The 30-Minute Shakespeare Anthology. William Shakespeare

line contains the phrase “my love.” Here Adriana is expressing how she feels inseparable from Antipholus. This echoes a speech by Antipholus of Syracuse in Act I, Scene II: “I to the world am like a drop of water/That in the ocean seeks another drop.”

      In his earlier “drop of water” speech, Antipholus of Syracuse refers to his search for his long-lost brother. If playing this scene as a duo, Antipholus could react with recognition to this metaphor as Adriana speaks it, since he himself said similar words regarding his connection with his brother. If Adriana is playing the monologue solo, let the beauty and meaning of the words guide you. Luxuriate in their sound. Don’t rush the words. Enjoy them!

      The sentence that begins “For know, my love,” is a long one—five lines—so you must find beats and breathing points. Find at least two places in the sentence to breathe and gather your vocal strength and tone. Certainly, the words “my love,” bracketed in commas, can be one breathing point. Again, use the repeated words (“drop,” “take,” “me”) and use them to give rhythmic and sonic shape to the speech. Perhaps simply emphasizing the repeated words will enhance their poetry.

      Next, Adriana turns the tides, reminding Antipholus how he would feel if he suffered Adriana’s treatment. The language becomes sharper and harsher. The softness of the previous lines can now contrast with the coarseness of words such as “touch,” “quick,” “licentious,” “ruffian lust,” and “contaminate.” Emphasize the “s” and “t” sounds as you say them. Give physical illustration to words such as “spit,” “spurn,” “hurl,” “tear,” and “cut”. Lean your head forward when you say them. Use your arms to depict cutting, hurling, and tearing. This passage gives you an opportunity to show what Adriana feels in her body when she says these strong words.

      In the final section of the soliloquy, Adriana again makes herself the subject of her words. This time, however, she does so in relation to Antipholus’s perceived misdeeds. She likens Antipholus’s infidelity to an infectious disease that stains her inside and out. Again, you can emphasize the sounds of key words such as “blood,” “crime,” “digest,” “poison,” “strumpeted,” and “contagion.”

      Adriana’s text is full of beautifully descriptive language. If you color key words and phrases to give them their full expression, and study the speech for its poetry, meaning, and feeling, then you will indeed give life to Shakespeare’s wonderful depiction of a woman scorned.

      SUGGESTED VIEWING

       THE COMEDY OF ERRORS, 1978

       Director: Phillip Casson

       Starring: Judi Dench, Roger Rees

       THE COMEDY OF ERRORS, 1983

       Director: James Cellan Jones

       Starring: Roger Daltrey, Suzanne Bertish

       HAMLET

       CHARACTERS IN THE PLAY

       The following is a list of characters that appear in this scene of Hamlet.

       HAMLET: Son of the late King Hamlet

       OPHELIA: Daughter to Polonius; sister to Laertes

       NARRATOR

       SET AND PROP LIST

       SET PIECES:

       Throne

       Chair

       Table

       PROPS:

       Box (or bundle) of letters for Ophelia

       HAMLET: ACT III, SCENE I

      A room in the castle.

      Enter NARRATOR from stage rear, coming downstage center.

       NARRATOR

       Hamlet and Ophelia, the daughter of King

       Claudius’s chief officer Polonius, have recently

       confessed their affection for each other. But when

       Ophelia’s father, bound by the king to spy on

       Hamlet, orders Ophelia to return Hamlet’s love

       letters, the prince’s vicious and unhinged reaction

       upsets her greatly.

      Exit NARRATOR stage right.

      Enter HAMLET from stage right.

      Enter OPHELIA from stage left, holding letters.

       OPHELIA

       My lord, I have remembrances of yours,

       That I have longed long to re-deliver;

       I pray you, now receive them.

       HAMLET

       No, not I;

       I never gave you aught.

       OPHELIA

       My honor’d lord, you know right well you did;

       And, with them, words of so sweet breath composed

       As made the things more rich: Their perfume lost,

       Take these again; for to the noble mind

       Rich gifts wax poor when givers prove unkind.

       There, my lord. (gives letters to HAMLET)

      HAMLET steps in close to OPHELIA and turns toward her.

       HAMLET

       I did love you once.

      OPHELIA (takes a step toward HAMLET)

       Indeed, my lord, you made me believe so.

      HAMLET (turns away suddenly)

       You should not have believed me; I loved you not.

      HAMLET returns the letters to OPHELIA.

      OPHELIA (hurt)

       I was the more deceived.

      HAMLET (points at OPHELIA; yells)

       Get thee to a nunnery: Why wouldst thou be a

       breeder of sinners? Or, if thou wilt needs marry,

       marry a fool; for wise men know well enough what

       monsters you make of them. (points again) To a

       nunnery, go, and quickly too. Farewell.

      HAMLET begins to exit stage right.

       OPHELIA

       O heavenly powers, restore him!

      HAMLET turns around and comes back toward OPHELIA.

       HAMLET

       God has given you one face, and you make yourselves another. Go to, I’ll no more on’t; it hath made me