HAM/THELLO: the moor of denmark
                                                         copyright © 2006 Jeff Goode
ACT II - The Handkerchief SCENE 1 - Before Ophelia's house. Enter HAMLET HAMLET Hillo, ho, ho, my sweet! I do beseech you That I may speak with you! How now, Ophelia! Enter CLOWN CLOWN How, sir, how! What, have you lost your wits? HAMLET Dost thou hear, my honest friend? CLOWN No, I hear not your honest friend; I hear you. HAMLET Prithee, keep up thy quillets. There's a poor piece of gold for thee: if the gentlewoman that attends the general's wife be stirring, tell her there's one Hamlet entreats her a little favour of speech: wilt thou do this? CLOWN She is stirring, sir: if she will stir hither, I shall seem to notify unto her. HAMLET Do, good my friend. CLOWN Before me! look, where she comes. Enter OPHELIA. OPHELIA What, are you mad? I charge you, get you home. HAMLET Hail to thee, lady! and the grace of heaven, Before, behind thee, and on every hand, Enwheel thee all around! OPHELIA The worser welcome: I have charged thee not to haunt about my doors: In honest plainness thou hast heard me say That I am not for thee; and now, in madness, Being full of supper and distempering draughts, Upon malicious bravery, dost thou come To start my quiet. HAMLET Patience, good maid. OPHELIA But thou must needs be sure My spirit and my place have in them power To make this bitter to thee. Draws her rapier HAMLET Yet, I beseech you, If you think fit, or that it may be done, Give me advantage of some brief discourse With Desdemona alone. HAMLET gives her a pair of letters. Here's letters seal'd: This to her majesty; this to yourself. OPHELIA takes the letters and thrashes him with them. OPHELIA Nay, get thee gone. By the mass, 'tis morning; Retire thee; go where thou art billeted: Away, I say! [to CLOWN] Come, guard the door without; let him not pass, Exit OPHELIA and CLOWN Enter IAGO HAMLET In happy time, Iago. IAGO You have not been a-bed, then? HAMLET Why, no; the day had broke Before we parted. I have made bold, Iago, To send in to your daughter: my suit to her Is, that she will to virtuous Desdemona Procure me some access. There is no other way; 'tis she must do't: IAGO Do you withdraw yourself a little while, I'll send her to you presently: She will obey. Exit HAMLET Two things are to be done: My daughter must for Hamlet move her mistress; I'll set her on; Myself the while to draw the Moor apart, And bring him jump when he may Hamlet find Soliciting his wife: ay, that's the way Dull not device by coldness and delay. Calls within How now, Ophelia! what's the matter? Re-enter OPHELIA OPHELIA My lord, as I was studying my rapier Lord Hamlet, with his doublet all unbraced; As if he had been loosèd out of hell To speak of horrors,--he comes before me. LORD POLONIUS Mad for thy love? OPHELIA My lord, I do not know; But truly, I do fear it. Gives him the letters Here is a letter; And here another: the one of them imports His noble love in honourable fashion. IAGO Ay, fashion you may call it; go to, go to. This is the very ecstasy of love, Whose violent property fordoes itself And leads the will to desperate undertakings Come, go with me: I will go seek the king. This must be known; which, being kept close, might move More grief to hide than hate to utter love. Fetch Desdemona hither. The affair cries haste, And speed must answer it. Bid her come hither: go. OPHELIA I will, my lord. Exit OPHELIA IAGO reads over the letters IAGO Words, words, words. This is too long. It shall to the barber's: Tears the letter in half Now here's another discontented paper: Examines the second letter I'll tear it all to pieces. Tears the letters to pieces I confess it is my shame to be so rash; but it is in my virtue to amend it. Pieces the letter back together again, in a different order. Devise a new commission, write it fair: The task completed, IAGO admires his creation. O, 'tis most sweet, When in one line two crafts directly meet. And this may help to thicken other proofs That do demonstrate thinly. Exit

Forth!

Act One // Act Two // Act Three // Act Four // Act Five