Fitzpatrick, Tim

English

Sydney eScholarship

Play: Much Ado About Nothing  Author: Shakespeare  Text used:  Arden    Library ref:      Key: enter from within    enter from without  exit inwards    Exit outwards  Act /sc door IN Entering characters door OUT Space-time indication  Commentary  and notes I.i  Leonato, Hero, Beatrice, Messenger  LEON. I learn in this letter that Don Pedro of Aragon comes this night to Messina. (1) Messenger has already arrived from outwards, group now coming out of house discussing news.   Don Pedro, Claudio, Benedick, Balthasar, Don John  MESS. Don Pedro is approached. D. PEDRO. Good Signior Leonato, are you come to meet your trouble? (87-8) Arriving from outwards.   All but Benedick and Claudio  LEON. Please it your Grace lead on? D. PEDRO. Your hand, Leonato, we will go together. (147-8) Exit together into or towards Leonato’s house.   Don Pedro  BENE. ...Look, Don Pedro is returned to seek you. D. PEDRO. What secret hath held you here, that you followed not to Leonato’s? (189-90) Don Pedro returns whence he last exited: Leonato’s clearly marked as beyond inwards door.   Benedick  D. PEDRO. ...good Signior Bene-dick, repair to Leonato’s, commend me to him, and tell him I will not fail him at supper...(255) Ditto.   Don Pedro, Claudio  D. PEDRO. ...I will assume thy part in some disguise...Then after to her father will I break...In practice let us put it presently. (301, 306, 308) They too exit back towards Leonato’s to carry out the plan for the wooing of Hero. I. ii   Antonio Leonato    LEON. How now, brother, where is my cousin, your son? Hath he provided this music? ANT. ...The Prince and Count Claudio, walking in a thick-pleached alley in mine orchard...(1, 7) MINIMAL congestion at inwards door. Split & staggered entrance, Antonio entering first. Leonato comes out, meeting his brother who is arriving, having organised a musician, and bearing news from outwards about what transpired in his orchard.   Antonio  LEON. ...I will acquaint my daughter withal...Go you and tell her of it. (19-20) Antonio sent inwards to alert Hero of the imminent proposal.   Antonio’s Son, Musician, etc.  LEON. ...Cousins, you know what you have to do. Simultaneous mid-scene entrance/exit. Entering, like Antonio, from outwards to the supper.   Antonio’s Son, Musician, etc  LEON. Go you with me and I will use your skill. (23-4) They go in to the supper. I.iii  Don John, Conrade  CON. What the good-year, my lord, why are you thus out of measure sad? (1) Don John has done a backstage cross, but outwards door entrance avoids congestion at inwards door, and logical since they subsequently resolve to go to the supper (i.e. exit via inwards door) 2   Borachio  BORA. I came yonder from a great supper. The Prince your brother is royally entertained by Leonato...(40-1) He has been in at the supper.   Don John, Borachio, Conrade  D. JOHN. come, come, let us thither...(59) D. JOHN. Let us to the great supper...(66) They exit inwards towards the supper. Clearly, however, from the next scene’s indications, they do not arrive there in time to be noticed. II.i  Leonato, Antonio,  Hero,  Beatrice  LEON. Was not Count John here at supper? ANT. I saw him not. (1-2) MARKED congestion at inwards door. Pause with empty stage between exit and entry justified by , and signals, time-lapse indication in first line: supper is over, host and family now waiting for revellers to arrive to banquet.   Don Pedro, Claudio, Benedick, Balthasar, Borachio,  Don John etc.  LEON. The revellers are entering, brother; make good room. (76) The revellers, having done backstage cross (further indication of time lapse) now enter from outwards into the banquet.   All but Don John, Borachio, Claudio  BEAT. ...We must follow the leaders. (140) They go into the banquet.   Don John, Borachio  D. JOHN. Come, let us to the banquet. (159) Ditto.   Benedick  BENE. Come, will you go with me? (173) Benedick returning from the banquet, attempts to persuade Claudio to go in with him.   Claudio  CLAU. If it will not be, I’ll leave you. (187) Refusing to go in to the banquet, he exits outwards door.   Don Pedro, Hero, Leonato  D. PEDRO. Now, signior, where’s the Count? Did you see him? (196) Returning from the banquet, looking for Claudio.   Claudio, Beatrice  BEAT. ...I have brought Count Claudio, whom you sent me to seek. (269) Evidently Don Pedro has had various search-parties out for Claudio; Beatrice has done a backstage cross and now brings him back in from outwards.   Benedick  BENE. O God, sir, here’s a dish I love not! I cannot endure my Lady Tongue. (257) Exits inwards back in to the banquet, to avoid Beatrice who has entered from outwards.   Beatrice  LEON. Niece, will you look to those things I told you of? (318) Sent off, outwards on unspecified errands.   Don Pedro, Claudio, Leonato, Hero  D. PEDRO. ...Go in with me, and I will tell you my drift. (365) They too go back in. II.ii  Don John, Borachio  D. JOHN. Is it so, the Count Claudio shall marry the daughter of Leonato. (1) They, like Beatrice, have done a backstage cross to enter from outwards door.   Don John, Borachio  D. JOHN. I will presently go learn the day of marriage. (56) Exits inwards back towards Don Pedro. II.iii   Benedick,  Boy  BENE. Boy! BOY. Signior? BENE. In my chamber-window lies a book; bring it hither to me in the orchard. BOY. I am here already, sir. BENE. I know that, but I would have thee hence and here This elaborate and inconsequential exchange (the Boy in fact never returns with the book) serves to justify Benedick’s backstage cross (time lapse, change of location), establishes the new and significant location (orchard), and establishes its relation to the ‘in’ of the house. 3 again...(1-6)   Boy  (Exit Boy.) Exit ‘in’ to the house.   Don Pedro, Leonato, Claudio, Balthasar  BENE. ...I will hide me in the arbour. D. PEDRO. Come, shall we hear this music?(35-6) Benedick retires as others come out of the house into the orchard.   Balthasar  D. PEDRO. ..I pray thee get us some excellent music ...farewell. (85, 89) Balthasar returns in to do as directed.   Don Pedro, Leonato, Claudio  D. PEDRO. ...Let us send her to call him in to dinner. (210) Returning in to dinner.   Beatrice  BEAT. Against my will I am sent to bid you come in to dinner. (239) She enters from inwards door.   Beatrice  BEAT. ...You have no stomach, signior, fare you well. (246) Returns whence she came.   Benedick  BENE. ...I will go get her picture. (254) He goes to have Beatrice’s portrait made. III.i  Hero, Margaret, Ursula  HERO. Good Margaret, run thee to the parlour; There shalt thou find my cousin Beatrice Proposing with the Prince and Claudio. Whisper her ear, and tell her I and Ursley Walk in the orchard...(1-5) Location established as still the orchard, where the ladies are walking.   Margaret  MARG. I’ll make her come, I warrant you, presently. (14) Exits back in inwards door to fetch Beatrice.   Beatrice  HERO. ...for look where Beatrice like a lapwing runs Close by the ground, to hear our conference. (24-5) Suggests Beatrice runs downstage at least as far as stage post, or possibly to the downstage corner.   Hero,  Ursula  HERO. ...Come, go in; I’ll show thee some attires, and have thy counsel...(102-3) They go back into the house.   Beatrice  BEAT. ...And, Benedick, love on, I will requite thee...(111) If she re-enters the house potential congestion problem and possible comic effect (see next scene). Monologue offers no clear indication of exit direction. III.ii  Don Pedro, Claudio, Benedick, Leonato  D. PEDRO. I do but stay till your marriage be consummate, and then go I toward Aragon. (1) If Beatrice has exited inwards door, slight congestion (but only one exiting character); however possible comic effect if Benedick enters so shortly after Beatrice’s exit.   Benedick, Leonato  BENE. ...Walk aside with me... (64) They return whence they came.   Don John  D. JOHN. My lord and brother, God save you! (71)    Don Pedro, Claudio, Don John  D. JOHN. ...If you will follow me, I will show you enough...(109) Takes them back in towards the house. This is a loop scene, with little indication of triangulation. III. iii  Dogberry, Verges, Watch  Enter DOGBERRY and his compartner, with the Watch. Arrive from outwards to set the watch.   Dogberry, Verges  DOG. ...I pray you watch about Signior Leonato’s door, for the wedding being there tomorrow...(90) Dogberry and Verges exit back whence they came, explicitly reinforcing inwards door as Leonato’s house.   Borachio, Conrade  BORA. What, Conrade! CON. Here, man, I am at thy elbow. (95-6) Simultaneous mid-scene entrance/exit. Enter from Leonato’s house, Borachio having carried out his 4 wooing of ‘Hero’ for Don John.   Watch, Borachio, Conrade  SEC. WATCH. Never speak, we charge you, let us obey you to go with us.(169-70) They exit outwards door to take the prisoners to Dogberry. III.iv  Hero, Margaret, Ursula  HERO. Good Ursula, wake my cousin Beatrice, and desire her to rise. (1) They come out of the house.   Ursula  HERO. And bid her come hither. (3) Ursula returns inwards to wake Beatrice.   Beatrice  MARG. ...Ask my Lady Beatrice else; here she comes. (35) Beatrice arrives from inside.   Ursula  URS. Madam, withdraw! The Prince, the Count, Signior Benedick, Don John, and all the gallants of the town are come to fetch you to church. (89-91) Ursula returns whence she exited, bringing news that the Prince’s party has arrived at the house.   Hero, Margaret, Ursula  HERO. Help to dress me, good coz, good Meg, good Ursula. (92) They go inwards to prepare for the wedding. III.v  Leonato, Dogberry, Verges  LEON. What would you with me, honest neighbour? (1) They have returned whence they exited, to see Leonato; it must be assumed he has met them further outwards.   Messenger  MESS. My lord, they stay for you to give your daughter to her husband. (50) The wedding party is clearly already met behind inwards door.   Leonato, Messenger  LEON. I’ll wait upon them; I am ready. (51) Leonato exits to join them.   Dogberry, Verges  DOG. Go, good partner, go, get you to Francis Seacoal, bid him bring his pen and inkhorn to the gaol: we are now to examination these men...meet me at the gaol. (53-5, 60) They return outwards whence they entered, to meet at the gaol. IV.i  Don Pedro, Don John, Leonato, Friar, Claudio, Benedick, Hero, Beatrice etc.  LEON. Come, Friar Francis, be brief...(1) Wedding party enters together through inwards door   Don Pedro, Don John, Claudio  D. JOHN. Come, let us go. These things, come thus to light, Smother her spirits up. (111) They exit to prepare for departure; outwards door exit marks break with Leonato.   Leonato, Friar, Hero etc.  FRIAR. ...Presently away...Come, lady, die to live...(253) They take Hero back inwards.    Benedick,  Beatrice  BENE. ...I will kiss your hand, and so I leave you...Go comfort your cousin; I must say she is dead: and so farewell. (331, 333) They go their separate ways. IV.ii  Dogberry, Verges, Sexton, Borachio, Conrade, Watch  DOG. Is our whole dissembly appeared? (1) MINIMAL congestion at outwards door, further minimised by staggered exit in previous scene. They enter from outwards to hold the formal questioning of the prisoners.   Sexton  SEX. ...Master Constable, let these men be bound and brought to Leonato’s; I will go before and show him their examination. (61-2) He returns outwards to go to Leonato’s house. 5   All  DOG. ...Bring him away!...(84) They follow the Sexton on the way to Leonato’s house. V.i  Leonato, Antonio  ANT. If you go on thus, you will kill yourself...(1) They come in together inwards door, already in conversation.   Don Pedro, Claudio  ANT. Here comes the Prince and Claudio hastily. D. PED. Good den, good den. (45-6) Greeting indicates they come from different direction to that of previous entrance.   Benedick  D. PED. See, see! Here comes the man we went to seek! (110) He now returns from outwards (see IV.i. 333).   Leonato, Antonio  LEON. No? come, brother, away! I will be heard. (108) They return inwards.   Benedick  BENE. ...he and I shall meet; and till then, peace be with him. (190) Returns outwards.   Dogberry, Verges, Watch, Conrade, Borachio  DOG. Come you, sir...(202) Arriving from outwards at Leonato’s house.   Leonato, Antonio, Sexton  DOG. ...By this time our sexton hath reformed Signior Leonato of the matter... VER. Here, here comes Master Signior Leonato, and the sexton too. (247-8, 251) Sexton supposed to have previously arrived at Leonato’s, now comes out with Leonato and Antonio.   Dogberry, Verges  DOG. ...I humbly give you leave to depart...Come, neighbour. (329-20)    Don Pedro, Claudio  ANT. Farewell, my lords, we look for you tomorrow. D. PED. We will not fail. CLAUD. Tonight I’ll mourn with Hero. (322-4) They exit back whence they came.   Leonato, Antonio, Watch, Borachio, Conrade  LEON. Bring you these fellows on. We’ll talk with Margaret...(325) They go into the house. V.ii  Benedick, Margaret  BENE. Pray thee, sweet Mistress Margaret, deserve well at my hands, by helping me to the speech of Beatrice. (1) Backstage cross for both characters indicates time-lapse from previous scene. They are at or in Antonio’s house (not Leonato’s) Benedick seeking assistance to get ‘in’ to Beatrice.   Margaret  MARG. ...Well, I will call Beatrice to you...(21) She exits inwards to call Beatrice.   Beatrice  BENE. ...Sweet Beatrice, wouldst thou come when I called thee? (41) Beatrice comes out to speak with Benedick.   Ursula  URS. Madam, you must come to your uncle—yonder’s old coil at home. (89) She enters from outwards with news of what has occurred at Leonato’s house.   Benedick, Beatrice, Ursula  BEAT. Will you go hear this news, signior? BENE. ...I will go with thee to thy uncle’s. (93, 95) They exit outwards in direction of Leonato’s house. V.iii  Claudio,  Don Pedro, Balthasar, Musicians,  etc.  CLAUD. Is this the monument of Leonato? A LORD. It is, my lord. (1) MARKED congestion at outwards door: time lapse and location change. Music minimises congestion.The mourners arrive at Leonato’s family vault.   Claudio,  Don Pedro,  CLAUD. Good morrow, masters —each his several way. After fixing the scroll to the door of the vault (inwards door? cf. Romeo 6 Balthasar, Musicians,  etc. D. PED. Come let us hence, and put on other weeds, And then to Leonato’s we will go. (29-31) and Juliet), the mourners leave together, for separate destinations, outwards door. V. iv  Leonato, Benedick, Beatrice, Margaret, Ursula, Antonio, Friar, Hero  FRIAR. Did I not tell you she was innocent? (1) If inwards door has been used as the vault in the previous scene, the scroll might have to be removed before this entrance (though the irony of the entrance of the living Hero from the door which has just signified her monument would not escape the audience even if the scroll were removed).   Beatrice, Hero, Margaret, Ursula  LEON. Well, daughter, and you gentlewomen all, Withdraw into a chamber by yourselves, And when I send for you, come hither mask’d. (10-12) They withdraw inwards to prepare.   Don Pedro, Claudio, etc.  D. PED. Good morrow to this fair assembly. (34) They arrive from outwards.   Antonio  LEON. Call her forth, brother; here’s the friar ready. (39) Sent in to call the ladies.   Antonio, Beatrice, Hero, Margaret, Ursula  CLAUD. ...here comes other reck’nings. Which is the lady I must seize upon? (52-3) Return from inwards.   Messenger  MESS. My lord, your brother John is ta’en in flight...(123) Coming inwards with news.   All  D. PED. ...Strike up, pipers! (126) After the dance they enter the house to conclude the festivities.   backstage cross      

Much Ado about Nothing

https://ses.library.usyd.edu.au/bitstream/2123/7825/1/Much_Ado_about_Nothing.pdf

Much Ado about Nothing

Abstract

Similar works

Full text

Available Versions

Sydney eScholarship