar
natio
n) Q
, F; i
near
nall
Qs.
27. b
ut]
Q; o
rs. F
.31
. you
ng r
oan)
Q2
; Whi
ned
Q.,
F.33
. S.D
.) jo
hruo
n; O
M. Q
,F.
heav
ens!
]be
auen
s, Q
, F.
35. c
onfu
sion
s] Q
, F; c
oncl
usio
ns Q
s.37
. Jew
's?)
Qs;
'ew
es. Q
, F.
38. u
p on
] Q
; vpo
n F.
42. B
e) Q
, F; B
y F4
.
35 40
25. r
evis
e yo
ur r
ever
ence
) an
apo
logy
for
an in
delic
ate
rem
ark;
cf.
Han
-ing
-to
n, A
feta
rnor
pher
ir o
f A
jar
(159
6), e
d.18
14, p
p. v
ii-vi
ii: "
old
Tar
lton
was
won
t to
say,
this
sam
e ex
celle
nt w
ord
save
-rev
eren
ce, m
akes
it a
ll m
anne
r-
26. i
scar
natia
t] C
f. M
istr
ess
Qui
ck-
ly's
blu
nder
, 1-1
5,11
.iii.
35 (
so J
Y.C
.S.)
.31
. you
] O
ld G
obbo
cha
nges
to th
em
ore
fam
iliar
"th
ou"
whe
n he
acc
epts
Lau
ncel
ot a
s hi
s so
n (I
. 87)
(so
Fur
-ne
ss).
31-2
.. .
jew
'i] T
he q
uest
ion
islu
dicr
ous,
for
5.0
00 J
ews
coul
d liv
e in
the
Ghe
tto a
t Ven
ice
(cf.
C. R
oth,
tx (
19S3
1, 1
50-2
).34
. sca
t -bl
ed]
purb
lind
; "a
vulg
ar
phra
se f
or it
, as
ston
e -b
lind
is f
or th
ose
who
are
qui
te s
o: L
aunc
elot
fin
ds a
blin
d be
twee
n th
ese,
whi
ch h
e ca
lls-
'gra
vel-
blia
d'"
(Cap
ell)
.hi
gh]
an in
tens
itive
; cf.
"hi
gh g
ood
turn
" (T
it.,1
. i. 3
97).
35. a
mfa
rier
tsj C
f. "
try
conc
lusi
ons"
(Ham
., tit
. iv.
t95)
.38
-41.
Tar
n.
. hou
se]
War
burt
onco
mpa
red
an "
indi
rect
ion"
in T
er-
ence
, Ad:
1phi
,"u
bi e
ar p
rici
er-
ieri
s, f
Ad
sini
stra
m h
ac r
ecta
pla
tes:
ubi a
d D
iane
ven
eris
/ It
o ad
dex
tram
.pr
ius
quam
ad
port
am v
enia
s, ..
."42
. Be
Gad
' : r
ootle
t) B
y G
od's
sai
nts;
prob
ably
fro
m L
sam
tus,
-i,
or o
ldfo
rms
of s
aint
suc
h as
son
t, sa
nt, s
ante
.B
e is
a d
iale
ct f
orm
.
142
38T
HE
ME
RC
HA
NT
OP
VE
NIC
E[A
CT
n
you
tell
me
whe
ther
one
Lau
ncel
otth
at d
wel
ls w
ithhi
m, d
wel
l with
him
or
no ?
Lau
ra. T
alk
you
of y
oung
Mas
ter
Lau
ncel
ot?
[Asi
de.]
Mar
k m
e no
w, n
ow w
ill I
rai
se th
e w
ater
s ;-
talk
you
of y
oung
Mas
ter
Lau
ncel
ot!
Gob
. No
"mas
ter"
sir
, but
a p
oor
man
's s
on,-
his
fath
er(t
houg
h I
say'
t) is
an
hone
st e
xcee
ding
poo
r m
an,
and
(God
be
than
ked)
wel
l to
live.
5oL
aun.
Wel
l, le
t his
fat
her
be w
hat a
will
, we
talk
of
youn
gM
aste
r L
aunc
elot
.G
ob. Y
our
wor
ship
's f
rien
d an
d L
aunc
elot
sir
.L
aun.
But
I p
ray
you
ergo
old
man
, erg
o I
bese
ech
you,
talk
you
of
youn
g M
aste
r L
aunc
elot
.G
ob. O
f L
aunc
elot
an'
t pl
ease
you
r m
aste
rshi
p.L
aun.
Erg
o M
aste
r L
aunc
elot
,-ta
lk n
ot o
fM
aste
rL
aunc
elot
fat
her,
for
the
youn
g ge
ntle
man
(ac
cord
-in
g to
fat
es a
nd d
estin
ies,
and
suc
h od
d sa
ying
s,th
eSi
ster
s T
hree
, and
suc
h br
anch
es o
f le
arni
ng),
is in
-6o
deed
dec
ease
d, o
r as
you
wou
ld s
ay in
pla
in te
rms,
gone
to h
eave
n.G
ob. M
arry
God
for
bid!
the
boy
was
the
very
sta
ff o
f m
yag
e, m
y ve
ry p
rop.
44. n
o?)
Qs;
no.
Q.,
F.45
. Lau
ncel
ot ?
J Q
s; L
aunc
elet
, Q, F
.S.
D.]
aft
erno
w, (
1. 4
6) J
ohns
on; a
m. Q
, F.
47. L
aunc
elot
?) Q
2, F
; Lau
ncel
et. Q
.53
.si
r] Q
; an.
F. 5
5. L
aunc
elot
.) Q
, F; L
aunc
ekt ?
Qs.
63.
for
bid!
) fo
rbid
, Q, F
.
45 55
45. M
aste
r] C
arte
r, a
ric
h ye
oman
,de
clin
es th
e tit
le in
Witc
h of
(pf.
162
1), 1
. ii:
"No
Gen
tlem
an, I
,M
r. T
horn
ey; s
pare
the
Mas
ters
hip,
call
me
by m
y na
me,
Joh
n C
arte
r;M
aste
r is
a ti
tle m
y Fa
ther
, nor
his
befo
re h
im, w
ere
acqu
aint
ed w
ith."
46. w
ater
s) i.
e., t
ears
.5o
. wel
l to
live)
wel
l to
do; c
f. W
int.,
u1. i
ii. 1
25. P
erha
ps o
ld G
obbo
thou
ght
it m
eant
"w
ith e
very
pro
spec
t of
a lo
nglif
e" (
Furn
ess'
par
aphr
ase)
.53
. Tow
Laa
neel
ot]
Stem
com
-pa
red
LL
I.,v
. ii.
574:
"Y
our
serv
ant,
and
Cos
tard
," w
here
Cos
tard
see
ms
tode
prec
ate
the
title
of
Pom
pey
the
grea
t.54
. erg
o] th
eref
ore
(fro
n L
.), T
he
wor
d w
as lu
dicr
ousl
y ov
erw
orke
d;ac
cord
ing
to N
ashe
, Har
vey
was
"acc
usto
med
to m
ake
it th
e Fa
burd
en[o
r re
frai
n) to
ani
e th
ing
her
spak
ehe
was
cal
d no
thin
g bu
t Cab
tiell
Erg
ovp
and
dow
se th
e C
olkd
ge"
(Wks
,M
. 66-
7). C
low
ns f
requ
ently
use
d it
on th
e st
age;
cf.
All'
s W
., t.
iii. 5
3, a
ndE
r., t
v. ii
i. 57
.58
. /si
ker]
a c
omm
on f
orm
of
ad-
dres
s to
an
old
man
; cf.
Lr.
, tv.
vi.
72. 6o
. Sis
ters
77tr
ve]
the
Fate
s. T
hehu
mou
r lie
s pa
rtly
in th
e ta
utol
ogy
ofth
ese
"odd
say
ings
", a
nd p
artly
in th
ein
cong
ruou
s el
evat
ion
of s
tyle
; d. t
hehe
roic
s of
Thi
sbe
(M.N
D.,
v. i.
343
)an
d Pi
stol
(s
K 4
,1t.i
v. 2
13).
sc. u
]T
HE
ME
RC
HA
NT
OF
VE
NIC
E39
Law
s. [
Asi
de.]
Do
I lo
ok li
ke a
cud
gel o
r a
hove
l-po
st, a
65
staf
f, o
r a
prop
?-D
o yo
u kn
ow m
e fa
ther
?G
ob. M
ack
the
day!
I k
now
you
not y
oung
gen
tlem
an,
but I
pra
y yo
u te
ll m
e, is
my
boy
(God
res
t his
sou
l)al
ive
or d
ead?
Law
/. D
o yo
u no
t kno
w m
e fa
ther
?G
ob. M
ack
sir
I am
san
d-bl
ind,
I k
now
you
not.
Lam
. Nay
, ind
eed
if y
ou h
adyo
ur e
yes
you
mig
ht f
ail o
fth
e kn
owin
g m
e: it
is a
wis
e fa
ther
that
kno
ws
his
own
child
. Wel
l, ol
d m
an, I
will
tell
you
new
s of
you
rso
n,-[
Kne
els.
] gi
ve m
e yo
ur b
less
ing,
-tru
th w
illco
me
to li
ght,
mur
der
cann
ot b
e hi
d lo
ng, a
man
'sso
n m
ay, b
ut in
the
end
trut
h w
ill o
ut.
Gob
. Pra
y yo
u si
r st
and
up, I
am
sur
e yo
u ar
e no
t Lau
n-ce
lot m
y bo
y.L
ines
. Pra
y yo
u le
t's h
ave
no m
ore
fool
ing
abou
t it,
but
8ogi
ve m
e yo
ur b
less
ing:
I a
m L
aunc
elot
you
r bo
y th
atw
as, y
our
son
that
is, y
our
child
that
sha
ll be
.G
ob. I
can
not t
hink
you
are
my
son.
Lam
s. I
kno
w n
ot w
hat I
sha
ll th
ink
of th
at: b
ut I
amL
aunc
elot
the
Jew
's m
an, a
nd I
am
sur
e M
arge
ryyo
ur w
ife
is m
y m
othe
r.G
ob. H
er n
ame
is M
arge
ry in
deed
,-Il
l be
swor
n if
thou
be L
aunc
elot
, tho
u ar
t min
e ow
n fl
esh
and
bloo
d:
40T
HE
ME
RC
HA
NT
OF
VE
NIC
E[A
CT
Lor
d w
ossh
ipp'
d m
ight
heb
e, w
hata
bea
rd h
ast t
hou
got !
thou
haf
t got
mor
e ha
ir o
n th
y ch
in, t
han
Dob
-bi
n m
y fi
ll -h
orse
has
on
his
tail.
Lam
. It s
houl
d se
em th
en th
at D
obbi
n's
tail
grow
s ba
ck-
war
d. I
am
sur
e he
bad
mor
e ha
ir o
f hi
s ta
il th
an I
70ha
ve o
f my
face
whe
n I
last
saw
him
.G
ob. L
ord
how
art
thou
cha
ng'd
! H
ow d
olt t
hou
and
thy
mas
ter
agre
e? I
hav
e br
ough
t him
apr
esen
t; ho
w'g
rec
you
now
?L
ax. W
ell,
wel
l, bu
t for
min
eow
n pa
rt, a
s I
have
set
up
75m
y re
st to
run
aw
ay, s
o I
will
not
res
t till
I h
ave
run
som
e gr
ound
; my
mas
ter's
ave
ry J
ew,-
give
him
a 1
00pr
esen
t? g
ive
him
a h
alte
r !-
I am
fam
ish'
d in
his
serv
ice-
You
may
tell
ever
y fi
nger
I h
ave
with
my
ribs
: fat
her
I am
gla
dyo
u ar
e co
me,
giv
e m
e yo
urpr
esen
t to
one
Mas
ter
Bas
sani
o, w
ho in
deed
giv
esra
re n
ew li
veri
es,-
if I
ser
ve n
ot h
im, I
will
run
as
105
far
as G
od h
asan
y gr
ound
. 0 r
are
fort
une!
her
e
go. g
ot!]
got
; Q, F
.9z
. fill
-ho
ne]
Pate
(ii)
; plu
lhor
se Q
, F; T
hlll-
hors
eT
hesd
aid.
93. o
f hi
s] Q
, F; o
n hi
s R
ome.
94. h
ave]
Q, F
; had
Jol
we.
85of
my]
Q, F
; on
tiny
F.y.
last
] Q
2; lo
st Q
, F.
95. c
hang
'dds
angd
: Q
., F.
g6. a
gree
?]
Qr;
agr
ee, Q
, F.
tot.
pres
ent?
... h
alte
r!)
pres
ent,
... h
alte
r,Q
, F.
to6.
for
tune
!) f
ortu
ne, Q
, F.
90 95
65. S
.D.]
Col
lier;
ern
. Q, F
.66
. pop
?) p
rop:
Q, F
.yo
u] Q
, F; y
ou n
otD
ace
(ii)
.fa
ther
?)
Fath
er. Q
., F.
67. d
ay!]
day
, Q.,
F.68
. God
) F;
GO
D Q
, Qr.
6g. d
ad ?
] de
ad. Q
, F.
r. f
athe
r?]
Qr;
Fat
her.
Q, F
.75
_ S.
D.]
Col
lier;
on.
Q, F
.76
. mur
der)
F; =
oder
Q; M
urth
er Q
s.80
.fo
otin
g) Q
r, F
; foo
ling,
Q.
73-4
. it .
.. c
hild
) pr
over
bial
, but
usua
lly tr
ansp
osed
(cf
. Till
ey, 3
09).
75. g
ive
.. M
eatu
s(]
Hen
ley
(Var
.'7
8) s
aw a
llusi
ons
to th
e de
cept
ion
prac
tised
on
the
blin
dnes
s of
Isa
ac; d
the
reos
gniti
on b
y fe
elin
g L
atm
cdot
'sha
ir.
75-6
. bot
h . .
. lo
ng)
two
prov
erbs
(cf.
. Till
ey, 1
4113
t5 s
od T
i).
59T
hey
are
com
bine
d in
Kyd
, Spa
nish
Tra
gedy
(t 5
94),
tit.
vi. 5
8-6o
: "T
he b
eaue
ns a
re,m
urde
r ca
nnot
be
hid:
/ T
ime
isth
e au
thor
bot
h of
trut
h an
d ri
ght,
I
And
tim
e w
ill b
ring
this
trec
heri
e to
light
."80
. foo
ling)
Q's
com
ma
mig
ht in
di-
cate
that
dis
at it
sho
uld
be s
poke
nso
tto w
ax in
par
enth
esis
; Lau
ncel
otal
low
him
self
the
free
dom
of
fool
ing
abou
t eve
ryth
ing
else
.82
. dad
...L
atm
cdot
pro
babl
yjo
kes
on th
e id
ea o
f "s
econ
dch
ild-
hood
" is
old
age
, or
ehe
he m
eans
that
his
duty
to h
is f
athe
r sh
all,
for
the
futu
re, '
thew
him
so
be h
is c
hlld
(so
Stev
er).
..
144
8g. L
ord
.L
ord
is a
n =
dam
n-tio
o, a
nd u
sari
ltifr
p'd
snic
ks h
e he
n ph
rase
used
to a
void
irre
vere
nce
(so
Pool
er).
wha
t a b
eard
) St
age
trad
ition
mak
esO
ld G
obbo
fee
l the
bac
k of
his
son
'she
ad, a
nd m
ista
ke th
e lo
ng h
air
for
abe
ard
(so
Stau
nton
).92
. fill
-ho
rse]
a h
orse
whi
ch d
raw
s in
the
"fill
s", o
r sh
afts
; cf
. Tro
iL, n
t. ii.
48.
Ano
ther
for
m w
as "
dulls
".92
-3. b
ackw
ard)
i.e.
, sho
rter
, with
apo
ssib
le r
efer
ence
to th
e po
sitio
n of
Lau
ncel
ot's
"be
ard"
(cf
. 1. 8
9, n
ote;
so P
oole
r).
g8-g
. set
..
. res
t] d
eter
min
ed; t
heph
rase
ori
gina
ted
in a
car
d ga
me
c*lk
d Pr
imer
o, w
here
it m
eans
to v
en-
ture
one
's f
inal
sta
ke o
r re
serv
e (s
oO
.E.D
.). T
his
is il
lust
rate
d in
En.
, rv.
iii. 2
7. T
he p
un o
n ra
t, w
hich
Lau
nce-
lot m
akes
exp
licit,
is r
einf
orce
d by
i";'
,
3r;
uL
,oc
,i-
anot
her
use
of th
e ph
rase
, unc
onne
ct-
ed w
ith g
amin
g, in
the
sens
e of
take
up
one'
s ab
ode;
so
Lod
ge, R
osal
yn&
0590
, ed.
W. W
. Gre
g (1
907)
. P. 5
1:"A
lien*
res
olve
d th
ere
to s
et u
p he
rre
st, .
.. an
d so
bec
ame
mis
tres
s of
the
farm
." S
ee a
lso
Ram
., v.
iii.
I to
, and
Lr.
, 1. i
. 125
whe
re b
oth
sens
es m
ay b
eim
plie
d.to
o. v
ery]
in th
e fu
llest
sen
se.
102.
Wag
.] "
The
Q. p
erio
d de
-no
tes
stag
e-bu
rine
n; p
roba
bly
the
trad
ition
al a
ctio
n by
whi
ch L
a[u]
nce-
lot s
eize
s hi
s fa
ther
's h
and
and
brin
gsit
into
con
tact
with
the
fing
ers
of h
isow
n le
ft b
and
whi
ch a
re e
xten
ded
rib-
like
over
his
che
st"
(X.C
.S.)
.to
3. w
ee)
ethi
c da
tive.
105-
6. a
rfer
... g
roun
d) p
rove
rbia
l;Po
oler
com
pare
d R
sr,
1. i
ii. 2
51-2
: "I
will
rid
e, /
As
far
as la
nd w
ill le
t me.
"
145
(Exi
tW
AT
ER
MA
N)
I.O
RY So
. Now
, sir
, I h
ope
you'
ll ow
n yo
urse
lf a
happ
y m
an, y
ouha
ve o
utliv
ed a
ll yo
urca
res.
FASI
I IO
N
How
so,
sir?
I.O
RY Why
, you
hav
e no
thin
g le
ft to
take
car
e of
.
35
FASH
ION
Yes
, Sir
rall,
I hav
e m
ysel
f and
you
to ta
ke c
afe
ofSn
itL
OR
Y../
Sir,
if y
ou c
ould
but
prev
ail w
ith s
omeb
ody
else
to d
o th
at fo
rof
t, I f
ancy
we
mig
ht b
oth
fare
the
bette
r fo
r't.
40
FASH
ION
Why
, if t
hou
cans
t tel
l me
whe
re to
app
ly m
ysel
f, I
have
at
pres
ent s
o lit
tle m
oney
and
so
muc
h hu
mili
tyab
out m
e, I
don'
t kno
w b
ut I
may
follo
w a
fool
's a
dvic
e.L
OR
Y Why
then
, sir,
you
r fo
ol a
dvis
es y
ou to
lay
asid
e al
l ani
mos
ity,
and
appl
y to
Sir
Nov
elty
, yot
ir el
der
brot
her.
45
FASH
ION
Dam
n m
y el
der
brot
her!
LO
RY With
all
my
hear
t; bu
t get
him
to r
edee
m y
our
annu
ity,
how
ever
.FA
SHIO
NM
y an
nuity
! 'S
deat
h, h
e's
such
a d
og, h
e w
ould
not
give
his
pow
der-
puff
to r
edee
m m
y so
ul.
50
LO
RY Lo
ok y
ou, s
ir, y
ou m
ust w
heed
le h
im, o
r yo
u m
ust s
tarv
e.FA
SHIO
NLo
ok y
ou, s
ir, I
will
nei
ther
whe
edle
him
, nor
sta
rve.
LO
RY Why
, wha
t will
you
do
then
?FA
SHIO
N go in
to th
e ar
my.
LO
RY You
can
't ta
ke th
e oa
ths;
you
are
a J
acob
ite.
55
FASH
ION
Tho
u m
ay's
t as
wel
l say
I ca
n't t
ake
orde
rs b
ecau
se I'
m a
nat
heis
t.L
OR
Y Sir,
I as
k yo
ur p
ardo
n; I
find
I-di
d no
t kno
w th
e st
reng
thof
your
con
scie
nce
so w
ell a
s I d
id th
ew
eakn
ess
of y
our
purs
e.FA
SHIO
NM
ethi
nks,
sir,
a p
erso
n of
you
r ex
perie
nce
shou
ldha
ve60
know
n th
at th
e st
reng
th o
f the
con
scie
nce
proc
eeds
from
the
wea
knes
s of
the
purs
e.
50 p
owde
r pu
ff fo
r th
e w
ig, n
ot th
e fa
ce55
Jac
obite
supp
orte
r of
Jam
es1
4 6
JOlIN
VA
NII
ILl 4
34(A
' I
LO
RY Sir,
1 a
m %
cry
glad
to fi
nd y
ou h
ave
a co
nsci
ence
abl
e to
takc
care
of u
s, le
t it p
i occ
ed fr
om w
hat i
t%
vitt;
but
I de
sire
you
'llpl
ease
to c
onsi
der,
that
the
arm
y al
one
will
be
but a
sca
nt65
mai
nten
ance
for
a pe
rson
of y
our
gene
rosi
ty (
at le
ast a
s re
nts
now
are
pai
d).
I sha
ll se
e yo
u st
and
in d
amna
ble
need
of
som
e au
xilia
ry g
uine
as fo
r yo
ur m
enus
plai
sirs
;1
will
ther
e-fo
re tu
rn fo
ol o
nce
mor
e fo
r yo
ur s
ervi
ce, a
nd a
dvis
e yo
u to
go d
irect
ly to
you
r br
othe
r.70
FASH
ION
Art
thou
then
so
impr
egna
ble
a bl
ockh
ead,
to b
elie
vehe
'llhe
lp m
e w
ith a
fart
hing
?L
OR
I' Not
if v
on ti
eat
him
de h
aut e
n ba
s,as
you
use
to d
o.FA
SHIO
NW
hy, h
ow w
ould
st h
ave
me
trea
t him
?L
OR
I' Like
a tr
out-
tick
le h
im.
75
FASH
ION
IC
an't
flatte
r.w
ay Can
you
sta
rve?
FASH
ION
Yes
.L
OR
Y can'
t. G
ood-
bye
eye,
sir
(Goi
ng)
FASH
ION
Sta
y; th
ou w
ilt d
istr
act m
e! W
hat w
ould
st th
ou h
ave
me
say
$0
to h
im?
LO
RY Say
not
hing
to h
im, a
pply
you
rsel
f to
his
favo
urite
s,sp
eak
to h
is p
eriw
ig, h
is c
rava
t, hi
s fe
athe
r, h
is s
nuff
-box
, and
whe
nyo
u ar
e w
ell w
ith th
emde
sire
him
to le
nd y
ou a
thou
sand
poun
ds. I
'll e
ngag
e yo
u pr
ospe
r.85
FASH
ION
'Sde
ath
and
furie
s! W
hy w
as th
at c
oxco
mb
thru
st in
to th
ew
orld
bef
ore
me?
0 F
ortu
ne! F
ortu
ne!th
ou a
rt a
bitc
h, b
yG
ad.
(Exe
unt)
66 r
ents
pay
, or
sala
ry68
you
r M
OM
S y
ou m
enu
(Q1)
: Mel
lift p
laui
rs tr
iflin
g pl
easu
res 14
7
28JO
HN
VA
NB
RU
GH
(AC
T I
FA
SH
ION
And
how
the
devi
l wilt
thou
do
that
?C
OU
PLE
RW
ithou
t the
dev
il's
aid,
I w
arra
nt th
ee. T
hy b
roth
er's
fac
eno
t one
of
the
fam
ily e
ver
saw
; the
who
le b
usin
ess
has
been
man
aged
by
me,
and
all
the
lette
rs g
o th
roug
h m
y ha
nds.
The
last
that
was
wri
t to
Sir
Tun
belly
Clu
mse
y (f
or th
at's
the
old
gent
lem
an's
nam
e), w
as to
tell
him
, his
lord
ship
wou
ld b
e do
wn
in a
for
tnig
ht to
con
sum
mat
e. N
ow, y
oush
all g
o aw
ay im
med
iate
ly, p
rete
nd y
ou w
rit t
hat l
ette
r on
lyto
hav
e th
e ro
man
tic p
leas
ure
of s
urpr
isin
g yo
urm
istr
ess;
fall
desp
erat
ely
in lo
ve a
s so
on a
s yo
u se
e he
r; m
ake
that
your
ple
a fo
r m
arry
ing
her
imm
edia
tely
, and
, whe
n th
efa
tigue
of
the
wed
ding
-nig
ht's
ove
r, y
ou s
hall
send
me
asw
ingi
ng p
urse
of
gold
, you
dog
you
.F
AS
HIO
NE
gad,
old
dad,
I'll
put
my
hand
in th
y bo
som
now
.COUPLER
Ah,
you
you
ng h
ot lu
sty
thie
f, le
t me
muz
zle
you
i (K
issi
ng)
265
Sir
rah,
let m
e m
uzzl
e yo
u.F
AS
HIO
N(A
side
)P'
sha,
the
old
lech
er!
COUPLER
Wel
l; I'l
l war
rant
thou
bas
t not
a f
arth
ing
ti m
oney
in th
ypo
cket
now
; no,
one
may
see
it in
thy
face
.F
AS
H IO
NN
ota
sous
e,by
Jup
iter!
COUPLER
Mus
tI
adva
nce
then
? W
ell,
sirr
ah, b
e at
my
lodg
ings
in h
alf
an h
our,
and
see
wha
t may
be
done
; we'
ll si
gn, a
nd s
eal,
and
eat a
pul
let,
and
whe
n I
have
giv
en th
ee s
ome
fart
her
inst
ruct
ions
, tho
u sh
alt h
oist
sai
l and
be
gone
. (K
issi
ng)
roth
er b
uss,
and
so
adie
u.F
AS
HIO
NU
MI
P'sh
a!C
OU
PLE
RA
h, y
ou y
oung
war
m d
og y
ou, w
hat a
del
icio
us n
ight
will
the
brid
e ha
ve o
n't.
(Exi
tCOUPLER)
FA
SH
ION
So, L
ory;
Pro
vide
nce,
thou
see
st a
t las
t, ta
kes
care
of
men
of
mer
it; w
e ar
e in
a f
air
way
to b
e gr
eat p
eopl
e.
257
fort
nigh
t (C
E)
fnrt
hnig
ht (
Q1)
270
mut
e In
u
SCENE III)
TH
E R
EL
APS
E29
LORY Ay,
sir
, if
the
devi
ldo
n't s
tep
betw
een
the
cup
and
the
lip,
as h
e us
es to
do.
FA
SH
ION
Why
, fai
th, h
e ha
s pl
ayed
me
man
ya
dam
ned
tric
k to
spoi
l
my
fort
une,
and
egad
I'm
alm
ost a
frai
dhe
's a
t wor
k ab
out
255
it ag
ain
now
; but
if I
shou
ld te
ll th
ee h
ow, t
hou'
dstw
onde
r 28
5
at m
e.LO
RY Inde
ed, s
ir, I
sho
uld
not.
FASH
ION
260
How
dos
t kno
w?
LORY Bec
ause
, sir
, I h
ave
won
dere
dat
you
no
mor
e.F
AS
HIO
NN
o? w
hat w
ould
st th
ou s
ayif
spcd
m.y
.-de
cigi
a2-
LORY I w
ould
eat
my
wor
ds,
and
won
der
mor
e th
an e
ver.
FASH
ION
Why
, fai
th, L
ory,
thou
ghI
am a
you
ng r
ake-
hell,
and
have
play
ed m
any
a ro
guis
htr
ick,
this
is s
oyo
ung
a ch
eat,
I29
5
find
I m
ust t
ake
pain
s to
com
e up
to't,
I h
ave
scru
ples
LORY The
y ar
e st
rong
sym
ptom
sof
dea
th; i
f yo
u fi
nd th
eyin
-
270
crea
se, p
ray,
sir
,m
ake
your
will
.FA
SHIO
NN
o, m
y co
nsci
ence
sha
n't s
tarv
em
e ne
ither
. But
thus
far
I w
ill h
eark
en to
it,b
efor
e I
exec
ute
this
pro
ject
.I
will
try
300
my
brot
her
toth
e bo
ttom
, I'll
spe
ak to
him
with
the
tem
per
of a
phi
loso
pher
; my
reas
ons
(tho
ugh
they
pre
ss h
im h
ome)
275
shal
l yet
be
clot
hed
with
so
muc
h m
odes
ty, n
ot o
neof
all
the
trut
hs th
ey u
rge
shal
l be
so n
aked
to o
ffen
dhi
s si
ght.
If
he h
as y
et s
o m
uch
hum
anity
abo
ut h
im a
s to
assi
st m
e 30
5(t
6ugh
with
a m
oder
ate
aid)
, I'll
drop
my
proj
ect a
t his
feeL
and
show
him
I c
an d
ofo
r hi
m m
uch
mor
e th
anw
hat I
ask
he'd
do
for
me.
Thi
s on
eco
nclu
sive
tria
l of
him
I r
esol
ve
to m
ake
Succ
eed
or n
o, s
till v
icto
ry's
my
lot;
280
If I
sub
due
his
hear
t,'ti
s w
ell-
if n
ot
148
at y
ou s
o of
ten,
I ca
n w
onde
r
a qu
alm
ofc
onsc
ienc
e sh
ould
290
shal
l sub
due
my
cons
cien
ce to
my
plot
. (Exe
unt)
310
149
-1 AC4 'Ti, TICUt vi4e1
WRITING ASSIGNMENTS
1. Write a short story or poem using words from the vocabulary list in the study guidefor this play.
2. Choose a character in this play and write an entry for his or her diary, dealing withsome events in the play.
3. Write an inner monologue for any of the characters of The Way of the World, revealinghis/her innermost thoughts, e.g., what Mirabell really thinks about Fainall, Witwoud, andPetulant, or how he feels when he sees Millamant.
4. Pretend you are one of the characters from the play. Write a letter to a friend aboutwhat is happening to you. Or, write to one of the characters you don't speak to onstage.
5. Write a paper comparing any two characters from The Way of the World.
6. Write a sequel to The Way of the World.
7. Write a script for the story of Little Red Riding Hood (another fairy tale or fablewould also do) in the style of William Congreve. Have your script acted out in front ofthe class.
8. "Conflict" in a narrative arises from a problem; defining it attempts to put in generalterms the nature of the struggle of the narrative's story. Be alert to the nature of thestruggle in The Way of the World. Prepare by recalling stories that show a struggle of each
of these three types: Man vs. Nature, Man vs. Society, Man vs. Himself. Write a paperanalyzing one of these conflicts in The Way of the World.
9. Write an essay analyzing a central theme presented in The Way of the World.
10. Write a short story based on one of the themes in The Way of the World.
11. Write a review of the HTC production of The Way of the World. Have it published inyour school newspaper. Be sure to send us a copy.
-9-
150
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