By Kathleen Kuiper
Shakespeare's present for writing tragedies used to be strong certainly. His skill to create epic tragic characters—think Hamlet, Lear, and the star-crossed Romeo and Juliet—and eventualities is almost unrivalled. Readers learn the Bard's significant tragedies and their value, and comment on the kingdom of theatre and dramatic functionality in Shakespeare's England for reliable degree.
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Extra info for The Tragedies of William Shakespeare
Example text
Come on. Try to remember. m e g . Why, Stan? Do you know them? meg . 4$ ACT ONE St a n l e y . How do I know i f I know them until I know their names? Well. . he told me, I remember. STANLEY. Well? meg . She thinks. Gold— something. S t a n l e y . Goldsomething? m e g . Yes. Gold.. . STANLEY. Yes? m e g . Goldberg. St a n l e y . Goldberg? m e g . That’s right. That was one o f them. STANLEY slowly sits at the table, left. Do you know them? meg . S t a n l e y does n o t answ er. Stan, they won’t wake you up, I promise.
Pause. ) There are some sticks in there. (St a n l e y looks into the parcel. He takes out two drumsticks. He taps them together. ) St a n l e y St a n ley . Shall I put it round my neck? She watches him, uncertainly. He hangs the dram around his neck, taps it gently with the sticks, then marches round the table, beating it regularly. M E G , pleased, watches him. Still beating it regularly, he begins to go round the table a second time. Halfway round the beat becomes erratic, uncontrolled. m e g expresses dismay.
I have stood up. m c c a n n . Sit down again! g o l d b e r g . Once I’m up I’m up. St a n l e y . Same here. m c c a n n (moving to S t a n l e y ). You’ve made Mr Goldberg stand up. St a n l e y (his voice rising). It’ll do him good! m c c a n n . Get in that seat. g o l d b e r g . McCann. m c c a n n . Get down in that seat! g o l d b e r g (crossing to him). Webber. ) SIT d o w n . (Silence. >. He strolls casually to the chair at the table. They watch him. He stops whistling. Silence. ) St a n l e y .