Shakespeare, W - Much Ado About Nothing (Arden, 2006).pdf

Ïo don john who drops of c lon pedro has his he rid

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(ïo Don John, who drops of C, l)on Pedro has his he rid or» .Don .John' s a shouldef i' Let rae bid yo:: vol come, my 1 or TSeïTag reoonoiled to the prince your brother, I o«-.e you a l l duty. (Don John accepta -eonat o' s hand) Don'John (L Of Don Pedro) 1 tr.ank y va; I -.rr. not ox many v.orâa, but I thank you, (Antonio ut steps, won Jonri steps back) Leonato Please it your grace lead on? Don Pedro i . . r hand, Leonato; m « 1 1 1 £ o together. (prince, turning, -:ivea Leonato his L him-i - -^ntonio ut 3teps indiea^iri t the *ay. r. sû'ûing and smiles } (Wo, 3 " t i l l centrice is off) (7th Lad„ and 2nd vientlem^n cross to upper side of porch) 1 Don Pedro and Luonato, Z 7th Lad, ami <ina ùentleraan follow Don Pedro una Leonato into house, ï. ftn Lad, and fcrd Gentleman exeunt into_ house, 4 5th ltd, and 1st" "j'erit leman and 3rd" "Lad.," exaunt into house. 5 C soldiers exeunt L.U.iS. 6 ulessêrijor, Conrude ana Margaret cross up a and Messenger sHowa them upper depr L.3.,a they exeunt. 7 am Ursula follow thera - Messenger follo'.vs tries off. 8 Benedick's Pages followed by Don Pedro's gages exeunt &.ÏÏ.B.) ( B e at rice crosses to $ o ol ty t at le H. ) (Benedick u; to Antonio. Claudio A ' s to Hero to take her hand, and le^d her off, i.-? int. e recited, fcj John - ahc sud- denly seeing mov^nent, drops to iero - ('.'-ho i s disa-pointeij Don John ana hr-ro s t a r t un rtepe. Claudio IOOKII:.. ufter Hero, ixi steps He.o give*- flo. •. ". . . . . . i i ; . n>_ springs forw&ra and taxes it and ki ses i t . Clu-iio c r o s s e s , below porch, looking after ~ r o . Eeni.éSîrik'cro.-ses to Beatrice una off. She look:-, at him, laughs, and cros.-e.-: to.-ard antonio, Who eroT-ses an! takes h can i. As she passes Benedick she t o s s e s rose ov. r her sho.lder. Be x^i-ks it up, laughs, Jhe turns, he offi-rs rose. - .e eps it out of Lis <und and exeunt s with Antonio into house, he xicks dov.n stage) 7 1.1 (146-53), from a promptbook of a 1904-5 touring American production by E.H. Southern and Julia Marlowe which spells out details of stage actions. Note the business between Don John, Claudio and Hero, meant to motivate Don John's plot against the two lovers. 85
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Introduction effects - the appearance of the soldiers as brilliant or battle-worn - as well as the more local details of character. Such tones often pivot on the presentation of Claudio. Despite historicist caveats about the unremarkable or conventional nature of his conduct, he has often been the recipient of treatments that seek to excuse that conduct (for example, being cast as very young). For instance, how is his rehabilitation as a non-cad accomplished (if at all) by the play's end? Is the ritual at the monument (5.3), assigned to him and Don Pedro by Leonato as a kind of reparation, played as in the Quarto text (in which Claudio doesn't speak except to direct others to speak on his behalf), or is Claudio allowed to take on the burden of most of the penitential language? Modern productions eager to bolster this character's sympathetic aspect, and associating penance with a personal voice (Elizabethans may have found a corporate grief equally,
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