Kentucky Shakespeare Presents
Boy Meets Girl
Meets Shakespeare
Study Guide
Grades 4 - 12
Kentucky Shakespeare
323 West Broadway, Suite 401
Louisville, KY 40202
Office 502-574-9900
Fax 502-566-9200
[email protected]
www.kyshakespeare.com
Dear Educator,
Thank you for choosing Kentucky Shakespeare
to enrich your students’ lives with Art Education!
We know that the arts are essential to a child’s
educational experience and development. It is our
object to keep the arts alive and thriving in our
schools and communities.
This comprehensive Study Guide includes essential
background information on the Bard and his life,
his written works, pre/post performance activities,
and a list of applicable Common Core Standards
that are met with this performance. While
giving additional arts related experiences, these
teacher-led activities are intended to broaden
students’ understanding of the play as well as how
Shakespeare can relate to our own lives.
Please contact us with any questions or need for
further assistance. Thank you for supporting the
Commonwealth’s largest in-school arts provider
and the United States’ oldest, free Shakespeare
festival!
All Our Best to You,
Kyle Ware Hannah Pruitt
Director of Education
Education Programs
Manager
Table of Contents
• Synopsis……………………..….…Page 3
• William Shakespeare..............Page 4
• Shakespeare’s Plays................Page 5
• Vocabulary...........................……Page 6
• Plot.................................................Page 7
• Director’s Questions........……Page 8
• The Tempest.........................……Page 9
• Macbeth........................................Page 11
• Romeo & Juliet............................Page 13
• Links & Resources....................Page 16
Common Core Standards
RL.4-12.1
RL.4-12.3
RL.4-12.5
RL.4-8.7 RL.4-12.2 RL.4-12.4 RL.5-12.6
RL.7-10.9
L.4-5.1 L.4-12.3
L.6-12.5
L 4-5.2
L.6-12.4
L.4-5.6
SL.4-12.1 SL.4-5, 9-12.3 SL.6-12.6
SL.4-5.2
SL.6-12.4
2
Boy Meets Girl Synopsis
This one hour interactive performance workshop explorers three scenes from three different
Shakespearean plays cushioned on all sides with guided instruction and interactive discussion
between students and our Artist Educators. This year we will be focusing on scenes from The
Tempest, Romeo & Juliet, and Macbeth. Boy Meets Girl emphasizes conflict resolution, interpersonal
relationships, and imagination!
How can you prepare your class?
• Creating an environment conducive to intimate interaction with your students, including a performance space for the actors
• Ensuring that your students have completed at least one exercise in this guide
• Reading through all of the scenes before the performance
What we recommend for the space:
• Seating the students on chairs or on bleachers
• Using activities from our study guides. They are fun, enhance learning, and allow students to
make the most of their experiences
3
William Shakespeare
(April 23, 1564 – April 23, 1616)
His Life
• Born and raised in Stratford-upon-Avon
• Attended grammar school in central Stratford
where he learned Latin, grammar, and literature
• Married Anne Hathaway at the age of 18 and had
three children: Susanna and twins Hamnet and
Judith
• Between 1585 and 1592, he began a successful
career in London as an actor, writer, and part owner
of the playing company the Lord Chamberlain’s
Men, later known as the King’s Men
• Appears to have retired to Stratford around 1613,
where he died three years later
His Works
• An English poet and playwright widely regarded as
the greatest writer in the English language and the
world’s preeminent dramatist
• Often called England’s national poet and the “Bard of
Avon” (or simply “The Bard”)
• His surviving works consist 38 plays, 154 sonnets,
two long narrative poems, and several poems
• Plays have been translated into every major living
language and are performed more than those of any
other playwright
• Few records of his private life survive and there has
been considerable speculation about his religious
beliefs and whether the works attributed to him
were written by others
• Produced most of his known work between 1590
and 1613
• Early plays were comedies and histories, genres
he raised to the peak of style and artistry
• Next, he wrote primarily tragedies until about
1608, including Hamlet and Macbeth
• Lastly, he wrote tragicomedies also known as
romances and collaborated with other playwrights
• In 1623, two of his former theatrical colleagues published the First Folio, a collected edition of his
dramatic works that included all but two of the
plays now recognized as Shakespeare’s
• Reputation did not rise to its present heights until
the nineteenth century
William Shakespeare
The Original Globe Theatre circa 1612
4
Shakespeare’s Three Styles of Plays
Tragedy
Shakespearean tragedies were formulaic in style and
used traditional conventions. These tenets included:
• A hero(ine) who seeks to avenge a crime committed
against a family member or a personal injustice
• A tragic character whose own flaw leads to their
downfall
• An end that contains a revelation of self-knowledge by
the tragic hero about how his own frailty brought on his
and others’ downfall
Antony and Cleopatra, Coriolanus, Hamlet, Julius Caesar, King Lear,
Macbeth, Othello, Romeo & Juliet, Timon of Athens, Titus Andronicus
Comedy
“Comedy” in its Elizabethan usage had a very different meaning from
modern comedy. A Shakespearean comedy is one that has a happy
ending, usually involving marriage for all the unmarried characters,
and a tone and style that is more lighthearted than Shakespeare’s other
plays. Shakespearean comedies tend to have:
• A struggle of young lovers to overcome difficulty that is often
presented by elders
• Separation and unification
• Mistaken identities
• A clever servant
• Heightened tensions, often within a family
• Multiple, intertwining plots
• Frequent use of puns
All’s Well That Ends Well, As You Like It, The Comedy of Errors, Cymbeline, Love’s Labours
Lost, Measure for Measure, The Merry Wives of Windsor, The Merchant of Venice, A
Midsummer Night’s Dream, Much Ado About Nothing, Pericles- Prince of Tyre, Taming of
the Shrew, The Tempest, Troilus and Cressida, Twelfth Night, Two Gentleman of Verona,
Winter’s Tale
History
Shakespeare’s “history” plays are those plays based
on the lives of English kings and brought massive
audiences to the theatre. It is important to keep in mind
that these plays are based only loosely on historical
figures rather than actual events in history. The 10
plays that are categorized as histories cover English
history from the twelfth to the sixteenth century
particularly 1399-1485. The histories usually include
elements of comedy and tragedy.
King John, Richard II, Henry IV Parts I and II, Henry V, Henry VI Parts
I, II and III, Richard III, Henry VIII
5
BASIC THEATRE VOCABULARY
ACTOR- Individual who pretends to be a character in a play; who represents a character in a play.
BLOCKING- The pattern of movement the actors follow while on stage.
CHARACTERS- The personalities or parts actors become in a play; roles played by actors in a play.
CLIMAX- The point of highest dramatic tension or a major turning point in the action of a play.
CONFLICT- The opposition of persons, forces, or ideas that gives rise to the dramatic action.
COSTUMES- The clothing worn by the actors to play the characters.
DIALOGUE- The words spoken by the actors during a play.
EMPATHY- The capacity to relate to the feelings of another.
EXPOSITION The part of a play that introduces the theme, main characters, and circumstances.
FALLING ACTION- The action after the climax of the plot.
INTERPRETATION- To explain or tell the meaning of something; to present in understandable
terms.
MONOLOGUE- A speech made by a single character; often when a character is “thinking out loud.”
MOTIVATION- An incentive or an inducement for further action for a character.
PLAYWRIGHT- The individual who writes a play.
PLOT- What happens in a play; the order of events, the story as opposed to the theme; what
happens rather than what it means.
RESOLUTION- The solution to the problem after the climax in a play.
RISING ACTION- The portion of the play from the beginning to the climax, where the action
increases in intensity and excitement.
ROLE- Part/ character/ person written by a playwright.
SCRIPT- The play in written form.
STAGE- The area where the actors perform the play.
THEME- What the play means as opposed to what happens; the main idea or message within the
play.
TURNING POINT- The moment in a play when events can go either way; the moment of decision;
the crisis.
6
Dramatic Structure of a Play’s Plot
Freytag’s Pyramid
Freytag’s Pyramid illustrates the five parts of the classic dramatic plot: exposition, rising action,
climax, falling action, and resolution. This pattern was suggested by Gustav Freytag in 1863 as
means to explain the plot of many works such Shakespeare’s collection.
Please use the vocabulary from the previous page for your students to fill out their own Plot
Diagram for the plays in Boy Meets Girl.
An example for Macbeth is provided below:
7
Director’s Questions
Shakespeare used very few stage directions, which are clues in the script for the actors and
director to follow during productions. An example would be, “Actor crosses downstage right
to table.” The way that Shakespeare handled stage directions is that he left clues about the
characters and scenery in the lines of the play.
Choose a scene from the performance of Boy Meets Girl Meets Shakespeare, read it aloud, and use
the Director’s Questions below to explore the possibilities of the text. Based on your discoveries
from the Director’s Questions, make decisions about what the set, scenery, and costumes might
look like.
DIRECTOR’S QUESTIONS
1. WHO AM I?
How old am I? Am I rich or poor?
What is my job? Am I in school?
What is my family like? Where am I from (country, state, etc.)?
Am I nice? Funny? Smart? Mean? What is my personality?
2. WHERE AM I?
County - State - City - Neighborhood - Building - Room
What does the place look like? Do I like it or not?
3. WHAT TIME IS IT?
Century - Year - Month - Week - Day - Time
4. WHAT ARE YOUR RELATIONSHIPS IN THE SCENE?
People in the scene?
People mentioned in the scene?
The place where I am?
The objects around me?
5. WHAT IS WRONG IN THIS SCENE? IS THERE A PROBLEM? A CONFLICT?
6. WHAT DO I WANT IN THIS SCENE? WHY CAN’T I HAVE IT?
7. WHAT DO I NEED TO DO TO GET WHAT I WANT?
8
The Tempest
A comedy written late in Shakespeare’s life about an exiled duke and his daughter, Prospero and
Miranda, on a magical island. Many scholars liken Shakespeare himself to his character, Prospero.
After twelve long years in exile on the island, Prospero is able to magically summon a great storm
to shipwreck a boat full of people from his past- his evil brother, his king, the king’s son, and more.
In a series of events, Prospero is able to prove that his brother wrongfully usurped his position,
regain his position, and set up a marriage between his daughter and the king’s son, Ferdinand.
This scene from The Tempest in BOY MEETS GIRL, Miranda comes upon Ferdinand as he is
undertaking work that Prospero has tasked him to complete. They declare their love for one
another and Miranda becomes troubled to fall in love so quickly with the first man other than her
father that she has ever encountered.
Pre-Activity
Post-Activity
An added element to this scene that will not be
in the performance is that the audience is able
to see Prospero watch this scene in secrecy. As
the audience learns, Prospero is setting up this
match between the two young people. How
would this addition alter your opinion of this
scene?
Form an argument based on whether or not you
believe that Ferdinand and Miranda truly were
able to fall in love at first sight. What character
traits and details can you pull from this scene to
support your argument?
9
The Tempest
ACT III SCENE I. Before PROSPERO’S Cell.
Enter FERDINAND, bearing a log
FERDINAND
There be some sports are painful, and their labour
Delight in them sets off: some kinds of baseness
Are nobly undergone and most poor matters
Point to rich ends. This my mean task
Would be as heavy to me as odious, but
The mistress which I serve quickens what’s dead
And makes my labours pleasures: O, she is
Ten times more gentle than her father’s crabbed,
And he’s composed of harshness. I must remove
Some thousands of these logs and pile them up,
Upon a sore injunction: my sweet mistress
Weeps when she sees me work, and says, such baseness
Had never like executor. I forget:
But these sweet thoughts do even refresh my labours,
Most busy lest, when I do it.
Enter MIRANDA
MIRANDA
Alas, now, pray you,
Work not so hard: I would the lightning had
Burnt up those logs that you are enjoin’d to pile!
Pray, set it down and rest you: when this burns,
‘Twill weep for having wearied you. My father
Is hard at study; pray now, rest yourself;
He’s safe for these three hours.
FERDINAND
O most dear mistress,
The sun will set before I shall discharge
What I must strive to do.
MIRANDA
If you’ll sit down,
I’ll bear your logs the while: pray, give me that;
I’ll carry it to the pile.
FERDINAND
No, precious creature;
I had rather crack my sinews, break my back,
Than you should such dishonour undergo,
While I sit lazy by.
MIRANDA
It would become me
As well as it does you: and I should do it
With much more ease; for my good will is to it,
And yours it is against.
You look wearily.
FERDINAND
No, noble mistress;’tis fresh morning with me
When you are by at night. I do beseech you-Chiefly that I might set it in my prayers-What is your name?
MIRANDA
Miranda.--O my father,
I have broke your hest to say so!
FERDINAND
Admired Miranda!
Indeed the top of admiration! worth
What’s dearest to the world! Full many a lady
I have eyed with best regard and many a time
The harmony of their tongues hath into bondage
Brought my too diligent ear: for several virtues
Have I liked several women; never any
With so fun soul, but some defect in her
Did quarrel with the noblest grace she owed
And put it to the foil: but you, O you,
So perfect and so peerless, are created
Of every creature’s best!
MIRANDA
I do not know
One of my sex; no woman’s face remember,
Save, from my glass, mine own; nor have I seen
More that I may call men than you, good friend,
And my dear father: how features are abroad,
I am skilless of; but, by my modesty,
The jewel in my dower, I would not wish
Any companion in the world but you,
Nor can imagination form a shape,
Besides yourself, to like of. But I prattle
Something too wildly and my father’s precepts
I therein do forget.
FERDINAND
I am in my condition
A prince, Miranda; I do think, a king;
I would, not so!--and would no more endure
This wooden slavery than to suffer
The flesh-fly blow my mouth. Hear my soul speak:
The very instant that I saw you, did
My heart fly to your service; there resides,
To make me slave to it; and for your sake
Am I this patient log--man.
MIRANDA
Do you love me?
FERDINAND
O heaven, O earth! I
Beyond all limit of what else i’ the world
Do love, prize, honour you.
MIRANDA
I am a fool
To weep at what I am glad of.
FERDINAND
Wherefore weep you?
MIRANDA
At mine unworthiness that dare not offer
What I desire to give, and much less take
What I shall die to want. But this is trifling;
And all the more it seeks to hide itself,
The bigger bulk it shows. Hence, bashful cunning!
And prompt me, plain and holy innocence!
I am your wife, if you will marry me;
If not, I’ll die your maid: to be your fellow
You may deny me; but I’ll be your servant,
Whether you will or no.
FERDINAND
My mistress, dearest;
And I thus humble ever.
MIRANDA
My husband, then?
FERDINAND
Ay, with a heart as willing
As bondage e’er of freedom: here’s my hand.
MIRANDA
And mine, with my heart in’t; and now farewell
Till half an hour hence.
FERDINAND
A thousand thousand!
Exeunt FERDINAND and MIRANDA severally
10
Macbeth
One of Shakespeare’s greatest tragedies that is set in Scotland and where three witches prophesy
that Macbeth will become a great leader among their people and a “king hereafter.” Excited by this
prophesy, Macbeth writes a letter to his wife, and she immediately decides that it must come true.
When Macbeth returns home from a triumph on the battlefield, he and his wife plan to murder the
king, Duncan, on his next visit to their castle.
In the scene from BOY MEETS GIRL, Macbeth has second thoughts about the plan to murder his
king. As he is debating the consequences of his actions, he leaves the dining room and his guests.
Lady Macbeth follows him and convinces him that he must kill Duncan that very night.
Pre-Activity
Post-Activity
Macbeth bases his actions on a prophesy of the
future. Why or why not is this a good plan of
action for a leader? What makes a good leader?
Would Macbeth make a good king?
Discuss how Lady Macbeth is able to convince
Macbeth to commit murder. What tactics does
she use? What kind of relationship do these
two have? How were you able to figure out this
relationship from the actors’ performance?
11
Macbeth
ACT I SCENE VII. Macbeth’s castle.
Hautboys and torches. Enter a Sewer, and divers Servants with dishes and
service, and pass over the stage. Then enter MACBETH
MACBETH
If it were done when ‘tis done, then ‘twere well
It were done quickly: if the assassination
Could trammel up the consequence, and catch
With his surcease success; that but this blow
Might be the be-all and the end-all here,
But here, upon this bank and shoal of time,
We’ld jump the life to come. But in these cases
We still have judgment here; that we but teach
Bloody instructions, which, being taught, return
To plague the inventor: this even-handed justice
Commends the ingredients of our poison’d chalice
To our own lips. He’s here in double trust;
First, as I am his kinsman and his subject,
Strong both against the deed; then, as his host,
Who should against his murderer shut the door,
Not bear the knife myself. Besides, this Duncan
Hath borne his faculties so meek, hath been
So clear in his great office, that his virtues
Will plead like angels, trumpet-tongued, against
The deep damnation of his taking-off;
And pity, like a naked new-born babe,
Striding the blast, or heaven’s cherubim, horsed
Upon the sightless couriers of the air,
Shall blow the horrid deed in every eye,
That tears shall drown the wind. I have no spur
To prick the sides of my intent, but only
Vaulting ambition, which o’erleaps itself
And falls on the other.
Enter LADY MACBETH
How now! what news?
LADY MACBETH
He has almost supp’d: why have you left the chamber?
MACBETH
Hath he ask’d for me?
LADY MACBETH
Know you not he has?
MACBETH
We will proceed no further in this business:
He hath honour’d me of late; and I have bought
Golden opinions from all sorts of people,
Which would be worn now in their newest gloss,
Not cast aside so soon.
LADY MACBETH
What beast was’t, then,
That made you break this enterprise to me?
When you durst do it, then you were a man;
And, to be more than what you were, you would
Be so much more the man. Nor time nor place
Did then adhere, and yet you would make both:
They have made themselves, and that their fitness now
Does unmake you. I have given suck, and know
How tender ‘tis to love the babe that milks me:
I would, while it was smiling in my face,
Have pluck’d my nipple from his boneless gums,
And dash’d the brains out, had I so sworn as you
Have done to this.
MACBETH
If we should fail?
LADY MACBETH
We fail!
But screw your courage to the sticking-place,
And we’ll not fail. When Duncan is asleep-Whereto the rather shall his day’s hard journey
Soundly invite him--his two chamberlains
Will I with wine and wassail so convince
That memory, the warder of the brain,
Shall be a fume, and the receipt of reason
A limbeck only: when in swinish sleep
Their drenched natures lie as in a death,
What cannot you and I perform upon
The unguarded Duncan? what not put upon
His spongy officers, who shall bear the guilt
Of our great quell?
MACBETH
Bring forth men-children only;
For thy undaunted mettle should compose
Nothing but males. Will it not be received,
When we have mark’d with blood those sleepy two
Of his own chamber and used their very daggers,
That they have done’t?
LADY MACBETH
Who dares receive it other,
As we shall make our griefs and clamour roar
Upon his death?
MACBETH
I am settled, and bend up
Each corporal agent to this terrible feat.
Away, and mock the time with fairest show:
False face must hide what the false heart doth know.
Exeunt
LADY MACBETH
Was the hope drunk
Wherein you dress’d yourself? hath it slept since?
And wakes it now, to look so green and pale
At what it did so freely? From this time
Such I account thy love. Art thou afeard
To be the same in thine own act and valour
As thou art in desire? Wouldst thou have that
Which thou esteem’st the ornament of life,
And live a coward in thine own esteem,
Letting ‘I dare not’ wait upon ‘I would,’
Like the poor cat i’ the adage?
MACBETH
Prithee, peace:
I dare do all that may become a man;
Who dares do more is none.
12
Romeo & Juliet
A tragedy written early in Shakespeare’s career, Romeo and Juliet is among his most popular
stories. It is a tale of two young “star-cross’d lovers” that explores young love and the
consequences of taking action too quickly. Romeo Montague and Juliet Capulet come from feuding
families, but after their first meeting at party, it is love at first sight. The two must choose either
their love for each other or their duty to their families.
The scene from BOY MEETS GIRL takes places late in the evening of the night the two lovers meet.
Both Romeo and Juliet want to get married despite their families’ mutual hate. The way each
goes about the plan is different, however. Juliet wants to speak directly and establish boundaries.
Romeo, on the other hand, finds plain speech inadequate to express such great love.
Pre-Activity
Post-Activity
Another character in Romeo and Juliet is Friar
Laurence who gives the “star-cross’d lovers”
advice and guidance later in the play. If you
were Friar Laurence, then what advice would
you give Romeo and Juliet? Think about and
discuss what options they have.
Write a review for the local paper or school
newspaper of the Romeo and Juliet scene you
have just watched. What worked? What would
you have done differently?
Include the who, what, when and where.
13
Romeo and Juliet
Enter ROMEO
ACT SCENE II. Capulet’s orchard
ROMEO
He jests at scars that never felt a wound.
JULIET appears above at a window
But, soft! what light through yonder window breaks?
It is the east, and Juliet is the sun.
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief,
That thou her maid art far more fair than she:
Be not her maid, since she is envious;
It is my lady, O, it is my love!
O, that she knew she were!
She speaks yet she says nothing: what of that?
Her eye discourses; I will answer it.
I am too bold, ‘tis not to me she speaks:
See, how she leans her cheek upon her hand!
O, that I were a glove upon that hand,
That I might touch that cheek!
JULIET
Ay me!
ROMEO
She speaks!
JULIET
O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I’ll no longer be a Capulet.
JULIET
‘Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What’s Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What’s in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call’d,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.
ROMEO
I take thee at thy word:
Call me but love, and I’ll be new baptized;
Henceforth I never will be Romeo.
JULIET
What man art thou that thus bescreen’d in night
So stumblest on my counsel?
ROMEO
By a name
I know not how to tell thee who I am:
My name, dear saint, is hateful to myself,
Because it is an enemy to thee;
Had I it written, I would tear the word.
JULIET
My ears have not yet drunk a hundred words
Of that tongue’s utterance, yet I know the sound:
Art thou not Romeo and a Montague?
ROMEO
Neither, fair saint, if either thee dislike.
JULIET
How camest thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb,
And the place death, considering who thou art,
If any of my kinsmen find thee here.
ROMEO
With love’s light wings did I o’er-perch these walls;
For stony limits cannot hold love out,
And what love can do that dares love attempt;
Therefore thy kinsmen are no let to me.
JULIET
If they do see thee, they will murder thee.
ROMEO
Alack, there lies more peril in thine eye
Than twenty of their swords: look thou but sweet,
And I am proof against their enmity.
JULIET
I would not for the world they saw thee here.
ROMEO
I have night’s cloak to hide me from their sight;
And but thou love me, let them find me here:
My life were better ended by their hate,
Than death prorogued, wanting of thy love.
JULIET
By whose direction found’st thou out this place?
ROMEO
By love, who first did prompt me to inquire;
He lent me counsel and I lent him eyes.
JULIET
Thou know’st the mask of night is on my face,
Else would a maiden blush bepaint my cheek
For that which thou hast heard me speak to-night
Fain would I dwell on form, fain, fain deny
What I have spoke: but farewell compliment!
Dost thou love me? I know thou wilt say ‘Ay,’
And I will take thy word: yet if thou swear’st,
Thou mayst prove false; at lovers’ perjuries
Then say, Jove laughs. O gentle Romeo,
If thou dost love, pronounce it faithfully:
Or if thou think’st I am too quickly won,
I’ll frown and be perverse an say thee nay,
So thou wilt woo; but else, not for the world.
In truth, fair Montague, I am too fond,
And therefore thou mayst think my ‘havior light:
But trust me, gentleman, I’ll prove more true
Than those that have more cunning to be strange.
I should have been more strange, I must confess,
But that thou overheard’st, ere I was ware,
My true love’s passion: therefore pardon me,
And not impute this yielding to light love,
Which the dark night hath so discovered.
ROMEO
Lady, by yonder blessed moon I swear
That tips with silver all these fruit-tree tops--
JULIET
O, swear not by the moon, the inconstant moon,
That monthly changes in her circled orb,
Lest that thy love prove likewise variable.
ROMEO
What shall I swear by?
JULIET
Do not swear at all;
Or, if thou wilt, swear by thy gracious self,
14
Which is the god of my idolatry,
And I’ll believe thee.
ROMEO
If my heart’s dear love--
JULIET
Well, do not swear: although I joy in thee,
I have no joy of this contract to-night:
It is too rash, too unadvised, too sudden;
Too like the lightning, which doth cease to be
Ere one can say ‘It lightens.’ Sweet, good night!
This bud of love, by summer’s ripening breath,
May prove a beauteous flower when next we meet.
Good night, good night! as sweet repose and rest
Come to thy heart as that within my breast!
ROMEO
O, wilt thou leave me so unsatisfied?
JULIET
What satisfaction canst thou have to-night?
To-morrow will I send.
ROMEO
So thrive my soul--
JULIET
A thousand times good night!
Exit, above
ROMEO
A thousand times the worse, to want thy light.
Retiring
Re-enter JULIET, above
JULIET
Hist! Romeo, hist!
ROMEO
My dear?
ROMEO
The exchange of thy love’s faithful vow for mine.
JULIET
At what o’clock to-morrow
Shall I send to thee?
ROMEO
Wouldst thou withdraw it? for what purpose, love?
JULIET
I will not fail: ‘tis twenty years till then.
I have forgot why I did call thee back.
JULIET
I gave thee mine before thou didst request it:
And yet I would it were to give again.
JULIET
But to be frank, and give it thee again.
And yet I wish but for the thing I have:
My bounty is as boundless as the sea,
My love as deep; the more I give to thee,
The more I have, for both are infinite.
NURSE calls within
I hear some noise within; dear love, adieu!
Anon, good nurse! Sweet Montague, be true.
Stay but a little, I will come again.
Exit, above
ROMEO
O blessed, blessed night! I am afeard.
Being in night, all this is but a dream,
Too flattering-sweet to be substantial.
Re-enter JULIET, above
JULIET
Three words, dear Romeo, and good night indeed.
If that thy bent of love be honourable,
Thy purpose marriage, send me word to-morrow,
By one that I’ll procure to come to thee,
Where and what time thou wilt perform the rite;
And all my fortunes at thy foot I’ll lay
And follow thee my lord throughout the world.
NURSE within
JULIET
I come, anon.--But if thou mean’st not well,
I do beseech thee-NURSE within
JULIET
By and by, I come:-To cease thy suit, and leave me to my grief:
ROMEO
At the hour of nine.
ROMEO
Let me stand here till thou remember it.
JULIET
I shall forget, to have thee still stand there,
Remembering how I love thy company.
ROMEO
And I’ll still stay, to have thee still forget,
Forgetting any other home but this.
JULIET
‘Tis almost morning; I would have thee gone:
And yet no further than a wanton’s bird;
Who lets it hop a little from her hand,
And with a silk thread plucks it back again,
So loving-jealous of his liberty.
ROMEO
I would I were thy bird.
JULIET
Sweet, so would I:
Yet I should kill thee with much cherishing.
Good night, good night! parting is such
sweet sorrow,
That I shall say good night till it be morrow.
Exit above
ROMEO
Sleep dwell upon thine eyes, peace in thy breast!
Would I were sleep and peace, so sweet to rest!
Hence will I to my ghostly father’s cell,
His help to crave, and my dear hap to tell.
Exit
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Shakespeare Links & Resources
Type the word Shakespeare in a search engine and you will find a plethora of information on
him, his works and his environment. Show your students that the internet can be a great way to
research and gather valuable information - especially when you can’t find it at your local library.
We also recommend watching the theatrical versions of the scenes we include in BOY MEETS GIRL
for comparison and chance to open up discussion about their comprehension of the choices made.
www.absoluteshakespeare.com
Comprehensive Resource of Works
www.folger.edu/template.cfm?cid=618
The Folger Shakespeare Library
www.penguin.com/static/pdf/teachersguides/tempest.pdf
The Penguin & Signet Classic’s Teacher Guide
https://www.youtube.com/watch?v=NQ2tXVTjVc8
Theatrical version of The Tempest scene between Ferdinand & Miranda
https://www.youtube.com/watch?v=bIkL-2UQkXo
Theatrical version of Macbeth scene between Macbeth & Lady Macbeth
https://www.youtube.com/watch?v=S0qao2xINsE
Portion of the theatrical version of the Romeo & Juliet balcony scene
Classroom Challenge:
Write a letter to the Kentucky Shakespeare Artist Educators who lead the BOY MEETS GIRL
performance. Describe what you liked about the workshop and how it helped to see Shakespeare
be performed rather than just reading it. Describe what you did, saw, and heard. What was
your favorite part?
Mail to:
Kentucky Shakespeare
323 West Broadway, Suite 401
Louisville, KY 40202
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