Theatre in the Comedies

Theatre in the Histories

Theatre in the Tragedies

Theatre in the Comedies

Theatre in the Histories

Theatre in the Tragedies

THEATREINTHECOMEDIES

THEATREINTHEHISTORIES

THEATREINTHETRAGEDIES

COMEDIES

THEATRE IN THE TEMPEST (1611)

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ALONSO: Good Boteswaine haue care: where’s the Ma- ster? Play the men / 1.1.9–10 TLN 17–8 \\ PROSPERO: To haue no Schreene between this part he plaid, And him he plaid it for / 1.2.107–8 TLN 205–6 \\ PROSPERO: for thou wast a Spirit too delicate To act her earthy, and abhord commands / 1.2.272–3 TLN 399–400 \\ PROSPERO: It goes on I see, As my soule prompts it / 1.2.420–1 TLN 565–6 \\ ANTONIO: We all were sea-swallow’d, though some cast againe, (And by that destiny) to performe an act Whereof, what’s past is Prologue / 2.1.251–3 TLN 945–7 \\ MIRANDA: Hence bashfull cunning, And prompt me plaine and holy innocence / 3.1.81–2 TLN 1331–2 \\ TRINCULO: This is the tune of our Catch, plaid by the pic- ture of No-body / 3.2.126–7 TLN 1483–4 \\ PROSPERO: Spirits, which by mine Art I haue from their confines call’d to enact My present fancies / 4.1.120–2 TLN 1782–4 \\ PROSPERO: These our actors, (As I foretold you) were all Spirits, and Are melted into Ayre, into thin Ayre / 4.1.148–50 TLN 1819–21 \\ PROSPERO: The solemne Temples, the great Globe it selfe, Yea, all which it inherit, shall dissolue, And like this insubstantiall Pageant faded Leaue not a racke behinde / 4.1.153–6 TLN 1824–7 \\ STEPHANO: Monster, your Fairy, w you say is a harmless Fairy, Has done little better than plaid the Iack with us / 4.1.196–8 TLN 1872–3 \\ PROSPERO: Most cruelly Did thou Alonso, vse me, and my daughter: Thy brother was a furtherer in the Act / 5.1.71–3 TLN 2027–9 \\

THEATRE IN THE TWO GENTLEMEN OF VERONA (CIRCA 1590–4)

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SPEED: Twenty to one then, he is ship’d already, And I haue plaid the Sheepe in loosing him / 1.1.72–3 TLN 76–7 \\ JULIA: He plaies false (father.) HOST.How, out of tune on the strings. JULIA: Not so: but yet So false that he grieues my very heart-strings. / 4.2.59–62 TLN 1680–3 \\ HOST: Harke, what fine change is in the Musique. JULIA: I: that change is the spight. HOST: You would haue them alwaies play but one thing. JULIA: I would alwaies haue one play but one thing. / 4.2.68–72 TLN 1688–91 \\ LAUNCE: When a mans seruant shall play the Curre with him (looke you) it goes hard / 4.4.1.2 TLN 1820–1 \\ JULIA: for at Pentecost, When all our Pageants of delight were plaid, Our youth got me to play the womans part , And I was trim’d in Madam Iulias gowne, Which serued me as fit, by all mens iudgements, As if the garment had bin made for me: Therefore I know she is about my height, And at that time I made her weepe a good, For I did play a lamentable part [1985]. (Madam) ‘twas Ariadne, passioning For Thesus periury, and vniust flight; Which I so liuely acted with my teares [1988]: That my poore Mistris moued therewithall, Wept bitterly / 4.4.158–71 TLN 1978–90 \\

THEATRE IN The Merry Wives of Windsor (1597–8)

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MIST. FORD: Nay, I wil consent to act any villany against Him / 2.1.98–9 TLN 640–1 \\ FORD: The clocke giues me my Qu / 3.2.45 TLN 1306 \\ MIST. FORD: Mi-stris Page, remember you your Qu / 3.3.37 TLN 1381–2 \\ MIST. PAGE: I warrant thee, if I do not act it, hisse me / 3.3.38–9 TLN 1383 \\ FALSTAFF: after we had embrast, kist, protested, & (as it were) spoke the prologue of our Comedy / 3.5.73–5 TLN 1743–5 \\ MIST. PAGE: We do not acte that often, iest, and laugh / 4.2.96 TLN 1995 \\ FENTON: fat Falstaffe Hath a great Scene, the image of the iest Ile show you here at large / 4.6.16–8 TLN 2360–2 \\ EVANS: Trib, trib Fairies: Come, and remember your parts/ 5.4.1 TLN 2474 \\

THEATRE IN MEASURE FOR MEASURE (1603)

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DUKE VINCENTIO: I loue the people, But doe not like to stage me to their eyes: Through it doe well, I doe not rellish well Their lowd applause, and Aues vehement / 1.1.67–70 TLN 76–9 \\ ANGELO: Condemne the fault, and not the actor of it / 2.2.37 TLN 783 \\ ANGELO: To fine the faults, whose fine stands in record, And let goe by the Actor / 2.2.40–1 TLN 786–7 \\ ANGELO: And doe him right, that answering one foule wrong, Liues not to act another / 2.2.103–4 TLN 859–60 \\ ISABELLA: man, proud man, Drest in a little briefe authoritie, Most ignorant of what he’s most assur’d, (His glassie Essence) like an angry Ape, Plaies such phantastique tricks before high heauen As makes the Angels weepe: who, with our spleenes, Would all themselues laugh mortall / 2.2.117–23 TLN 874–80 \\ ESCALUS: This would make mercy sweare and play the Tirant / 3.2.194–5 TLN 1681–2 \\ ISABELLA: I would say the truth, but to accuse him so That is your part / 4.6.2–3 TLN 2326–7 \\

THEATRE IN THE COMEDY OF ERRORS (1594)

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ADRIANA: Dromio play the porter well / 2.2.211 TLN 607 \\ ADRIANA: Dissembling Villain, thou speak’st false in both. E.ANTI: Dissembling harlot, thou art false in all / 4.4.100–1 TLN 1389–90 \\

THEATRE IN MUCH ADOE ABOUT NOTHING (1598)

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BENEDICK: Or doe you play the flowting Iacke, to tell vs Cupid is a good Hare-finder, and Vulcan a rare carpenter / 1.1.183–5 TLN 178–80 \\ BENEDICK: hee is in Loue, With who? now that is your Graces part / 1.1.212–3 TLN 205–6 \\ CLAUDIO: And neuer could maintaine his part, but in the Force of his will / 1.1.236–7 TLN 229–30 \\ DON PEDRO: I will assume thy part in some disguise And tell faire Hero I am Claudio / 1.1.321–2 TLN 311–2 \\ DON JOHN: you may do the part of an honest man in it / 2.1.166 TLN 571–2 \\ BENEDICK: Troth my Lord, I haue played the part of Lady Fame / 2.1.213–4 TLN 618–9 \\ BEATRICE: Speake Count, tis your Qu / 2.1.305 TLN 704 \\ DON PEDRO: that’s the Scene that I would see, which will be meerely a dumb shew / 2.3.217–8 TLN 1041–2 \\ HERO: Our talke must onely be of Benedicke, When I doe name him, let it be thy part To praise him more than euer man did merit / 3.1.17–9 TLN 1104–6 \\ URSULA: Feare you not my part of the Dialogue / 3.1.31 TLN 1119 \\ CLAUDIO: Hero and Margaret haue by this played their parts with Beatrice / 3.2.76–7 TLN 1275–6 \\ CLAUDIO: And all Europa shall reioyce at thee, As once Europa did at lusty Ioue, When he would play the noble beast in loue / 5.4.45–7 TLN 2600–2 \\

THEATRE in LOVES LABOURS LOST (1594–5)

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MOTH: is not lenuoy a salue? DON ARMADO: No Page, it is an epilogue or discourse to make plaine, Some obscure precedence that hath tofore bin fain. / 3.1.80–82 TLN 853–6 \\ PRINCESS: Then Forrester my friend, Where is the Bush That we must stand and play the murtherer in? / 4.1.7–8 TLN 981–2 \\ BOYET: The catastrophe is a Nuptiall / 4.1.76–7 TLN 1056 \\ BEROWNE: All hid, all hid, an old infant play, Like a demie God, here sit I in the skie / 4.3.76–7 TLN 1412–3 \\ BEROWNE: O what a Scene of fool’ry haue I seene. Of sighes, of grones, of sorrow, and of teene / 4.3.161–2 TLN 1500–1 \\ DON ARMADO: For the rest of the Worthies? HOLOFERNES: I will play three my selfe / 5.1.42–3 TLN 1873–4 \\ DON ARMADO: that the King would haue mee present the Princesse (sweet chucke) with some delightfull ostenta- tion, or show, or pageant, or anticke, or fire-worke / 5.1.110–3 TLN 1843–5 \\ BOYET: Prepare Madame, prepare. Arme Wenches arme, incounters mounted are, Against your Peace, Loue doth approach, disguis’d / 5.2.81–3 TLN 1973–5 \\ BOYET: That by and by disguis’d they will be heere / 5.2.96 TLN 1988 \\ BOYET: Why that contempt will kill the keepers heart, And quite diuorce his memory from his part / 5.2.149–50 TLN 2041–2 \\ ROSALINE: Let’s mocke them still as well knowne as disguis’d: Let vs complaine to them what fooles were heare, Disguis’d like Muscouites, in shapelesse geare: And wonder what they were, and to what end Their shallow showes and Prologue vildely pen’d And their rough carriage so ridiculous, Should be presented at our Tent to vs / 5.2.301–7 TLN 2224–30 \\ FERDINAND: A blister on his sweet tongue, with my hart, That put Armathoes Page out of his part! / 5.2.335–6 TLN 2260–1 \\ BEROWNE: I see the tricke on’t: Heere was a consent, Knowing aforehand of our merriment, To dash it like a Christmas Comedie / 5.2.460–2 TLN 2399–2401 \\ COSTARD: O Lord sir, the parties themselues, the actors sir, will shew where-vntil it doth amount / 5.2.499–500 TLN 2442–3 \\ COSTARD: Faith vnlesse you play the honest Troyan, the Poore Wench is cast away / 5.2.675–6 TLN 2631–2 \\ BEROWNE: Worthies away, the Scene begins to cloud / 5.2.721 TLN 2679 \\ BEROWNE: Our wooing doth not end like an old Play; Iacke hath not Gill: these Ladies courtesie Might wel haue made our sport a Comedie. FERDINAND: Come sir, it wants a tweluemonth and a day, And then ‘twill end. BEROWNE: That’s too long for a play / 5.2.874–8 TLN 2835–40 \\

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THEATRE IN MIDSOMMER NIGHTS DREAME (1595)

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QUINCE: Here is the scrowle of euery mans name, which is thought fit through all Athens, to play in our Enter- lude before the Duke and the Dutches, on his wedding day at night. BOTTOM: First, good Peter Quince, say what the play treats on: then read the names of the Actors: and so grow on to a point. QUINCE: Marry our play is, the most lamentable come- dy, and most cruell death of Pyramus and Thisbie / 1.2.4–12 TLN 272–80 \\ BOTTOM: call forth your Actors by the scrowle / 1.2.14–5 TLN 282–3 \\ BOTTOM: name what part I am for / 1.2.17 TLN 286 \\ BOTTOM: I could play Ercles rarely, or a part to teare a Cat in / 1.2.25–6 TLN 296–7 \\ BOTTOM: Now name the rest of the Players / 1.2.35 TLN 301 \\ FLUTE: Nay faith, let not mee play a woman, I have a Beard coming / 1.2.47–8 TLN 309–10 \\ QUINCE: That’s all one: you shall play it in a mask / 1.2.49 TLN 311 \\ BOTTOM: And I may hide my face, let me play Thisbie too / 1.2.51–2 TLN 313 \\ QUINCE: No, no you must play Pyramus / 1.2.55 TLN 317 \\ QUINCE: Robin Starueling, you must play Thisbies mother / 1.2.60–1 TLN 322–3 \\ QUINCE: Snugge the Ioyner, you the Lyons part: and I hope there is a play fitted / 1.2.64–5 TLN 327–8 \\ SNUG: Haue you the Lions part written / 1.2.66 TLN 329 \\ BOTTOM: Let mee play the Lyon too / 1.2.70 TLN 333 \\ QUINCE: You can play no part but Piramus / 1.2.85 TLN 347 \\ QUINCE: ther-fore you must needs play Piramus / 1.2.88–9 TLN 349–50 \\ BOTTOM: Well, I will vndertake it. What beard were I best to play it in / 1.2.90–1 TLN 351–2 \\ QUINCE: Some of your French Crownes haue no haire at all, and then you will play bare-fac’d. But masters here are your parts, and I am to intreat you, request you, and desire you, to con them by too morrow night: and meet me in the palace wood, a mile without the Towne, by Moone-light, there we will rehearse: for if we meete in the Citie, we shalbe dog’d with company, and our deui-ses knowne. In the meane time, I wil draw a bil of pro- perties, such as our play wants / 1.2.97–106 TLN 358–366 \\ QUINCE: Pat, pat, and here’s a maruailous conuenient place for our rehearsall. This greene plot shall be our stage, this hauthorne brake our tyring house, and we will do it in action, as we will do it before the Duke / 3.1.2–6 TLN 815–8 \\ BOTTOM: There are things in this Comedy of Piramus and Thisby, that will neuer please / 3.1.9–10 TLN 821–2 \\ BOTTOM: Write me a Prologue, and let the Prologue seeme to say, we will do no harme with our swords / 3.1.17–8 TLN 829–30 \\ QUINCE: Well, we will haue such a Prologue, and it shall be written in eight and sixe / 3.1.23–4 TLN 834–5 \\ SNOUT: Therefore another Prologue must tell he is not a Lyon / 3.1.34–5 TLN 845–6 \\ SNOUT: Doth the Moone shine that night wee play our play? / 3.1.51–2 TLN 861–2 \\ BOTTOM: leaue a casement of the great chamber window (where we play) open, and the Moone may shine in at the casement / 3.1.56–8 TLN 867–9 \\ QUINCE: Come, sit Downe euery mothers sonne, and rehearse your parts / 3.1.72–3 TLN 883–4 \\ QUINCE: and so euery one according to his cue / 3.1.75–6 TLN 886–7 \\ PUCK: What, a Play toward? Ile be an auditor, An Actor too perhaps, if I see cause / 3.1.79–80 TLN 892–3 \\ PUCK: A stranger Piramus, then ere plaid here / 3.1.88 TLN 901 \\ QUINCE: you speake all Your part at once, cues and all. Piramus enter, your cue is Past, it is neuer tire / 3.1.99–101 TLN 912–4 \\ PUCK: A crew of patches, rude Mechanicals, That worke for bread vpon Athenian stals, Were met together to rehearse a Play, Intended for great Theseus nuptiall day: The shallowest thick-skin of that barren sort, Who Piramus presented, in their sport, Forsooke his Scene, and entred in a brake / 3.2.9–15 TLN 1031–7 PUCK: Shall we their fond Pageant see? Lord, what fooles these mortals be! / 3.2.114–5 TLN 1138–9 \\ BOTTOM: When my cue comes, call me, and I will answer / 4.1.200–1 TLN 1728 \\ BOTTOM: I will get Peter Quince to write a ballet of this dreame, it shall be called Bottomes Dreame, because it hath no bottome; and I will sing it in the latter end of a play, before the Duke. Per- aduenture, to make it the more gracious, I shall sing it at her death / 4.1.214–9 TLN 1740–5 \\ FLUTE: If he come not, then the play is mar’d / 4.2.5 TLN 1751 \\ FLUTE: And the Duke had not giuen him sixpence a day for playing Piramus, Ile be hang’d / 4.2.21–3 TLN 1768–9 \\ BOTTOM: euery man looke ore his Part: for the short and the long is, our play is preferred: In any case let Thisby haue cleane linnen: and let not him that playes the Lion, paire his nailes, for they shall hang out for the Lions clawes. And most deare Actors, eate no Onions, nor Garlicke; for wee are to vtter sweete breath, and I doe not doubt but to heare them say, it is a sweet Comedy / 4.2.37–44 TLN 1782–9 \\ THESEUS: Is there no play, To ease the anguish of a torturing houre / 5.1.36–7 TLN 1831–2 \\ THESEUS: That is an old deuice, and it was plaid When I from Thebes came last a Conqueror / 5.1.50–1 TLN 1847–8 \\ LYSANDER: A tedious breefe Scene of yong Piramus And his loue Thisby; very tragicall mirth / 5.1.56–7 TLN 1853–4 \\ EGEUS: A play there is, my Lord, some ten words long, Which is as breefe, as I haue knowne a play; But by ten words, my Lord, it is too long; Which makes it tedious. For in all the play, There is not one word apt, one Player fitted. And tragicall my noble Lord it is: for Piramus Therein doth kill himselfe. Which when I saw Rehearst, I must confesse, made mine eyes water: But more merrie teares, the passion of loud laughter Neuer shed / 5.1.61–70 TLN 1858–67 \\ THESEUS: What are they that do play it? / 5.1.71 TLN 1868 \\ EGEUS: Hard handed men that worke in Athens heere, Which neuer labour’d in their mindes till now; And now haue toyled their vnbreathed memories With this same play, against your nuptiall / 5.1.72–5 TLN 1869–72 \\ THESEUS: I will heare that play / 5.1.82 TLN 1879 \\ EGEUS: So please your Grace, the Prologue is addrest / 5.1.106 TLN 1903 \\ PROLOGUE (QUINCE): The Actors are at hand; and by their show, You shall know all that you are like to know / 5.1.116–7 TLN 1914–5 \\ LYSANDER: He hath rid his Prologue like a rough Colt / 5.1.119 TLN 1917 \\ HIPPOLYTA: Indeed hee hath plaid on his Prologue, like a childe on a Recorder / 5.1.122–3 TLN 1920–1 \\ PYRAMUS: Deceiving me, Is Thisbies cue; she is to enter now, and I am to spy Her through the wall / 5.1.184–6 TLN 1986–8 \\ WALL: Thus haue I Wall, my part discharged so / 5.1.204 TLN 2008 \\ THESEUS: her passion ends the play / 5.1.315 TLN 2109 \\ BOTTOM: Will it please you to see the epilogue, or to heare a Bergomask dance betweene two of our company? / 5.1 352–4 TLN 2135–6 \\ THESEUS: No Epilogue, I pray you; for your play needs no excuse. Neuer excuse; for when the plaiers are all dead, there need none to be blamed. Marry, if hee that writ it had plaid Piramus, and hung himselfe in Thisbies garter, it would haue beene a fine Tragedy: and so it is truely, and very notably discharg’d. but come, your Burgomaske; let your Epilogue alone / 5.1.355–62 TLN 2138–44 \\ THESEUS: This palpable grosse play hath well beguil’d The heauy gate of night / 5.1.367–8 TLN 2149–50 \\

THEATRE IN THE MERCHANT OF VENICE (1596–7)

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SALARINO: There, where your Argosies with portly saile Like Signiors and rich Burgers on the flood, Or as it were the Pageants of the sea, Do ouer-peere the petty Traffiquers / 1.1.9–12 TLN 12–5 \\ ANTONIO: I hold the world but as the world, Gratiano, A stage, where euery man must play a part, And mine a sad one. GRATIANO: Let me play the fool / 1.1.77–9 TLN 85–8 \\ PORTIA: but alas who can conuerse with a dumbe show? / 1.2.70–1 TLN 263–4 \\ LAUNCELOT: if a Christian doe not play the knaue and get thee, I am much deceiued / 2.3.11–2 TLN 782–3 \\ LORENZO: When you shall please to play the theeues for wiues, Ile watch as long for you then / 2.6.23–4 TLN 922–3 \\ LORENZO: So are you sweet, Euen in the louely garnish of a boy: but come at once, For the close night doth play the run-away / 2.6.44–7 TLN 946–8 \\ BASSANIO: here in her haires The Painter plaies the Spider / 3.2.121–2 TLN 1467–8 \\ DUKE: Shylocke the world thinkes, and I think so to That thou but leadest this fashion of thy mallice To the last houre of act, and then ‘tis thought Thou’lt shew thy mercy and remorse more strange Than is thy strange apparant cruelty / 4.1.17–21 TLN 1922–6 \\ SHYLOCK: Is that the law? PORTIA: Thy selfe shalt see the Act / 4.1.314 TLN 2230–1 \\ PORTIA: Tarry Iew, The Law hath yet another hold on you. It is enacted in the Lawes of Venice / 4.1.346–8 TLN 2264–6 \\

THEATRE IN AS YOU LIKE IT (1599–1600)

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DUKE SENIOR: Thou seest, we are not all alone vnhappie: This wide and vniuersal Theater Presents more wofull Pageants then the Sceane Wherein we play in / 2.7.136–9 TLN 1114–7 \\ JAQUES: All the world’s a stage, And all the men and women meerely Players; They haue their Exits and their Entrances, And one man in his time playes many parts His Acts being seuen ages / 2.7.139–43 TLN 1118–22 \\ JAQUES: And so he playes his part / 2.7.157 TLN 1136 \\ JAQUES: Last Scene of all, That ends this strange euentfull historie, Is second childishnesse and meere obliuion / 2.7.163–5 TLN 1142–4 \\ ROSALIND: I wil speake to him like a sawcie Lacky, and vnd-er that habit play the knaue with him / 3.2.295–7 TLN 1487–8 \\ CORIN: If you will see a pageant truely plaid / 3.4.52 TLN 1760 \\ ROSALIND: Ile proue a busie actor in their play / 3.4.59 TLN 1768 \\ ROSALIND: Patience her selfe would startle at this letter, And play the swaggerer / 4.3.13–4 TLN 2161–2 \\ 1ST PAGE: Shal we clap into’t roundly, without hauking, or spitting, or saying we are hoarse, which are the onely prologues to a bad voice? / 5.3.11–3 TLN 2541–3 \\ ROSALIND: It is not the fashion to see the Ladie the Epi- logue: but it is no more vnhandsome, then to see the Lord the Prologue. If it be true, that good wine needs no bush, ‘tis true, that a good play needes no Epilogue. Yet to good wine they do vse good bushes: and good playes proue the better by the helpe of good Epilogues: What a case am I in then, that am neither a good Epi- logue, nor cannot insinuate with you in the behalfe of a good play? I am not furnish’d like a Begger, therefore to begge will not become mee. My way is to coniure you, and Ile begin with the Women. I charge you (O women) for the loue you beare to men, to like as much of this Play, as please you: And I charge you (O men) for the loue you beare to women (as I perceiue by your simpring, none of you hates them) that betweene you, and the women, the play may please / Epilogue.1–17 TLN 2776–91 \\

THEATRE INTHE TAMING OF THE SHREW (1590–1)

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1st HUNT: My Lord I warrant you we wil play our part / Induction.1.68–9 TLN 73 \\ SERVANT: An’t please your Honour, Players That offer seruice to your Lordship / Induction.1.79–80 \\ LORD: This fellow I remember, Since once he plaide a Farmers eldest sonne, ‘Twas where you woo’d the Gentlewoman so well: I haue forgot your name: but sure that part Was aptly fitted, and naturally perform’d / Induction.1.83–7 TLN 93–7 \\ LORD: There is a Lord will heare you play to night; But I am doubtfull of your modesties, Least (ouer-eying of his odde behauiour, For yet his honor neuer heard a play) You breake into some merrie passion, And so offend him: for I tell you sirs, If you should smile, he growes impatient / Induction.1.92–5 TLN 103–9 \\ MESSENGER: Your Honors Players hearing your amendment, Are come to play a pleasant Comedie, For so your doctors hold it very meete, Seeing too much sadnesse hath congeal’d your blood, \\ And melancholly is the Nurse of frenzie, Therefore they thought it good you heare a play / Induction.2.129–34 TLN 283–8 \\ SLY: Marrie I will let them play it, it is not a Common- tie, a Christmas gambold, or a tumbling tricke? / Induction.2.137–8 TLN 291–2 \\ TRANIO: Not possible: for who shall beare your part, And be in Padua heere Vincentio’s sonne / 1.1.194–5 TLN 500–1 \\ 1st SERV: My Lord you nod, you do not minde the play / 1.1.249 TLN 558–9 \\ KATHARINA: Of all thy sutors heere I charge tel Whom thou lou’st best: see thou dissemble not / 2.1.8–9 TLN 863–4 \\ BAPTISTA: Faith Gentlemen now I play a marchants part / 2.1.326 TLN 1207 \\ BAPTISTA: Right true it is your son Lucentio here Doth loue my daughter, and she loueth him, Or both dissemble deepely their affections / 4.4.40–2 TLN 2222–4 \\ VINCENTIO: while I plaie the good husband at home, my sonne and my seruant spend all at the vni- uersitie / 5.1.58–60 TLN 2446–8 \\

THEATRE IN ALL’S WELL THAT ENDS WELL (1604–5)

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KING: But on vs both did haggish Age steale on, And wore vs out of act / 1.2.28–9 TLN 275–6 \\ KING: Let me not liue, This his good melancholly oft began, On the Catastrophe and heele of pastime / 1.2.55–7 TLN 302–4 \\ HELENA: As ‘tis with vs, that square our guesse by showes: But most it is presumption in vs, when The help of heauen we count the act of men / 2.1.150–2 TLN 759–61 \\ COUNTESS: I play the noble huswife with the time, to enter- taine it so merrily with a foole / 2.2.60–1 TLN 880–1 \\ LAFEU: A shewing of a heauenly effect in an earth- ly Actor / 2.3.23–4 TLN 915–6 \\ KING: Honours thriue, When rather from our acts we them deriue Then our fore-goers / 2.3.135–7 TLN 1037–9 \\ WIDOW: And would not put my reputation now In any staining act / 3.7.6–7 TLN 1861–2 \\ HELENA: Let vs assay our plot, which if it speed, Is wicked meaning in a lawfull deede And lawfull meaning in a lawfull act / 3.7.44–6 TLN 1905–7 \\ CAP.E: Let it be forbid sir, so should I bee a great deale of his act. / 4.3.45–6 TLN 2151–2 \\ PAROLLES: Faith sir, ha’s led the drumme before the Eng- lish Tragedians / 4.3.266–7 TLN 2368–9 \\ LAFEU: Wherein haue you played The knaue with fortune that she should scratch you / 5.2.29–30 TLN 2670–1 \\ KING: The Kings a Begger, now the Play is done / Epilogue.1 TLN 3073 \\ KING: Ours be your patience then, and yours our parts / Epilogue.5 TLN 3077 \\

THEATRE IN TWELFE NIGHT (1601)

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ORSINO: It shall become thee well to act my woes / 1.4.26 TLN 276 \\ ORSINO: thy small pipe Is as the maidens organ, shrill, and sound, And all is semblative a womans part / 1.4.32–4 TLN 283–5 \\ VIOLA: I can say little more than I haue studied, & that question’s out of my part / 1.5.178–9 TLN 472–3 \\ OLIVIA: Are you a Comedian? / 1.5.182 TLN 476 \\ VIOLA: No my profound heart: and yet (by the verie phangs of malice, I sweare) I am not that I play / 1.5.183–4 TLN 477–8 \\ FABIAN: I will not giue my part of this sport for a pensi- on of thousands to be paid from the Sophy / 2.5.180–1 TLN 1182–3 \\ FESTE: I would play Lord Pandarus of Phrygia sir, to bring a Cressida to this Troylus / 3.1.51–2 TLN 1263–4 \\ VIOLA: This fellow is wise enough to play the foole / 3.1.60 TLN 1271 \\ FABIAN: If this were plaid vpon a stage now, I could con- demne it as an improbable fiction / 3.4.127–8 TLN 1649–50 \\ SIR TOBY: we may carry it thus for our pleasure, and his pennance, til our ve- ry pastime tyred out of breath, prompt vs to haue mercy on him / 3.4.137–9 TLN 1658–61 \\ VIOLA: For the fayre kindnesse you haue shew’d me heere, And part being prompted by your present trouble, Out of my leane and low ability Ile lend you something / 3.4.342–5 TLN 1859–62 \\ OLIVIA: Then lead the way good father, & heauens so shine, That they may fairely note this acte of mine / 4.3.34–5 TLN 2149–50 \\ SEBASTIAN: O that record is liuely in my soule He finished indeed his mortall acte That day that made my sister thirteene yeares / 5.1.246–8 TLN 2412–4 \\

THEATRE IN THE WINTER’S TALE (1609–11)

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LEONTES: Goe play (boy) play: thy mother playes, and I Play too; but so disgrac’d a part, whose issue Will hisse me to my Graue / 1.2.187–9 TLN 269–71 \\ CAMILLO: if industriously I play’d the Foole, it was my negligence, Not weighing well the end / 1.2.256–8 TLN 347–9 \\ HERMIONE: which is more Than Historie can patterne, though deuis’d And play’d, to take Spectators / 3.2.35–7 TLN 1209–11 \\ TIME: I turne my glasse, and giue my Scene such growing As you had slept betweene / 4.1.16–7 TLN 1595–6 \\ PERDITA: Me thinkes I play as I haue seene them do In Whitson-Pastorals / 4.4.133–4 TLN 1948–9 \\ AUTOLYCUS: I can beare my part, you must know ‘tis my oc- cupation / 4.4.295–6 TLN 2116 \\ CAMILLO: it shall be so my care To haue you royally appointed, as if The Scene you play, were mine / 4.4.591–3 TLN 2467–9 \\ PERDITA: I see the Play so lyes That I must beare a part / 4.4.655–6 TLN 2533–4 \\ LEONTES: and on this Stage (Where we Offendors now appeare) Soule-vext / 5.1.58–9 TLN 2794–5 \\ IST GENT: The Dignitie of this Act was worth the au- dience of Kings and Princes, for by such was it acted / 5.2.79–81 TLN 3088–9 \\

(As I foretold you) were all Spirits, and

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!!!THEATRE IN THE MERCHANT OF VENICE (1596–7)

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THEATRE IN THE TEMPEST (1611)

THEATRE IN THE TWO GENTLEMEN OF VERONA (circa 1590–4)

THEATRE IN THE MERRY WIVES OF WINDSOR (1597–8)

THEATRE IN MEASURE FOR MEASURE (1603)

THEATRE IN THE COMEDY OF ERRORS (1594)

THEATRE IN MUCH ADOE ABOUT NOTHING (1598)

THEATRE in LOVES LABOURS LOST (1594–5)

THEATRE IN MIDSOMMER NIGHTS DREAME (1595)

THEATRE IN THE MERCHANT OF VENICE (1596–7)

THEATRE IN AS YOU LIKE IT (1599–1600)

THEATRE IN THE TAMING OF THE SHREW (1590–1)

THEATRE IN ALL’S WELL THAT ENDS WELL (1604–5)

THEATRE IN TWELFE NIGHT (1601)

THEATRE IN THE WINTER’S TALE (1609–11)

Describe A Concordance of Theatrical Terms in the First Folio here.