The blogger Ibikunle Abraham Laniyan here churn out twenty summaries of potential original plays, categorized by Shakespeare's common genres (comedies, tragedies, and histories with beautiful ends). These summaries outline potential plots and themes in a manner consistent with the style.
Comedies
The Duchess's Dilemma, or The Venetian Vexation: A young Duchess of Venice, to avoid an unwanted marriage arranged by her uncle, fakes her death and disguises herself as a male scholar. She becomes her own uncle's advisor and, through witty manipulation, orchestrates a series of farcical events that lead to her true love's return and her uncle's reform.
A Midwinter's Masque: Set in a frost-bound English court, two sets of identical twins (unknown to each other) converge during a Twelfth Night celebration. A series of mistaken identities ensues, involving stolen jewels, a banished jester, and a mischievous sprite who uses a magical snowdrop potion, ultimately leading to joyous reunions and three marriages.
The Taming of the Highlander: A boisterous, untamable Scottish lady is sought after by a fortune hunter. She initially resists his advances, using wit and cunning to thwart him. The suitor, however, matches her spirit, and their battle of wits gradually turns to genuine affection, culminating in a wedding that is both a truce and a triumph.
Love's Labour's Won (Revisited): Four young scholars swear off women and worldly pleasures for a life of study. Their pact is immediately tested by the arrival of a French princess and her three captivating ladies-in-waiting. Through wordplay, misdelivered letters, and public humiliation, the men realize the folly of their oath and embrace love.
The Merchant of London's Choice: A merchant in Elizabethan London finds his fortunes tied to a risky sea venture and a bond with a stern, unyielding moneylender. His daughter, a clever young woman, disguises herself as a lawyer and saves her father from the forfeiture of his bond in a dramatic courtroom scene, exposing the moneylender's cruelty and the law's potential for mercy.
As You Will It: A banished Duke lives in a magical forest where identity is fluid and social hierarchies are inverted. A young woman, disguised as a man, flees to the forest and encounters the man she loves, whom she then proceeds to "tame" and test through a series of elaborate role-playing games before revealing her true self.
The Windsor Wives' Revenge: The roguish Sir John Falstaff attempts to woo two respectable, intelligent married women of Windsor for their wealth. The "merry wives" see through his schemes and play practical jokes on him, leading to his public embarrassment and a resolution that champions female wit and marital loyalty.
The Comedy of Errors, Once More: Two sets of twins, separated at birth, find themselves in a bustling port city known for its sorcery. Chaos reigns as they are mistaken for each other by spouses, merchants, and local officials, culminating in a climactic scene at a priory where the long-lost family is finally reunited.
The Moor of Seville: A respected Moorish general in the service of Seville marries a beautiful local woman. A treacherous ensign, consumed by envy and racial prejudice, manipulates the general into believing his wife is unfaithful, leading to a spiraling descent into jealous rage, murder, and the general's tragic suicide upon learning the truth.
The Prince of Denmark's Burden: A young prince, haunted by the ghost of his father, is tasked with avenging his murder by his uncle, who has since married the prince's mother and taken the throne. The prince feigns madness to investigate, leading to a play-within-a-play, accidental killings, and a final, bloody duel that leaves the stage littered with bodies.
The Scottish King's Ambition: A valiant Scottish general, spurred by a prophecy from three witches and his ambitious wife, murders his king to seize the crown. His reign is a nightmare of paranoia, tyranny, and bloodshed. He and his wife are eventually driven mad by guilt and met with violent ends as the kingdom rises against them.
King Arthur's Fall: An aging King of Britain divides his kingdom among his two flattering daughters and banishes the third, who truly loves him. The two daughters immediately turn on their father, driving him out into a raging storm. The kingdom descends into civil war, and the king's madness mirrors the chaos of his realm, ending in the deaths of all his children and his own heartbreaking demise.
Coriolanus Romanus: A proud and brilliant Roman general, despised by the common people for his arrogance, is banished from Rome. In a tragic turn, he allies himself with Rome's enemies and marches against his own city, only to be swayed by his mother's pleas. His change of heart seals his fate, leading to his murder by his new allies.
Antony and Cleopatra Redux: The powerful Roman general Marc Antony is seduced by the exotic Queen of Egypt, Cleopatra, neglecting his Roman duties. Their passionate love affair sparks a war with the cold, calculating Octavius Caesar. The play charts their glorious rise and devastating fall, ending with their double suicide as Rome triumphs over Egypt.
Titus's Vengeance: A Roman general returns from war with a Gothic queen and her children as prisoners. After sacrificing her eldest son, she enacts a brutal campaign of revenge against his family. The play is a dark, bloody spectacle of violence, rape, and cannibalism, exploring the cyclical nature of violence and the breakdown of justice in a corrupt empire.
Histories
Henry the Sixth, Part Four: A direct continuation of the three existing plays, focusing on the brief, tumultuous return of the Lancastrian King Henry VI, his final capture, and his murder in the Tower of London. It bridges the gap directly into the rise of Richard III, highlighting the brutal struggles for the English crown during the Wars of the Roses.
Richard the Fourth: A prequel to Richard II, exploring how a young, insecure King Richard IV makes the early misjudgments and tyrannical decisions that eventually lead to the rebellion of his cousin Bolingbroke, setting up the events of the original play. It details his controversial taxation and reliance on corrupt favorites.
The Life and Death of King John's Heir: Focusing on the reign of King Henry III, the play explores the political maneuvering and baronial conflict following the controversial rule of his father, King John. It details the young king's struggle to assert his authority against powerful nobles and French influence.
Edward the Fourth's Reign: Chronicles the return of the Yorkist King Edward IV during the Wars of the Roses, his decisive victory at the Battle of Tewkesbury, and his subsequent peaceful reign. The play also introduces the Machiavellian character of his brother, Richard, Duke of Gloucester, subtly setting the stage for his later tyranny.
The Chronicles of the Tudors: A sweeping, two-part historical epic that celebrates the establishment of the Tudor dynasty.
Glorious Tragedies
The Moor of Seville, to give you a substantial taste of the Shakespearen style. This segment introduces the main characters, the conflict, and the rising tension.
The Moor of Seville: ACT I & Act II, Scene I
Dramatis Personae
DON ANTONIO: The Moor, General of the Sevillian forces.
DON RODRIGO: A wealthy gentleman, secretly in love with Leonora.
GASPAR: Antonio's treacherous ensign.
THE DUKE OF SEVILLE: The city’s ruler.
LEONORA: Rodrigo's wife, a noble lady.
BIANCA: Gaspar's wife, Leonora's gentlewoman.
SENATORS, OFFICERS, SERVANTS, &c.
ACT I
SCENE I. A street in Seville. Night.
Enter DON RODRIGO and GASPAR.
RODRIGO
Tush, never tell me, I take it much unkindly
That thou, Gaspar, who hast my purse-strings ever at thy command,
Shouldst know of this.
GASPAR
'Tis not my profit, Rodrigo, 'tis my hate.
I would not have 't the Moor should share a minute
Of my estate. I hate him as I hate the plague.
By heaven, I had thought I had the readiest wit
To put my wealth and person in an action
That should be his confusion.
RODRIGO
Why, where hast thou been thus under the cover of night?
I am sure thou know'st the Duke had special note
When first we brought to him our grievance—
GASPAR
Pish! The Duke is a doting fool.
He makes Antonio General of the host,
And I, a man whose service might command
A far more proud promotion, I am left
To fan the air and wait upon his heels.
Forsooth, a certain arithmetician,
A fellow almost damn'd in a fair wife,
That never set a squadron in the field,
Nor the division of a battle knows
More than a spinster; he, in good time, must his lieutenant be,
And I, forsooth, a mere ensign, which is mere show.
But I will make my quiet life a hell
If I but follow him to the death.
RODRIGO
What? Did he wed her with such speed?
GASPAR
He did. Last night, the very hour of twelve,
They were confirm'd in marriage. I would wake
Her father, were he dead, with this loud cry.
GASPAR
Do it with speed. We'll make a noise,
Will fright the duke and all his sleepy crew.
Call up her father;
Rouse him: make after him, poison his delight,
Proclaim him in the streets; incense her kinsmen,
And though he secure her, yet doth he engage
All my abilities in his heart and brain.
If she be in his house and on his bed,
The Moor will take possession of her honour,
He's won a jewel that we cannot steal,
'Less we can make him think it is a stone.
Come, you're a tardy man.
SCENE II. A street before Alonso's house.
GASPAR
Alonso! Signior Alonso, ho!
RODRIGO
What ho! Alonso! Awake! We do you wrong,
Being thus bold to call't your daughter gone!
Awake, I say!
Enter ALONSO above, at a window.
ALONSO
What is the matter there?
What noise is this?
RODRIGO
Sir, you are robb'd; for shame, put on your gown;
Your heart is burst, you have lost half your soul;
Even now, very now, an old black ram
Is topping your white ewe. Arise, arise!
Awake the snorting citizens with the bell,
Or else the devil will make a grandsire of you.
Arise, I say!
ALONSO
What, have you lost your wits?
RODRIGO
Most reverend signior, do you know my voice?
ALONSO
Not I: what are you?
GASPAR
My name is Gaspar.
ALONSO
A knave you are for making this vile noise.
ALONSO
What profane wretch art thou?
GASPAR
I am one, sir, that comes to tell you your daughter
And the Moor are now together.
ALONSO
This cannot be, for my house is lock'd fast
And my daughter is chamber'd in her room.
GASPAR
Come, sir, I am for you straight: the Moor's your son-in-law,
My lord the Duke is calling for him,
And many of the best commanders are running all the city
Through, to find him out.
ALONSO
Hence, to my brother you, and learn of him
If true or false this is.
Exit Alonso.
SCENE III. Another street.
Enter ANTONIO, and OFFICERS with lights, and SENATORS.
ANTONIO
'Tis well I am found by you.
The Duke is calling me; the Turks are making a great fleet
And do menace our island of Cyprus.
My Leonora is safe within my house.
ANTONIO
Here comes the Duke himself, and my good father-in-law.
Enter DUKE, ALONSO, GASPAR, RODRIGO, and others.
DUKE
All the whole city is in a tower of fear,
And the ancient Senators, whom you know
Have twenty times fought for you, do command you
To make your speed and counsel with them
On this great danger that the Turk will bring.
But look! What is the matter here?
ALONSO
My honour is not safe! This Moor hath stolen my daughter!
ANTONIO
Most potent, grave, and reverend signiors,
My very noble and approved good masters,
That I have ta'en away this old man's daughter,
It is most true; true I have married her:
The very head and front of my offending
Hath this extent, no more.
ALONSO
A maiden never bold;
Of spirit so still and quiet, that her motion
Blush'd at herself; and she, in spite of nature,
Of years, of country, credit, every thing,
To fall in love with what she fear'd to look on!
It is a thing impossible. I therefore vouch
Either an impostor or some drugs that are
Poured in her drink.
ANTONIO
Send for the lady to the Sagittary,
And let her speak of me before her father.
If you find me foul in her report,
The trust, the office I hold, I would give up
And let your sentence fall upon my life.
DUKE
Fetch Leonora hither; let her be judge.
For the Turk, we must have an eye to him.
Antonio, you shall go with us, and the lady shall be heard there.
Exeunt.
ACT II
SCENE I. A council chamber.
Enter ANTONIO, DUKE, SENATORS, ALONSO, RODRIGO, and OFFICERS. LEONORA and BIANCA are brought in.
DUKE
Speak, Leonora, freely, what is the reason
You have abandon'd thus your father's house,
And come to this strange man?
LEONORA
My noble father,
I do perceive a divided duty;
To you I am bound for life and education;
But here's my husband;
And so much duty as my mother show'd
To you, preferring you before her father,
So much I challenge that I may profess
Due to the Moor my lord.
ALONSO
God be with you! I have done.
Please it your grace, on to the Venetian business;
My soul hath start its part. Take her, Antonio.
DUKE
The Turks are in the bay of Cyprus, the war is now afoot.
Antonio, you must straight to arms.
ANTONIO
Thou art a man of honour, and I trust thee, Gaspar,
To bring her safely to the wars, when I have made the path clear.
DUKE
Adieu, brave Moor; use Gaspar well.
Come, gentlemen, let's go.
Exeunt ANTONIO, DUKE, SENATORS, and OFFICERS.
Manet RODRIGO, GASPAR, LEONORA, BIANCA.
RODRIGO
I am for ever bound for my part; I will not bear it longer.
GASPAR
Dost thou know that I will help thee?
Go home, go home; I have a plot that is afoot;
The Moor must die, and so must this fair lady
Be made to rue the day she spurned your love.
We will have time to ourselves to plan this.
Go home.
Exeunt.
RODRIGO
We must straight rouse her father, old Senator Alonso,
Acquaint him with the truth.
RODRIGO
All is agreed. I go.
Exeunt.
Enter GASPAR and RODRIGO, knocking at the door and calling.
GASPAR
Sir, you are one of those that will not serve God, if the devil bid you.
Because we come to do you service and you think we are ruffians,
You'll have your daughter covered with a Barbary horse;
You'll have your nephews neigh to you; you'll have coursers
For cousins and gennets for germans.
ALONSO
Thou art a villain.
GASPAR
You are a senator.
RODRIGO
Look to her, signior; get more tapers:
Raise all my kindred.
ALONSO
O heaven! This is a plot of malice.
SENATOR
Brave Antonio, the Duke desires your counsel
And haste of arms.
DUKE
Fie, fie, Alonso! This is not the season
To be so hot. The Duke commands you here, Antonio,
On pain of death, to answer all demands
Betwixt you and Alonso, in the council chamber.
ANTONIO
With all my heart; I would I had a guide,
A man of honesty and trust, to bring my wife
With safety to me.
GASPAR
My lord?
GASPAR
It shall be done, though the winds blow a hurricane.
ANTONIO
O, my sweet Leonora, our lives are in the service of the state;
I must be gone. Make haste, despatch; prepare for the sea.
ACT I & ACT II
The provided scenes establish the central conflict: the secret marriage of Antonio (the Moorish general) and Leonora (a senator's daughter) and the immediate envy of Gaspar (Antonio's ensign) and Rodrigo (Leonora's spurned suitor).
(The existing ACT I, Scenes I, II, and III are followed by an expansion of ACT II.)
ACT II
SCENE I. A council chamber.
Enter ANTONIO, DUKE, SENATORS, ALONSO, RODRIGO, and OFFICERS. LEONORA and BIANCA are brought in.
DUKE
Speak, Leonora, freely, what is the reason
You have abandon'd thus your father's house,
And come to this strange man?
LEONORA
My noble father,
I do perceive a divided duty;
To you I am bound for life and education;
But here's my husband;
And so much duty as my mother show'd
To you, preferring you before her father,
So much I challenge that I may profess
Due to the Moor my lord.
ALONSO
God be with you! I have done.
Please it your grace, on to the Venetian business;
My soul hath start its part. Take her, Antonio.
DUKE
The Turks are in the bay of Cyprus, the war is now afoot.
Antonio, you must straight to arms.
ANTONIO
With all my heart; I would I had a guide,
A man of honesty and trust, to bring my wife
With safety to me.
GASPAR
My lord?
ANTONIO
Thou art a man of honour, and I trust thee, Gaspar,
To bring her safely to the wars, when I have made the path clear.
GASPAR
It shall be done, though the winds blow a hurricane.
ANTONIO
O, my sweet Leonora, our lives are in the service of the state;
I must be gone. Make haste, despatch; prepare for the sea.
DUKE
Adieu, brave Moor; use Gaspar well.
Come, gentlemen, let's go.
Exeunt ANTONIO, DUKE, SENATORS, and OFFICERS.
Manet RODRIGO, GASPAR, LEONORA, BIANCA.
RODRIGO
I am for ever bound for my part; I will not bear it longer.
GASPAR
Dost thou know that I will help thee?
Go home, go home; I have a plot that is afoot;
The Moor must die, and so must this fair lady
Be made to rue the day she spurned your love.
We will have time to ourselves to plan this.
Go home.
SCENE II. A quay or port in Seville. Day.
ANTONIO
The wind sets fair; the Duke is generous in his haste.
My heart is heavy, yet my purpose light.
I leave behind my soul, my gentle wife,
To follow soon under the hand of Gaspar,
A faithful, honest soldier.
OFFICER
My general, all is aboard and ready.
ANTONIO
To sea, then, with all speed. The Turk awaits our might.
Aside
O, but I fear the ocean more than all
The Turkish fleet, for it doth keep me from
My sweet Leonora, the life of my life.
Exit ANTONIO to his ship.
SCENE III. A room in Alonso's house.
Enter GASPAR and RODRIGO.
GASPAR
Antonio is gone. Now is our time to plant
The seeds of doubt and reap a harvest of revenge.
Thou lov'st Leonora still?
RODRIGO
Beyond all measure.
RODRIGO
To the fire and back.
GASPAR
Excellent! Then hie thee to the port,
Take passage on the swiftest bark.
We meet in Cyprus. Now, away!
Exeunt.
Outline for Remaining Acts
Shakespearean tragedies traditionally follow a five-act structure (Exposition, Rising Action, Climax, Falling Action, Resolution/Catastrophe).
ACT III: Climax and Turning Point
Scene I: Antonio arrives in Cyprus, victorious over the Turkish fleet (a storm at sea destroys the enemy). Leonora and Bianca arrive shortly after, accompanied by Gaspar and Rodrigo. Antonio's lieutenant (whom Gaspar resents) is also present.
Scene II: Gaspar begins his subtle insinuation campaign. He manipulates Rodrigo into provoking a fight with the lieutenant, leading to the lieutenant's public disgrace and dismissal by Antonio.
Scene III: Gaspar uses this incident to convince Antonio that his wife is unfaithful, planting initial doubts. He hints that the disgraced lieutenant is Leonora's paramour.
Scene IV: Antonio, driven by nascent jealousy, begins to change his demeanour towards Leonora. Gaspar orchestrates a meeting that looks suspicious, using a seemingly trivial object (e.g., a handkerchief of symbolic value given by Antonio to Leonora) as 'proof' of the affair.
Scene V (Climax): The evidence is made to seem irrefutable. Antonio's passion and rage reach their peak. He makes the fateful choice to murder his wife, marking the irreversible turning point of the play towards tragedy.
ACT IV: Falling Action
The consequences of Antonio's decision unfold. The protagonist is now fully controlled by events and his own tragic flaw.
Scene I: Gaspar uses Bianca, his wife (who is unaware of his plan), to obtain the handkerchief from Leonora's room, solidifying the 'proof'.
Scene II: Antonio attempts to confront Leonora, but his rage prevents her from defending herself clearly. Her innocent confusion is misinterpreted as guilt.
Scene III: Antonio and Gaspar plot the method of the murders (Leonora and Rodrigo, who Gaspar fears will talk).
Scene IV: The atmosphere of the play becomes darker and more paranoid. Leonora senses her impending doom and prepares for her fate, lamenting her husband's cruelty. The feeling of "final suspense" builds.
ACT V: Catastrophe and Resolution
The final act brings the inevitable deaths and the revelation of the truth, leading to a restoration of order.
Scene I: Antonio murders Leonora in her bedchamber.
Scene II: Bianca discovers the body and, realizing the truth, confronts Antonio and exposes her husband Gaspar's treachery. Rodrigo is brought in, wounded, and confirms the plot before he dies.
Scene III (Catastrophe): Overwhelmed by guilt, grief, and shame, Antonio kills Gaspar and then takes his own life, fulfilling the tragic structure.
Scene IV (Denouement): The Duke and other Venetian nobles arrive to witness the horrific scene. Order is restored as the remaining characters mourn the dead, recount the tragedy, and a new, just rule is put in place for Cyprus.
Enter ANTONIO, loading a ship. OFFICERS busy. A trumpet sounds.
GASPAR
Then heed my counsel well. The war is brief;
Antonio shall send for his wife anon to Cyprus.
Thou, Rodrigo, must follow there. I shall attend her.
We'll make him think she is a common thing,
A wanton, a deceiver. I have the means,
The wit, the malice to undo this Moor.
He trusts me. Ha! The more fool he.
We'll use his honesty to make a net
That shall enmesh them all: the Duke, the Moor, the woman.
Art thou with me?
The action moves to Cyprus, where the psychological manipulation begins and reaches its peak, leading to a catastrophic decision by Antonio.
The Moor of Seville: ACT III
ACT III
SCENE I. Cyprus. A street near the quay.
Enter ANTONIO, OFFICERS, and SOLDIERS.
ANTONIO
The tempest hath fulfilled its bloody task,
A diviner hand than ours did fight the Turk.
Our navy's safe, the enemy all sunk,
Not one sail holds the sea. Now for my love.
Enter LEONORA, BIANCA, GASPAR, RODRIGO.
ANTONIO
O my fair warrior! My heart's content!
LEONORA
The heavens speed you in your health and your desires!
ANTONIO
I cannot speak enough of this content;
It stops me here; it is too much of joy.
There's one more comfort yet to come to me,
The honest Gaspar, my most trusty ensign.
To Gaspar
How is't, sir? Are you well?
GASPAR
My noble general, you are welcome home.
ANTONIO
I thank thee, honest Gaspar.
Enter the banished Lieutenant.
LEONORA
How do you, lieutenant?
LIEUTENANT
I am well, madam; thank you.
GASPAR
Ha! I like not that.
ANTONIO
What dost thou say, Gaspar?
GASPAR
Nothing, my lord: or if you note me rightly,
I have been considering a thing or two.
Didst mark that?
ANTONIO
Mark what?
GASPAR
That Leonora did smile upon the lieutenant?
Aside to Rodrigo
Here begins my harvest.
ANTONIO
I will ask no more. Gaspar, 'tis not well
To let my ancient thus be led by jealousy.
To the Lieutenant
Tomorrow in the fort, at eleven of the clock,
I will a court of guard for you. Be sure you are there.
I'll have no brawls, no drunken quarrels here in Cyprus.
To all
My gentle Leonora, come. Let's in.
Exeunt all but GASPAR and RODRIGO.
RODRIGO
Now, what say you to that? The lieutenant is restored.
My love is lost, my purse is almost empty.
GASPAR
Patience, man. Thou art sure of one thing:
If thou wilt but be ruled by me, thou shalt enjoy
Leonora; nay, the lieutenant shall be cashier'd.
I will have him drink and fight, and the general shall hate him.
Then shall Leonora be more thine than e'er she was the Moor's.
Go, hie thee to the lieutenant; make him drunk.
Exeunt
SCENE II. A street before the castle.
Enter ANTONIO and GASPAR.
ANTONIO
I've seen enough. I've heard enough.
The lieutenant is dismissed, a brawler and a fool.
But is my wife—my wife—is she honest?
GASPAR
Honest, my lord?
ANTONIO
Honest! Ay, honest.
GASPAR
My lord, for aught I know.
ANTONIO
What dost thou think?
GASPAR
Think, my lord!
GASPAR
O beware, my lord, of jealousy;
It is the green-eyed monster which doth mock
The meat it feeds on.
ANTONIO
Thou hadst a witness'd eye with the lieutenant,
Thou saw'st him court my wife?
GASPAR
I did, my lord, but how? Or where? Or when?
I am not sure I saw what I did see.
ANTONIO
Speak to me as thou art a man, an honest man.
GASPAR
I am sorry to say it, but I cannot hide
What my heart feels. I fear she is not true.
I saw her give the lieutenant a token,
A handkerchief, spotted with strawberries,
Your first gift to her, sir.
ANTONIO
O!
GASPAR
It is a great matter, but a light thing to prove.
ANTONIO
The handkerchief! O, perdition!
The world hath not a sweeter creature: she might lie by an emperor's side
And command him tasks.
GASPAR
Nay, my lord, this is too much. You are no longer yourself.
ANTONIO
I will have blood, most easy, beautiful death.
Within this hour you must kill Rodrigo and the lieutenant.
And for my wife, I will not do it with poison, I will not stain her bed,
But smother her in her sleep.
GASPAR
My lord, as you will have it.
Exeunt.
The Moor of Seville: ACT IV
ACT IV
SCENE I. A room in the castle.
Enter LEONORA and BIANCA.
BIANCA
My lord is not himself today, a strange humour
Hath seized his spirits.
LEONORA
He is much changed. He asked for the handkerchief,
That which I lost, the one he gave to me.
BIANCA
Fear not, madam. He will soon be well.
Aside
I have the handkerchief, found it in the garden path,
And my husband Gaspar did bid me copy out the work.
Enter ANTONIO.
ANTONIO
To Bianca
Leave me, woman.
Exit BIANCA.
ANTONIO
Go, swear thou art honest.
LEONORA
Heaven doth know I am.
ANTONIO
O, thou art a common courtesan! A strumpet!
A faithless creature!
LEONORA
To whom, my lord? With whom? How am I false?
ANTONIO
The handkerchief! That magic token!
Thou gav'st it to the lieutenant! I saw it in his hand!
LEONORA
O, my honour, my life, my all is lost!
He found it, I lost it. I am innocent.
ANTONIO
Be thus when I come to kill thee.
Weep not; for I will not pity thee. I am commanded
To love my wife, but she is a whore!
Exit ANTONIO.
LEONORA
Bianca! Help! Help! O, the Moor is mad!
Enter BIANCA.
BIANCA
What is the matter, madam?
LEONORA
He calls me whore; I have not deserved this.
I know not how he is thus changed. We must write
To my father in Seville.
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