Micro Finance

November 22, 2025

Black power 's Short plays.part two

The Moor of Seville: ACT V

ACT V

SCENE I. A street in Cyprus.

Enter RODRIGO, with a wound; GASPAR following him.

GASPAR

He has hurt thee? The lieutenant?

RODRIGO

Ay, past all surgery. I die, I die.

O, that I had never listened to thy schemes!

Gaspar, thou art a villain, and I'm a fool.

GASPAR

Die then, for I must shift for myself. The Moor will have my life if I am found.

Exit GASPAR.

RODRIGO

Dies.

SCENE II. A bedchamber in the castle. LEONORA in her bed, asleep. A light burning.

Enter ANTONIO with a sword and a candle.

ANTONIO

It is the cause, it is the cause, my soul:

Let me not name it to you, you chaste stars!

It is the cause. Yet I'll not shed her blood,

Nor scar that whiter skin of hers than snow,

And smooth as monumental alabaster.

Put out the light, and then put out the light:

If I quench thee, thou flaming minister,

I can again thy former light restore,

Should I repent me; but once put out thy light,

Thou cunning'st pattern of excelling nature,

I know not where is that Promethean heat

That can thy light relume.

She wakes.

LEONORA

Who's there? Antonio?

ANTONIO

Ay, Leonora.

LEONORA

Will you come to bed, my lord?

ANTONIO

Have you prayed tonight, Leonora?

LEONORA

Ay, my lord.

ANTONIO

If you bethink yourself of any crime

Unreconciled as yet to heaven and grace,

Solicit for it straight.

LEONORA

Alas, my lord, what may you mean by that?

ANTONIO

I would not kill thy unprepared spirit.

LEONORA

I am not guilty of any crime.

LEONORA

Then Lord have mercy on me!

ANTONIO

I say, Amen.

LEONORA

And have you mercy too! I never loved the lieutenant.

ANTONIO

The handkerchief! The handkerchief!

LEONORA

He found it, I say! Send for him hither.

ANTONIO

He's dead.

LEONORA

My fear interprets his hard usage well.

ANTONIO

A guiltless death I swear!

He smothers her.

LEONORA

O Lord, Lord, Lord!

She dies.

Enter BIANCA.

BIANCA

What ho, my lord, my lord!

ANTONIO

What noise is this? Not dead? Not yet quite dead?

BIANCA

O, my good lord, Rodrigo's dead, and for the handkerchief—

ANTONIO

Ha! What say you?

ANTONIO

O, fool! Fool! Fool!

I found it in his hand; 'twas Gaspar gave it him.

O, bloody period!

Enter the DUKE, ALONSO, OFFICERS, with GASPAR as prisoner.

DUKE

What is the matter here?

ALONSO

My daughter dead? O, O, O!

ANTONIO

I have done the state some service, and they know't.

No more of that. I pray you, in your letters,

When you shall these unlucky deeds relate,

Speak of me as I am; nothing extenuate,

Nor set down aught in malice: then must you speak

Of one that loved not wisely but too well;

Of one not easily jealous, but being wrought

Perplex'd in the extreme; of one whose hand,

Like the base Indian, threw a pearl away

Richer than all his tribe.

Antonio turns on Gaspar.

ANTONIO

You, rogue!

Antonio stabs Gaspar.

GASPAR

I bleed, sir, but not die.

ANTONIO

I am content to be thus judged.

He stabs himself.

I kiss'd thee ere I killed thee: no way but this,

Killing myself, to die upon a kiss.

He falls upon Leonora's body, and dies.

DUKE

O fatal period!

This heavy act with heavy heart we bear,

To tell the world the tale of rage and fear.

The villain Gaspar shall a death receive

Beyond all torture that the world can give.

For Antonio, the noble Moor, a monument

Of pity and of shame shall stand. Alonso,

Your sorrow is too great to be borne.

Let us away; this deed is fit for tears.

The time, the place, the torture, O, enforce it!

The story of the Moor is told

Curtain

ANTONIO

"Think, my lord!" By heaven, thou echo'st me,

As if there were some monster in thy thought

Too hideous to be shown.

ANTONIO

Confess thee freely of thy sin; for else

Thou diest.

BIANCA

My husband, Gaspar, found it in the path,

He bade me copy out the work! O, she was innocent!

The Duchess's Dilemma, or The Venetian Vexation: ACT I

Dramatis Personae

ISABELLA: The young Duchess of Venice.

ANTONIO: Her uncle and guardian, a Duke.

LORENZO: A noble suitor favored by Antonio.

MARCO: Isabella's true love, a young scholar.

SERVANTS, GUARDS, &c.

ACT I

SCENE I. A room of state in the Duke of Venice's palace.

Enter ANTONIO and LORENZO.

ANTONIO

My Lord Lorenzo, you do press me hard;

My niece, the Duchess Isabella, is yet

But green in judgement, tender in her years,

And her poor father scarce is cold in earth.

LORENZO

My lord, I know her father was your brother,

And that his will made you her guardian.

But the state craves an heir, and my estate

Doth match her title. I do love the lady,

And all Venice knows my suit is honest.

ANTONIO

Honest, I know, but I must have her will.

LORENZO

Her will is your command. You are her guardian.

'Tis whispered in the streets she loves another,

A scholar, Marco, who is banished hence

Upon your word.

ANTONIO

That matter is resolved; Marco shall ne'er

Set foot in Venice whilst I hold the power.

For Isabella, I shall sound her mind;

Expect my word tomorrow morning.

Aside

This match secures my power; she must consent.

Exeunt ANTONIO and LORENZO.

SCENE II. A private chamber in the palace.

Enter ISABELLA and a serving woman.

ISABELLA

He presses me again for Lord Lorenzo?

SERVING WOMAN

Indeed he does, my lady, and doth look

As though he'd brook no answer but "I will."

ISABELLA

"I will" is easy said, but hard to do

When all my heart cries "no." O, Marco, Marco,

My banished love, what villainy is this

That keeps us thus asunder? My uncle's pride,

His own ambition, is the cause of all.

He'd have my lands, not me, for Lord Lorenzo.

SERVING WOMAN

What will you do? They say the Duke is stern.

ISABELLA

I have a plan that needs a woman's wit,

A man's attire, and a bold, swift heart.

My father's physician did teach me once

A rare and subtle drug, which, when I drink,

Shall stop all natural breath and pulse of life

For four and twenty hours. I shall seem dead.

SERVING WOMAN

Dead, madam?

ISABELLA

Ay, dead. My uncle, in his haste,

Shall bury me with speed. Marco is near,

In Padua, where he studies law.

I've writ to him of this; he'll rescue me

From the cold vault. Then, in a scholar's garb,

I shall return to Venice and observe

My uncle's actions, and regain my due.

Thou art my trusty maid; wilt thou assist?

SERVING WOMAN

With all my life and loyalty, my lady.

ISABELLA

Then give me that small vial from my cabinet.

This night I drink it, e'er the morning light

Shall force a "yes" from my unwilling tongue.

Exeunt.

SCENE III. A hall in the palace

Enter ANTONIO and ISABELLA.

ANTONIO

The time is short; the state requires an heir.

You shall be wed to Lord Lorenzo.

ISABELLA

I pray you, uncle, give me time to grieve;

My father's death is fresh upon my soul.

ANTONIO

Grieve for a week, but you shall marry straight.

I have decreed it.

ISABELLA

If I must, I must. My duty stands accused.

But grant me this one night of lonely prayer

To reconcile my spirit to this match.

ANTONIO

One night, no more. Tomorrow at high noon,

You meet your groom.

Exit ANTONIO.

ISABELLA

(Alone)

Tomorrow I shall meet a colder groom,

The grave. And then a scholar's robe shall hide

The Duchess's heart and all her vexed pride.

Exit.

The Duchess's Dilemma, or The Venetian Vexation: ACT II

ACT II

SCENE I. A street in Venice. Morning.

Enter MARCO, disguised as a young male scholar named 'Caius', with the SERVING WOMAN (also in disguise).

MARCO

My heart doth beat a fearful, hurried tune.

The letter said that she would drink the potion

On the very eve before her forced wedding.

SERVING WOMAN

She did, good master Caius. My uncle Antonio

Did find her "dead" this morn, cold as the marble.

The house is full of wailing, speed, and woe.

MARCO

Good. 'Tis well. Now is the second act

Of our small play begun. They'll bury her

In haste, to seal the inheritance for Lorenzo.

Where is the tomb?

SERVING WOMAN

In the great chapel by the sea, my lord.

MARCO

We must be swift. Now to my scholar's role.

I shall present myself to Duke Antonio,

As a bright youth from Padua, full of law,

Seeking employment at his court.

SERVING WOMAN

A bold design!

MARCO

Only the bold do win the fairest prizes.

If I can win his trust, I can observe

His villainies and bring them to the light.

Come, let's observe the funeral procession.

Exeunt.

SCENE II. A vault

SCENE II. A vault in the chapel by the sea. Night.

Enter ANTONIO, LORENZO, OFFICERS, and a procession carrying a bier with the 'body' of ISABELLA. They place the bier in the vault.

LORENZO

My intended bride, now married to the worms.

A sad, sad day.

Exeunt all, locking the vault.

After a pause, ISABELLA wakes from her slumber. She sits up.

ISABELLA

The potion worked. I live, though cold and damp.

My Marco should be here.

She puts on a man's scholar clothing she brought with her.

Now am I Caius, Marco's friend. A youth

To cozen my own uncle. The time is ripe.

The vault door swings ajar; Marco has come.

Enter MARCO (disguised as 'Caius' from earlier, but now playing his own role, meeting Isabella disguised as 'Caius' friend').

MARCO

Isabella! Thou art safe!

ISABELLA

My Marco!

MARCO

Now art thou Caius's friend? (They are both called Caius now in their respective disguises)

We shall confuse the world with our new names.

Come, my bold spirit, let's to the Duke's palace.

The game is now afoot.

ACT III

SCENE I. A room of state in the Duke's palace. The next day.

Enter ANTONIO and LORENZO.

ANTONIO

The city mourns the Duchess, but the law

Must take its course. The lands pass to the state

Until a suit is filed.

LORENZO

'Twas my intention to secure her wealth,

But now I must secure my claim through law.

Enter MARCO (disguised as the young scholar 'Caius').

MARCO

I crave an audience with the noble Duke Antonio.

ANTONIO

Speak, youth, what is your suit?

ANTONIO

A bold youth. Your name?

MARCO

Caius, my lord.

ANTONIO

You have a ready wit. I need a clerk.

You are hired. Attend my chambers after dinner.

MARCO

I thank your Grace. Aside The fox has hired the hound to guard the hens.

Exit MARCO

SCENE II. A public square in Venice.

Enter ISABELLA (disguised as a different young male scholar, 'Caius's friend') and the SERVING WOMAN.

ISABELLA

My Marco is within the lion's den.

Now I must find a way to meet with him

Without suspicion.

SERVING WOMAN

What part shall you play?

ISABELLA

A rival scholar, also seeking fame,

Whom Marco (as Caius) must outwit in public.

We must stage a small debate in the piazza,

To make my Marco seem more excellent

In the Duke's eyes, and gain my own renown

To be a second pawn within the game.

It is a dangerous sport, but all for love.

Exeunt.

SCENE III. The Duke's study. Evening.

Enter ANTONIO and MARCO (as Caius) with papers.

ANTONIO

This reading of the law is sound, young Caius.

You have a clever mind. I trust your judgement.

We shall proceed against Lord Lorenzo's claim.

MARCO

The law is clear, my lord. The will is valid.

But rumour has it that a rival scholar,

A 'Caius Secundus', claims the will is forged.

He challenges me to public debate tomorrow.

ANTONIO

A public debate? Excellent! A show of wit!

You shall accept. I love a good argument.

Win this for me, young Caius, and your fortunes

Are made in Venice.

MARCO

I shall not fail your Grace.

Exit ANTONIO

MARCO

Alone

O, the sweet irony! Tomorrow I debate

Against my very love, my Isabella,

To prove her dead and make her uncle win,

Whilst truly planning his most certain fall.

Venice is now a stage, and we the players.

Exit.

ANTONIO

So young, so fair, and yet so soon removed!

The heavens are cruel when they steal our best.

Lock up the vault; let no man pass this way

Till morning light. We have a state to manage.

Exeunt.

MARCO

I am a scholar, full of Padua's law.

I hear your Grace has need of cunning counsel

Regarding the late Duchess's estate. I offer service.

The Duchess's Dilemma, or The Venetian Vexation: ACT IV

ACT IV

SCENE I. A public piazza in Venice. A debate stage is set up.

Enter ANTONIO, LORENZO, MARCO (as Caius), ISABELLA (as 'Caius Secundus'), and various citizens.

ANTONIO

Silence, citizens! We are here to hear a battle

Of words and law. Young Caius shall defend

My right to govern my late niece's lands

Against this upstart scholar, Caius Secundus.

Proceed!

ANTONIO

Greed? How dare you, youth?

LORENZO

He speaks with fire, but little sense of law.

MARCO

My learned friend, your passion warms the air,

But cools the brain. The law of Venice stands

Upon the letter, not the spirit's whim.

ISABELLA

Then by the letter, bring the body forth!

Let all the world confirm that she is dead.

For how can we discuss inheritance

If the true owner might yet breathe the air?

The vault was locked too quickly!

ANTONIO

Peace! The girl is dead! My own eyes saw her cold.

ISABELLA

Then let the Duke swear on his noble honour

That no ambition hurried her to grave!

CITIZEN

Hear, hear!

ANTONIO

This scholar is too bold! Guards, seize him!

MARCO

Hold, my lord! His point is sound in law.

For confirmation, let us to the vault.

The people murmur, and the state demands

A public showing of the Duchess's end.

ANTONIO

(Aside to Marco)

You fool, you fool! You aid the rival claim!

MARCO

(Aside to Antonio)

I aid your reputation, good my lord.

Let's prove her dead and silence all these jests.

ANTONIO

Then to the chapel! We shall prove them wrong.

Exeunt all.

SCENE II. The chapel vault.

Enter ANTONIO, LORENZO, MARCO, ISABELLA, CITIZENS, GUARDS.

ANTONIO

Open the vault! And let these doubters see!

(The vault is opened. The bier is empty. The crowd gasps.)

LORENZO

The body's gone! A miracle? A theft?

ANTONIO

By heaven, some trickery! Where is she?

ISABELLA

(Stepping forward)

Perhaps the law demands a living claimant?

Perhaps the Duchess lives?

ANTONIO

You mock me, boy?

Enter MARCO's Serving Woman, now with a letter.

SERVING WOMAN

A letter for the Duke!

ANTONIO

Read it aloud!

SERVING WOMAN

(Reads) "My Lord Antonio, I write to you from Padua, where your niece, the Duchess Isabella, has sought refuge from your cruel and forced marriage to Lord Lorenzo. She lives, and claims her right to the title and her love for the banished scholar, Marco."

ANTONIO

This is a lie! Where is this Marco?

MARCO

(Stepping forward and shedding his disguise)

Here, my lord, Marco stands before you,

The scholar whom you banished, and who loves

Your niece, the living Duchess.

ANTONIO

Treachery!

ISABELLA

(Shedding her disguise)

Nay, uncle, but a lesson in the law.

I am Isabella, the Duchess of Venice.

ALONSO

(Falling to his knees, dumbfounded)

My niece! Alive!

ISABELLA

You sought to sell my hand for gain and power.

I played the corpse to teach you what is true.

My heart is Marco's, and my lands are mine.

Lord Lorenzo, your suit is dismissed.

LORENZO

A wicked play! My suit is lost, my honour stained.

ISABELLA

Your honour was a price tag on a title.

Uncle, if you can grant your blessing now,

We shall have peace. If not, the law shall rule,

And all your scheming shall be made public record

ANTONIO

(Seeing the crowd's reaction, the game is up)

My niece, I see I have been overbearing.

My blessing you shall have, and my repentance.

ISABELLA

Then all is well. Venice, behold your Duchess!

And behold the man who won her not with gold,

But by his learning and his noble heart.

MARCO

And thus a scholar wins a Duchess's hand,

And order is restored within the land.

A flourish of trumpets.

Curtain.

MARCO

The law is plain: a guardian holds the sway.

The will confirms it.

ISABELLA

Nay, good Caius, you mistake the intent.

The will did state that she must marry first.

If she dies unwed, the lands revert to kin,

Not to a guardian's greed!

The Moor of Seville (Tragedy)

The Duchess's Dilemma, or The Venetian Vexation (Comedy)

A Midwinter's Masque (Comedy)

Writing in the Shakespearean style is an extensive creative process.

I offer the first act of a fourth play, King Arthur's Fall, a tragedy from the original list.

King Arthur's Fall: ACT I

Dramatis Personae

KING ARTHUR: The aging King of Britain.

QUEEN GUINEVERE: Arthur's Queen.

MORGANA LE FAY: Arthur's sister, a sorceress (appears later in the play).

GAWAIN: A noble knight, Arthur's nephew.

MODRED: Arthur's illegitimate son, a knight.

CORNWALL, ALBANY, GAUL: Loyal Dukes of the realm.

MESSENGERS, GUARDS, &c.

ACT I

SCENE I. A council chamber in Arthur's palace at Camelot. A map of Britain is on the wall.

Enter KING ARTHUR, weary and old, with GAWAIN, CORNWALL, ALBANY, and GAUL.

KING ARTHUR

Our kingdom is too large, our burdens great;

The weight of state doth press my aged bones.

I mean to shake all cares from off my shoulders,

Conferring them on younger strengths, while I

Unburdened crawl toward death. Our purpose is,

To give our kingdom and our power away.

We have three loyal dukes, who govern well,

But we shall split our realm in three more parts,

To see which loves us most.

GAWAIN

My lord, I do beseech you, do not so.

Trust not the words of flatterers; divide not

The kingdom you have made so great and strong.

kingdom you have made so great and strong.

KING ARTHUR

Peace, Gawain! We have considered this;

Our mind is fixed. Duke Cornwall, you shall have

The south; Duke Albany the north; and you, Gaul,

Shall take the lands across the narrow sea.

But ere we sign the papers, speak, which of you

Shall we say doth love us most? Our largest bounty

Shall fall on him who shows the deepest love.

CORNWALL

My lord, I love you more than words can wield

The matter; dearer than eye-sight, space, and liberty.

ALBANY

I rate you as highly, sire, no less. My love

Is richer than all treasure.

GAUL

I cannot heave my heart into my mouth.

I love your majesty according to my bond; no more nor less.

KING ARTHUR

How, Gaul? Mend your speech a little,

Lest it mar your fortunes.

GAUL

I am sorry, sire. I have a wife, and while I love her well,

My duty to my king is bound by law and reason,

Not by a gushing, flattering river of false words.

KING ARTHUR

To Gawain

This is a curse! My youngest duke doth scorn me!

We had intended a more richer part

For you, but you are dowerless. Be gone!

We banish you for ever from our sight!

GAWAIN

The king is mad with rage!

Exeunt GAUL, escorted by guards.

SCENE II. A street in Camelot.

Enter MODRED, the King's illegitimate son, and a MESSENGER.

MODRED

The King has banished Gaul? And given all

To Cornwall and to Albany? The old fool

Hath lost his wits along with his domain.

Now is our time, the time my mother, Morgana,

Did prophesy. The crown shall fall to me.

MESSENGER

My lord, the kingdom is in turmoil;

The dukes already plot against each other.

MODRED

Excellent. A divided realm is easy game

For a clever predator. My father, in his dotage,

Hath done the work for me. He thinks he rests,

But he has lit a fire that shall consume him.

Go, spread the word that Arthur is a tyrant.

Exeunt.

SCENE III. Arthur's private chambers.

Enter KING ARTHUR, tormented by his decision, and QUEEN GUINEVERE.

QUEEN GUINEVERE

My lord, you have done ill to banish Gaul.

He was an honest man. The other two

Did flatter you most wickedly.

KING ARTHUR

My mind is troubled, Guinevere. The silence

Of Gaul did bite me harder than the praise

Of the others. I feel a storm approach,

A whirlwind of my own devising.

A trumpet sounds outside.

MESSENGER

Entering

My lord! Lord Cornwall and Lord Albany

Have raised their banners! They march on Camelot,

Demanding your abdication! They say

You are no longer fit to rule the realm!

Exeunt.

KING ARTHUR

Traitors! I gave them all, and they want more!

The thunder rumbles, and the rain begins.

My kingdom is a stage for civil war.

Arm me, Gawain! We go to meet the traitors!

O, fool that I was to trust in flattering words!

King Arthur's Fall: ACT II

ACT II

SCENE I. A camp in a field near Camelot. Rain and thunder.

Enter KING ARTHUR, GAWAIN, and loyal KNIGHTS. The King is disheveled and raving.

KING ARTHUR

The thunder rolls, but it doth speak my mind!

You elements, that owe me no subscription,

Let fall your horrible pleasure! Here I stand,

A man more sinn'd against than sinning is!

My daughters, no, my serpent-hearted dukes,

They have my power, and they have my heart-ache.

GAWAIN

My lord, come in, the storm will wrench the trees

From out the earth. The rain doth soak your flesh.

KING ARTHUR

You think I'll weep? No, I'll not weep.

I have a hundred reasons to a wrong,

And more to make my tears free. But I will not.

They'll have to deal with Gawain's honest blade!

Enter MODRED, disguised as a common soldier, watching.

MODRED

(Aside)

The old fool rages at the sky and rain.

His knights are few, their spirits weak and low.

The dukes shall have their way, and then I'll strike

And take the crown that is my bastard right

Exit MODRED.

KING ARTHUR

Let's to some shelter. I am wet and weak.

The storm within my mind doth rage as loud

As any tempest in the heavens above.

Exeunt.

SCENE II. A castle hall.

Enter CORNWALL and ALBANY, drinking wine.

CORNWALL

The old man's driven mad by our demands.

He wanders in the storm, a wretched thing.

ALBANY

'Tis for the best. A mad king is no king.

The realm needs order, and a firm, young hand.

We have the power now, the armies gathered.

Gaul is in exile, Modred is our friend.

CORNWALL

Modred? That bastard son? We must be wary.

He is a snake beneath the summer's grass.

ALBANY

He helps us now. We'll deal with him anon.

The crown is ours to split, and ours to keep.

Exeunt.

ACT III

SCENE I. A field. Arthur's camp.

Enter KING ARTHUR, now completely mad, with a crown of weeds, attended by GAWAIN.

KING ARTHUR

They say the Owl was a baker's daughter. Ay,

For all the world, they are a piece of him.

No, no, no, man; a man may see how the world goes

With no eyes. Look with thine ears: see how yond justice

Rails upon yond simple thief. Hark, hark,

Flush, you royal whore!

GAWAIN

O, see the difference between man and man!

To thee a king, a master, thus be treated?

We must fight, my lord! We have a loyal force,

Though small in number, mighty in their cause!

KING ARTHUR

Let's mock the great ones of the earth, and laugh

At them that think they are so high and mighty.

The great ones eat the little ones. All is for nothing.

Enter a MESSENGER.

MESSENGER

My lord Gawain, a force approaches fast,

Led by Lord Modred, marching with the dukes!

They mean to finish off the King and all his men!

GAWAIN

To arms, to arms! This day we fight for honour,

For the true King, and for the soul of Britain!

If we must die, we'll die like loyal knights!

Exeunt, preparing for battle.

SCENE II. The battle field. The battle commences.

Sounds of war. Shouts and steel clashing. Gawain fights bravely against many.

GAWAIN

The day is lost! The King is captured!

Enter MODRED, triumphant, with GUARDS and the captured KING ARTHUR.

MODRED

The crown is mine! The dukes did serve me well,

But now their usefulness has reached its end.

To a guard

Take Arthur to the tower; secure him well.

I am the King now! Long live King Modred!

KING ARTHUR

(Madly singing)

Hey non nonny, the rain it raineth every day.

MODRED

Silence the fool!

Guards take ARTHUR away. MODRED surveys the field.

MODRED

The battle's won, the kingdom's in my grasp.

But that sweet sister, Morgana, she'll want her share.

No matter, I shall deal with her when I am crowned.

The night is dark, and I am the new moon.

Exit modred.

King Arthur's Fall: ACT IV

ACT IV

SCENE I. A cell in the Tower of London.

KING ARTHUR, aged and mad, lies on a straw pallet.

KING ARTHUR

They told me I was every thing; 'tis a lie,

I am not ague-proof. They call'd me King:

When the rain came to wet me once and the wind

To make me chatter, when the thunder would not peace

At my bidding; there I found 'em, there I smelt 'em out.

Go to, they are not men o' their words: they told me

I was a king.

Enter GAWAIN, wounded, having escaped.

GAWAIN

My lord, my king, my uncle!

I have escaped the slaughter, come to free you.

KING ARTHUR

The little dogs and all,

Tray, Blanch, and Sweet-heart, see, they bark at me.

Thou owest the worm no silk, the beast no hide, the sheep no wool.

We are for the dark.

GAWAIN

His mind is gone. The villains have undone him.

We must rally the remaining knights, fly to Gaul,

And raise an army there to fight this Modred.

The kingdom suffers under a tyrant's heel.

Exeunt, supporting the King.

SCENE II. A hall in the palace. Modred's coronation preparations.

Enter MODRED, with followers. Enter MORGANA LE FAY.

MODRED

Sister, the crown is almost mine. The old fool's mad,

And Gawain has fled. The realm is at my feet.

MODRED

I fear no man. My mother's magic and my sword

Shall keep me safe. I am the King!

MORGANA

A short-lived reign, I fear. The wheel of fate

Doth turn most swiftly for the usurpers.

Your ambition blinds you to the storm to come.

Exeunt.

King Arthur's Fall: ACT V

ACT V

SCENE I. A field near Dover. A great army approaches, banners of Gaul fly high.

Enter GAWAIN with the army from Gaul, led by DUKE GAUL.

GAUL

Behold the shores of England, our true home!

We come to free the King from Modred's grasp,

And right the wrong that Arthur did commit

By banishing the loyal and the just!

Gawain, my general, lead us into battle!

GAWAIN

For Arthur! For Honour!

Exeunt to battle.

SCENE II. The battle field. The final battle commences. Swords clashing, shouts of war.

Enter MODRED and GAWAIN, fighting a duel.

MODRED

The realm is mine! You are a fool to fight!

GAWAIN

You are a traitor to your blood and crown!

(They fight fiercely. Gawain is struck down, fatally wounded.)

GAWAIN

O, my king! My uncle! I have failed you!

He dies.

Enter KING ARTHUR, brought on by guards.

MODRED

The last true knight is dead! The crown is mine!

Enter DUKE GAUL, fighting his way through.

GAUL

Tyrant! Your reign is over!

(Gaul and Modred fight. Gaul kills Modred.)

MODRED

A short-lived reign...

He dies.

(King Arthur, seeing Gawain dead and the field strewn with bodies, collapses.)

KING ARTHUR

Howl, howl, howl, howl! O, you are men of stones:

Had I your tongues and eyes, I'd use them so

That heaven's vault should crack. She's gone for ever!

I know when one is dead, and when one lives;

She's dead as earth. Lend me a looking-glass;

If that her breath will mist or stain the stone,

Why, then she lives.

GAUL

He speaks of Guinevere, who died of grief.

The King is lost in madness, lost in sorrow.

KING ARTHUR

This is a heavy night. This is a heavy night.

He dies of grief.

Curtain.

MORGANA

Not yet, my brother. The people hate you, fear you.

You have no right, no lineage that they love.

Gaul is assembling forces. Beware the honest man.

GAUL

The tragedy is done. The King is dead.

The kingdom saved, but at a fearsome cost.

We bear the bodies hence, a tale for ages,

Of a great king undone by flatterers' wages.

The realm shall heal, but bear these scars for ever.

The wheel of fate hath turned, and order is restored.

Black power 's Short plays .part one

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

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.

The Comedy Of Errors,Once More.

The Comedy of Errors, Once More: ACT I

Dramatis Personae

AEGEON: An old merchant of Syracuse.

AEMILIA: His wife, Abbess of Ephesus (unknown to him).

ANTIPHOLUS OF SYRACUSE and ANTIPHOLUS OF EPHESUS: Twin brothers, sons of Aegeon and Aemilia.

DROMIO OF SYRACUSE and DROMIO OF EPHESUS: Twin brothers, servants to the Antipholi.

ADRIANA: Wife of Antipholus of Ephesus.

LUCIANA: Her sister.

THE DUKE OF EPHESUS: The city's ruler.

ACT I

SCENE I. A hall of justice in Ephesus.

Enter the DUKE OF EPHESUS, AEGEON, and officers.

DUKE

Merchant of Syracuse, plead no more; the law is strict:

Our cities are in discord, war and hate,

And any Syracusan found in Ephesus

Shall pay a thousand marks, or lose his head.

Thy time is up.

AEGEON

A heavier sentence is my tale and sorrow.

I lost my wife and both my twin-born sons,

And both their servants, twins as well,

In a great storm at sea, some twenty years ago.

I have wandered all the world to find my kin,

And now I find but death in Ephesus.

DUKE

What were the boys?

AEGEON

The one, my eldest, I did bind a servant to him,

A twin I bought from a poor woman at the inn.

The other, younger, I kept by my side.

The storm did split our ship, we were all lost,

Or so I thought. My second son, his servant, and I,

We floated on a mast, until rescued by a passing ship.

The other half was saved by fishermen.

DUKE

A wondrous tale of woe. Can you pay the fine?

AEGEON

No, my lord. My wealth is gone, my life is done.

DUKE

Then justice must be served. This is the law.

AEGEON

Then let the axe fall swift and end my pain.

Exeunt.

SCENE II. The Mart (public square) in Ephesus.

Enter ANTIPHOLUS OF SYRACUSE, DROMIO OF SYRACUSE, and a MERCHANT.

ANTIPHOLUS OF SYRACUSE

The Duke is stern, the city full of laws

Against my people. We must be discreet.

My father's tale still echoes in my ears,

The loss of my dear brother, lost at sea.

I search for him, but fear I search in vain.

DROMIO OF SYRACUSE

We are in a place of magic and sorcery, they say.

Be wary, master, of illusions and of spells.

Men stare at us as if they know our names.

Enter DROMIO OF EPHESUS.

DROMIO OF EPHESUS

My master, where have you been all this time?

Your wife is mad with rage, the dinner's cold!

You gave me money for the house, and now

You claim you gave me none!

ANTIPHOLUS OF SYRACUSE

What means this madness, rogue? I know thee not!

I have no wife, no money given to thee!

Begone, you fool!

DROMIO OF EPHESUS

The devil is in him! He claims he knows me not!

My name is Dromio, servant to your honour,

Antipholus of Ephesus!

ANTIPHOLUS OF SYRACUSE

I am Antipholus of Syracuse! A plague

Upon this town of witches and of spells!

(Antipholus of Syracuse beats Dromio of Ephesus.)

DROMIO OF EPHESUS

The devil beats me for not coming home!

I'll go to my mistress and report him mad!

Exit DROMIO OF EPHESUS.

DROMIO OF SYRACUSE

Master, this is the magic that they speak of.

ANTIPHOLUS OF SYRACUSE

This is a world of error and confusion.

We must be gone from this bewitched place,

But first, I'll walk the streets to clear my head,

And seek my brother in this land of ghosts.

Exeunt.

The Comedy of Errors, Once More: ACT II

ACT II

SCENE I. A street in Ephesus.

Enter ADRIANA and LUCIANA, sisters.

ADRIANA

Where is your husband? He has not come home to dinner.

The man is mad, he beats his servant, Dromio.

LUCIANA

Sister, be patient. Men have business of the state.

ADRIANA

Business of the state? Or business with a whore?

I fear he strays, my gentle husband, my Antipholus.

Enter DROMIO OF SYRACUSE.

DROMIO OF SYRACUSE

Mistress, my master will not come to dinner.

He's walking on the mart, a melancholy man,

And knows not who you are, nor where his home is.

ADRIANA

Dromio, you fool! You lie! I know you lie!

Your master is playing the fool, and so are you!

DROMIO OF SYRACUSE

I know no master, mistress, nor no wife.

I am Dromio of Syracuse, a stranger here.

My master is Antipholus of Syracuse,

And we are lost in this bewitched place.

ADRIANA

Witches! Sorcery! This is your excuse!

Come, sister, we shall find my husband,

And bring him home by force, if need be!

Exeunt ADRIANA and LUCIANA.

Enter ANTIPHOLUS OF SYRACUSE.

ANTIPHOLUS OF SYRACUSE

The people here all know my name, my face.

They call me husband, master, friend, and lord.

The merchant offered me a chain of gold,

The tailor seeks to fit me for a coat.

This is a world of dreams and strange illusions.

Enter ADRIANA and LUCIANA.

ADRIANA

Husband, where have you been these many hours?

The dinner's cold, the guests are all a-wait!

ANTIPHOLUS OF SYRACUSE

I know you not, fair lady. Pray, begone.

ADRIANA

I am your wife, Adriana! This is my sister, Luciana!

Your house is but a step from here. Come home!

ANTIPHOLUS OF SYRACUSE

My wife? My sister? I have neither wife nor home

In Ephesus. I am a lonely man of Syracuse.

You are mistaken, madam.

LUCIANA

He's mad, stark mad! His eyes do roll in fury!

ADRIANA

We'll have him home and bind him fast,

Until the exorcist doth cast the spell from him!

(Adriana and Luciana force Antipholus of Syracuse offstage.

ACT III

SCENE I. Before the house of Antipholus of Ephesus.

Enter ANTIPHOLUS OF EPHESUS, DROMIO OF EPHESUS, and the MERCHANT.

ANTIPHOLUS OF EPHESUS

My wife hath locked me out! Denied me entrance!

She feasts within, with other, baser men!

I sent my Dromio home with money, he denies it!

I am a wronged and cuckolded man of Ephesus!

DROMIO OF EPHESUS

They beat me, sir, for telling you the truth.

They said you were within, and called me rogue.

MERCHANT

A strange affair. I heard your wife within,

Laughing with a man I know not.

ANTIPHOLUS OF EPHESUS

My honour's stained! My name is a disgrace!

I'll break the door and confront the villains!

Enter a COURTESAN from a nearby house.

COURTESAN

My lord Antipholus, you promised me a chain of gold,

And swore you'd dine with me this very day!

But you went to your wife, and now you storm and rage.

ANTIPHOLUS OF EPHESUS

A chain of gold? I promised nothing, whore!

Begone! All Ephesus is mad with lies!

MERCHANT

I lent him money for the chain, I saw him take it!

This is a fraud! A sorcery indeed!

ANTIPHOLUS OF EPHESUS

I'll to the Duke and tell him of my plight,

This town is full of witches and of lies!

I'll have my rights, my honour, and my home!

Exeunt, full of fury.

SCENE II. A room in the house.

Enter ANTIPHOLUS OF SYRACUSE and LUCIANA.

ANTIPHOLUS OF SYRACUSE

Fair creature, you do speak in gentle tones,

Unlike your sister, full of sound and fury.

I know not who I am, nor where I am,

But my heart speaks to you a gentle truth.

LUCIANA

I know you are my sister's husband, sir,

Though you deny it. Your eyes speak a kinder truth

Than your tongue can utter. I am confused.

ANTIPHOLUS OF SYRACUSE

I love you, gentle lady, though my mind

Doth wander in a maze. The sorcery

Of this strange place hath made me a new man.

LUCIANA

Go, sir, I am a maid and fear your words.

My sister is your wife. This cannot be.

Exit LUCIANA.

ANTIPHOLUS OF SYRACUSE

This is a sweet confusion, a gentle dream.

I must find Dromio and escape this place,

Ere I am bound by love and witches' spells.

Exit.

ACT IV

SCENE I. A street in Ephesus.

Enter ANTIPHOLUS OF EPHESUS and DROMIO OF EPHESUS, followed by an officer.

ANTIPHOLUS OF EPHESUS

The Duke will hear my plea! I am abused!

My wife doth lock me out, my friends deny me,

And that same courtesan doth claim a chain

I never bought!

DROMIO OF EPHESUS

And I am beaten, sir, by a man that is your twin!

This town is full of devils, sir, I swear.

Enter BALTHAZAR, a merchant.

BALTHAZAR

My lord, the Duke is at the Abbey, with a merchant

From Syracuse, who is to lose his head this day.

The city is in an uproar.

ANTIPHOLUS OF EPHESUS

We shall to the Duke and state our case!

He must resolve this riddle and this shame!

The officer shall bring my wife to court.

Exeunt.

SCENE II. A street

SCENE II. A street in Ephesus.

Enter ANTIPHOLUS OF SYRACUSE and DROMIO OF SYRACUSE.

ANTIPHOLUS OF SYRACUSE

The money-lender claims I owe him cash

For a chain of gold I never did receive!

The madness grows! The world is upside down!

We must away to the Abbey, seek sanctuary,

Ere we are bound and jailed for debts we owe not!

DROMIO OF SYRACUSE

To the Abbey, master, fast as e'er we can!

The sorcerers chase us, the devils are at our heels!

Exeunt running toward the Abbey.

SCENE III. The Abbey gates.

Enter ADRIANA and LUCIANA with the OFFICER.

ADRIANA

They sought sanctuary at the Abbey gates!

My husband's madness hath possessed his soul!

We must have the Abbess exorcise the demon from him!

OFFICER

The Duke is here now, to see the execution

Of the Syracusan merchant. All shall be resolved.

Exeunt to the Abbey.

ACT V

SCENE I. Before the Abbey.

Enter the DUKE OF EPHESUS, AEGEON (led to execution), the OFFICER, ADRIANA, LUCIANA, and townsfolk.

DUKE

Alas, poor merchant, thy time is done.

I cannot pardon thee, the law is just.

AEGEON

I am prepared, my lord. My life is spent

In search of what I lost, my wife and sons.

Enter AEMILIA, the Abbess, with ANTIPHOLUS OF SYRACUSE and DROMIO OF SYRACUSE.

AEMILIA

Why are you troubled, people? Here are two men,

Whom you do seek to bind and exorcise.

ADRIANA

My husband, here he is! But he denies his name!

ANTIPHOLUS OF SYRACUSE

I know no wife, no home in Ephesus!

I am a man of Syracuse, lost and alone!

AEGEON

My son! My son! My second son, my boy!

Thy face doth speak the truth of all my woe!

ANTIPHOLUS OF SYRACUSE

Old man, I know thee not.

Enter ANTIPHOLUS OF EPHESUS and DROMIO OF EPHESUS, running.

ANTIPHOLUS OF EPHESUS

The sorcery continues! Here is my double,

And his servant, both in league with all the town!

DUKE

Two merchants! Two Dromios! A miracle!

AEMILIA

Behold, my lord, the truth of all this tale!

She removes her veil.

I am Aemilia, wife to Aegeon here!

Lost in the storm, I became an Abbess here,

And prayed for my lost kin.

AEGEON

My wife! My Aemilia! Alive!

ANTIPHOLUS OF EPHESUS

My father and my mother, found at last!

ANTIPHOLUS OF SYRACUSE

My brother, whom I sought, here in this place of magic!

ADRIANA

My husband's twin! Now all is clear as day!

LUCIANA

And the man who wooed me was my brother's twin!

DROMIO OF EPHESUS

And my lost brother, Dromio of Syracuse!

DROMIO OF SYRACUSE

A happy meeting in a land of error!

DUKE

The law is pardoned, all is joy and mirth!

The merchant is saved, the family reunited!

We'll have a feast, a joyous celebration,

To end the errors and the long confusion.

The tale of errors ends in perfect rhyme,

A victory over sorrow, fate, and time!

A flourish of trumpets.

Curtain.

Sensitive Documents, Global Transfers And Equity finance Investment

The U.S. Treasury's Bureau of the Fiscal Service manages the government's financial operations, including federal payment systems, and works with the Federal Reserve to execute these payments. The Federal Reserve's primary payment system is Fedwire, which moves trillions of dollars daily between banks for same-day settlement. Other modern payment systems like FedNow are also being adopted as real-time payment standards.

Key players and systems involved:

Bureau of the Fiscal Service: This bureau within the U.S. Department of the Treasury is responsible for managing government payments.

Federal Reserve System: The Federal Reserve and the Treasury collaborate to manage the U.S. economy and government funds. The Fed provides payment services through its Fedwire system.

Fedwire: A crucial payment system operated by the Federal Reserve, Fedwire facilitates the high-volume, same-day transfer of trillions of dollars between financial institutions in the U.S.

FedNow: The Federal Reserve has also introduced FedNow, a real-time payment system that has been adopted as a modern standard for faster transactions.

DOGE can access sensitive Treasury payment systems.

Yes, Fedwire is the predominant and standard method used by investors to transfer funds for private placements of equity securities.

Here is how the process works:

Wire Transfers: The actual movement of money in large financial transactions, including private equity deals, is almost always executed via wire transfer, both domestically (using systems like Fedwire in the U.S.) and internationally (using the SWIFT network).

Mechanism: An issuer (the company) will provide potential shareholders with specific wiring instructions that include the company's bank account details and the bank's Fedwire ABA number (routing number).

Direct Bank-to-Bank: Fedwire is a real-time gross settlement system that facilitates direct, large-value transfers between participating financial institutions, making it suitable for the substantial sums involved in equity financing.

Security: As a security measure against fraud, banks often use voice confirmation to verify the details of the wire transfer with the sender and recipient.

While the "pitching" (soliciting investors) phase is distinct and highly regulated by the Securities and Exchange Commission (SEC) through rules like Regulation D (which outlines the exemptions allowing private placements), the transfer of the capital once the investment commitment is made is routinely done using the Fedwire system.

You don't use Fedwire to attract equity finance, but rather to receive funds once an investor has committed. Fedwire is a domestic U.S. payment system for high-value, time-sensitive transactions. To facilitate a global private placement, your company will use a combination of systems, including Fedwire for U.S.-based investors and the SWIFT network for international investors.

How Fedwire and other systems work in a global private placement:

During the pitch: Your company will not mention Fedwire, as it is not a tool for attracting investors. The "pitch" involves communicating your company's value proposition, offering details (often in a Private Placement Memorandum), and negotiating terms with accredited or institutional investors.

Commitment and documentation: Once an investor agrees to the terms, they will sign legal documents. At this stage, your company provides specific wiring instructions.

Fund transfer—U.S. investors: For U.S.-based investors, your company will provide your U.S. bank account's routing number for Fedwire. The investor initiates the wire transfer through their bank, and the funds are settled in real-time within the U.S. banking system.

Fund transfer—international investors: For international investors, the funds are typically transferred using the SWIFT network. Your company will need to provide your bank's SWIFT code in addition to the bank name, address, and account number. The international wire transfer may also involve a U.S. correspondent bank that uses Fedwire for the final leg of the transfer.

Important distinction: The private placement itself is a legal process governed by securities regulations (like Regulation D in the U.S.), while the fund transfer is a banking process. Your company's focus should be on meeting regulatory requirements and presenting an attractive investment opportunity to investors, not on the payment system

Documents to Provide

In a global private placement, key documents are categorized as formation, offering, and regulatory filings. These documents are typically prepared with the assistance of legal and financial experts.

Category Specific Documents

Offering Documents Private Placement Memorandum (PPM): The primary disclosure document detailing the business plan, management team, financials, risks, and terms of the investment.

Subscription Agreement: The contract where the investor formally agrees to purchase the securities. It includes an investor questionnaire to verify their accredited or sophisticated status.

Term Sheet: A preliminary, non-binding document outlining the key terms and conditions of the proposed deal.

Formation/Governing Documents Articles of Incorporation/Organization & Bylaws: Legal documents establishing the entity and its internal operational rules.

Shareholder Agreement: Outlines the rights and responsibilities of shareholders.

Financial & Other Documents Audited Financial Statements: Typically for the preceding 3-5 years, providing insight into the company's financial health.

Business Plan/Pitch Deck: Articulates the company's vision, target market, strategy, and growth prospects.

Intellectual Property Records: Documentation of patents or patent applications.

Material Contracts & Debt Agreements: Copies of significant existing contracts or loan obligations.

Where to Get Investors Faster and Improve Documents

You don't just "get investors faster"; the process involves strategic targeting and professional assistance to ensure quality and compliance.

Professional Networks: Building relationships within the investment community (e.g., through referrals from lawyers, accountants, or business contacts) is a common way to hear about potential investors.

Broker-Dealers/Placement Agents: These licensed intermediaries specialize in connecting issuers with qualified investors (accredited or institutional). They also advise on structuring the offering and help refine your offering documents to meet investor expectations and regulatory requirements.

Venture Capital (VC) Firms and Angel Investor Networks: These groups are actively looking for promising businesses. Many have an online application process or attend industry events. They often provide valuable input on business plans and structure, and can also help you improve your documents as part of their due diligence.

Online Investment Platforms: Specialized online platforms cater to accredited investors and can put your business in front of a relevant audience.

Wire Transfer Timeline

Once all regulatory requirements are met, investor commitments are finalized, and the deal closes, the wire transfer to your company's bank account is relatively quick:

Domestic (U.S.) Wire Transfers (Fedwire): Funds typically arrive within 24 hours, often on the same business day if initiated before the bank's daily cutoff time (usually between 2 PM and 5 PM local time).

International Wire Transfers (SWIFT): These usually take 1 to 5 business days, but can sometimes take longer depending on time zone differences, currency conversions, intermediary banks, and compliance checks in various countries.

To ensure a smooth transfer, always double-check all recipient and bank details with the investor and the bank to avoid errors that can cause significant delays.