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Book Categories |
| Preface | xv | ||||||||||
| Tragedy/Drama | |||||||||||
| Greek | |||||||||||
| 1 | Orestes is jubilant, then uncertain, over his revenge ((458 BC) Aeschylus, Libation Bearers, tr. R. Lattimore) | 2 | |||||||||
| 2 | Jason defends his abandonment of Medea ((431 BC) Euripides, Medea, tr. F. Prokosch) | 6 | |||||||||
| 3 | The Messenger reports Jocasta's suicide and Oedipus' self-blinding ((430-425 BC) Sophocles, Oedipus the King, tr. W. B. Yeats) | 9 | |||||||||
| 4 | Hippolytus curses women and adultery after learning of Phaedra's passion for him ((428 BC) Euripides, Hippolytus, tr. M. Hadas and J. H. McLean) | 11 | |||||||||
| 5 | Hippolytus defends his innocence before his father ((428 BC) Euripides, Hippolytus, tr. D. Grene) | 13 | |||||||||
| 6 | The Messenger reports the gruesome death of Hippolytus ((428 BC) Euripides, Hippolytus, tr. D. Grene) | 16 | |||||||||
| 7 | Talthybius recounts to Hecuba the slaying of her daughter ((417-415 BC?) Euripides, Hecuba, tr. J. Lembke and K. J. Reckford) | 19 | |||||||||
| 8 | Philoctetes reviles the Greeks who abandoned him ((409 BC) Sophocles, Philoctetes, tr. D. Grene) | 22 | |||||||||
| 9 | Philoctetes curses Neoptolemus for his theft of the magic bow ((409 BC) Sophocles, Philoctetes, tr. D. Grene) | 25 | |||||||||
| 10 | The Messenger reports the cynically conducted trial that condemned Orestes to death ((408 BC) Euripides, Orestes, tr. J. Peck and F. Nisetich) | 28 | |||||||||
| 11 | Polyneices begs Oedipus' blessing before his battle against his brother ((406 BC) Sophocles, Oedipus at Colonus, tr. R. Fitzgerald) | 32 | |||||||||
| 12 | The Messenger recounts the transfiguration and death of Oedipus ((406 BC) Sophocles, Oedipus at Colonus, tr. R. Fitzgerald) | 35 | |||||||||
| Elizabethan/Jacobean | |||||||||||
| 13 | Tamburlaine persuades an enemy captain to join him ((1577-88) Christopher Marlowe, Tamburlaine the Great, Act 1, Sc. 2) | 40 | |||||||||
| 14 | Tamburlaine celebrates his love for Zenocrate and for himself ((1577-88) Christopher Marlowe, Tamburlaine the Great, Act 5, Sc. 2) | 43 | |||||||||
| 15 | Tamburlaine shows himself magnanimous in victory ((1577-88) Christopher Marlowe, Tamburlaine the Great, Act 5, Sc. 2) | 45 | |||||||||
| 16 | Faustus rejects scholastic learning, yearns for necromantic knowledge ((c1589) Christopher Marlowe, The Tragical History of Doctor Faustus, Act 1, Sc. 1) | 48 | |||||||||
| 17 | Faustus envisions the blessings of conjuring ((c1589) Christopher Marlowe, The Tragical History of Doctor Faustus, Act 1, Sc. 1) | 51 | |||||||||
| 18 | Faustus prays in his last hour to escape damnation ((c1589) Christopher Marlowe, The Tragical History of Doctor Faustus, Act 5, Sc. 2) | 54 | |||||||||
| 19 | Gaveston, the new king's favorite, makes plans ((c1592) Christopher Marlowe, The Tragedy of Edward II, Act 1, Sc. 1) | 58 | |||||||||
| 20 | Edward defends his love of Gaveston against his nobles ((c1592) Christopher Marlowe, The Tragedy of Edward II, Act 2, Sc. 2) | 60 | |||||||||
| 21 | Edward swears revenge after Gaveston's murder ((c1592) Christoper Marlowe, The Tragedy of Edward II, Act 3, Sc. 2) | 63 | |||||||||
| 22 | Edward, forced to renounce his crown, rages, sorrows, finally surrenders ((c1592) Christopher Marlowe, The Tragedy of Edward II, Act 5, Sc. 1) | 65 | |||||||||
| 23 | Edward pleads with, braves, succumbs to his murders ((c1592) Christopher Marlowe, The Tragedy of Edward II, Act 5, Sc. 5) | 69 | |||||||||
| 24 | Mendoza, new court lackey, envisions his pleasures in office ((c1603?) John Marston, The Malcontent, Act 1, Sc. 5) | 72 | |||||||||
| 25 | Wendoll battles with his conscience ((1603) Thomas Heywood, A Woman Killed with Kindness, Act 2, Sc. 3) | 73 | |||||||||
| 26 | Frankfort recoils at report of his wife's adultery ((1603) Thomas Heywood, A Woman Killed with Kindness, Act 3, Sc. 2) | 76 | |||||||||
| 27 | Frankfort pronounces his verdict over his wife's adultery ((1603) Thomas Heywood, A Woman Killed with Kindness, Act 4, Sc. 5) | 78 | |||||||||
| 28 | Bussy, young and poor, equates poverty and virtue ((c1604) George Chapman, Bussy d'Ambois, Act 1 Sc. 1) | 81 | |||||||||
| 29 | Monsieur the King's brother mocks the lady's argument: "Sir, I have a husband!" ((c1604) George Chapman, Bussy d'Ambois, Act 2, Sc. 2) | 83 | |||||||||
| 30 | Monsieur is invited to draw for Bussy his "character" ((c1604) George Chapman, Bussy d'Ambois, Act 3, Sc. 2) | 85 | |||||||||
| 31 | Bussy is invited to draw for Monsieur his "character" ((c1604) George Chapman, Bussy d'Ambois, Act 3, Sc. 2) | 87 | |||||||||
| 32 | Flamineo damns his mother for having inflicted on him a life of poverty ((1609-12) John Webster, The White Devil, Act 1, Sc. 2) | 89 | |||||||||
| 33 | Brachiano greets his wife with sullen contempt ((1609-12) John Webster, The White Devil, Act 2, Sc. 1) | 91 | |||||||||
| 34 | Francisco fashions his revenge for Isabella's murder with her ghost ((1609-12) John Webster, The White Devil, Act 4, Sc. 1) | 93 | |||||||||
| 35 | Flamineo uses parable to remind the Duke of his ingratitude for services ((1609-12) John Webster, The White Devil, Act 4, Sc. 2) | 96 | |||||||||
| 36 | Brachiano, poisoned, suffers an excruciating death ((1609-12) John Webster, The White Devil, Act 5, Sc. 3) | 98 | |||||||||
| 37 | Flamineo, visited by Brachiano's ghost, surmises his fate ((1609-12) John Webster, The White Devil, Act 5, Sc. 4) | 102 | |||||||||
| 38 | Flamineo outfoxes his sister Vittoria's villainy in their game of pistols ((1609-12) John Webster, The White Devil, Act 5, Sc. 6) | 105 | |||||||||
| 39 | Flamineo mordantly but wittily observes the process of his own dying ((1609-12) John Webster, The White Devil, Act 5, Sc. 6) | 108 | |||||||||
| 40 | Bosola importunes the Cardinal for his reward ((1613-14) John Webster, The Duchess of Malfi, Act 1, Sc. 1) | 111 | |||||||||
| 41 | Bosola rails at courtier, woman, and "the form of man" ((1613-14) John Webster, The Duchess of Malfi, Act 2, Sc. 1) | 113 | |||||||||
| 42 | Ferdinand vilifies the Duchess and her unseen "lover" ((1613-14) John Webster, The Duchess of Malfi, Act 3, Sc. 2) | 115 | |||||||||
| 43 | Ferdinand, the Duchess dead, condemns the murder he enjoined ((1613-14) John Webster, The Duchess of Malfi, Act 4, Sc. 2) | 119 | |||||||||
| 44 | Bosola repents after the Duchess's murder ((1613-14) John Webster, The Duchess of Malfi, Act 4, Sc. 2) | 121 | |||||||||
| 45 | Giovanni, disputing with the Friar, argues for the propriety of his incestuous love ((1629-33) John Ford, 'Tis Pity She's a Whore, Act 1, Sc. 1) | 124 | |||||||||
| 46 | Giovanni, to prevent Annabella's marriage, makes a pact with her for her murder ((1629-33) John Ford, 'Tis Pity She's a Whore, Act 5, Sc. 5) | 126 | |||||||||
| 47 | Giovanni brings to his sister's wedding feat her heart on his sword ((1629-33) John Ford, 'Tis Pity She's a Whore, Act 5, Sc. 6) | 130 | |||||||||
| XVII Century French/Spanish | |||||||||||
| 48 | Rodrigue importunes Chimene to kill him for having taken revenge against her father ((1638) Pierre Corneille, Le Cid, tr. Paul Landis, Act 3, Sc. 4) | 134 | |||||||||
| 49 | Rodrigue bids farewell to Chimene before combat ((1638) Pierre Corneille, Le Cid, tr. Paul Landis, Act 5, Sc. 1) | 137 | |||||||||
| 50 | Nero recounts his falling in love with Julia ((1669) Jean Racine, Brittanicus, tr. Robert Henderson and Paul Landis, Act 2, Sc. 1) | 139 | |||||||||
| 51 | Hippolytus confesses his long-concealed love for Aricia ((1677) Jean Racine, Phaedra, tr. Robert Henderson, Act 2) | 142 | |||||||||
| 52 | Theramenes reports the gruesome death of Hippolytus ((1677) Jean Racine, Phaedra, tr. Robert Henderson, Act 5) | 145 | |||||||||
| 53 | Genesius, rehearsing the part of a martyr, wins Christ ((c1607-1608) Lope de Vega, Acting Is Believing, tr. Michael McGaha, Act 3, Sc. 3) | 149 | |||||||||
| 54 | Segismund, after lifelong captivity, yearns to know freedom ((1636) Calderon de la Barca, Life Is a Dream, tr. Roy Campbell, Act 1) | 153 | |||||||||
| 55 | Segismund, embracing life as a dream, ruminates on its final value ((1636) Calderon de la Barca, Life Is a Dream, tr. Roy Campbell, Act 3) | 156 | |||||||||
| Restoration | |||||||||||
| 56 | Essex, abject, begs the Queen for return to favor until she leaves with no reply ((1681) John Banks, The Unhappy Favorite, or, The Earl of Essex, Act 2, Sc. 1) | 160 | |||||||||
| 57 | Essex importunes Southampton to plead his cause to the Queen ((1681) John Banks, The Unhappy Favorite, or, The Earl of Essex, Act 2, Sc. 1) | 163 | |||||||||
| 58 | Essex, in anguish, despairs of rising again to favor ((1681) John Banks, The Unhappy Favorite, or, The Earl of Essex, Act 3, Sc. 1) | 165 | |||||||||
| 59 | Essex, enraged beyond control, lashes out at the Queen for her ingratitude ((1681) John Banks, The Unhappy Favorite, or, The Earl of Essex, Act 3 Sc. 1) | 167 | |||||||||
| 60 | The black prince Oroonoko, enslaved by the English planters in Surinam, scorns them and their Christianity ((1695) Thomas Southerne, Oroonoko, Act 1, Sc. 2) | 171 | |||||||||
| XVIII Century English/German | |||||||||||
| 61 | Barnwell executes a murder against his will ((1731) George Lillo, The London Merchant, Act 3, Sc. 3) | 176 | |||||||||
| 62 | Barnwell suffers agonies of remorse after murdering his uncle ((1731) George Lillo, The London Merchant, Act 3, Sc. 7) | 179 | |||||||||
| 63 | Spiegelberg, after a fool exploit with students, promotes plan for an "immortal" exploit ((1782) Friedrich Schiller, The Robbers, ad. L. Katz, Act 1, Sc. 1) | 180 | |||||||||
| 64 | Franz contemplates plans for betrayal and murder of father and brother ((1782) Friedrich Schiller, The Robbers, ad. L. Katz, Act 1, Sc. 2) | 183 | |||||||||
| 65 | Spiegelberg exhorts students to become a robber band ((1782) Friedrich Schiller, The Robbers, ad. L. Katz, Act 1, Sc. 3) | 186 | |||||||||
| 66 | Karl returns the captive priest to townsmen with message: "My holy calling is vengeance" ((1782) Friedrich Schiller, The Robbers, ad. L. Katz, Act 2, Sc. 2) | 188 | |||||||||
| 67 | Karl, remembering his innocence, yearns: "Make me a child again" ((1782) Friedrich Schiller, The Robbers, ad. L. Katz, Act 2, Sc. 2) | 191 | |||||||||
| XIX Century English/French | |||||||||||
| 68 | Manfred contemplates suicide ((1817) George Gordon Byron, Manfred, Act 1, Sc. 2) | 196 | |||||||||
| 69 | Manfred confesses his guilt and despair ((1817) George Gordon Byron, Manfred, Act 2, Sc. 2) | 200 | |||||||||
| 70 | Sailor William, legally but not morally guilty, defends himself at his trial before the admiralty ((1829) Douglas Jerrold, Black-Ey'd Susan, Act 3, Sc. 2) | 203 | |||||||||
| 71 | Sailor William, condemned, prepares to meet his death ((1829) Douglas Jerrold, Black-Ey'd Susan, Act 3, Sc. 4) | 206 | |||||||||
| 72 | Mordaunt accuses Lady Mabel of "the deepest crime" ((1842) J. Westland Marston, The Patrician's Daughter, Act 3, Sc. 2) | 208 | |||||||||
| 73 | Robert Brierly, in prison, grieves for the suffering he is causing his faithful wife May ((1863) Tom Taylor, The Ticket-of-Leave Man, Act 4) | 211 | |||||||||
| 74 | Aubrey Tanqueray alerts his friends: his new wife may not meet with their set's approval ((1893) Arthur Wing Pinero, The Second Mrs. Tanqueray, Act 1) | 213 | |||||||||
| 75 | Lorenzaccio deliberates: "Am I Satan?" ((1834) Alfred de Musset, Lorenzaccio, tr. L. Katz, Act 3, Sc. 3) | 216 | |||||||||
| 76 | Lorenzaccio rehearses his procedure for murdering Alessandro ((1834) Alfred de Musset, Lorenzaccio, tr. L. Katz, Act 4, Sc. 9) | 221 | |||||||||
| Comedy | |||||||||||
| Greek | |||||||||||
| 77 | Trigaeus, on his way to Heaven, begs his mounted beetle not to notice shit in the world below ((421 BC) Aristophanes, Peace, ad. L. Katz) | 226 | |||||||||
| Italian Renaissance | |||||||||||
| 78 | Callimaco reports on his perfect night with Lucrezia ((c1515-20) Machiavelli, Mandragola, tr. Kenneth and Laura Richards, Act 5, Sc. 4) | 230 | |||||||||
| 79 | Marca details soberly how he and his companions cheated the landlord out of a banquet ((c1581) Giordano Bruno, Il Candelaio, tr. J. R. Hale, Act 3, Sc. 8) | 232 | |||||||||
| 80 | Sanguino takes private comfort in his parable of how the tricked can become the trickster ((c1581) Giordano Bruno, Il Candelaio, tr. J. R. Hale, Act 2, Sc. 4) | 234 | |||||||||
| 81 | Bernardo explains to his love the virtue of forgetting about honor ((c1581) Giordano Bruno, Il Candelaio, tr. J. R. Hale, Act 5, Sc. 11) | 236 | |||||||||
| 82 | Scaramure wants whores and whoremongers entirely absolved of reproach ((c1581) Giordano Bruno, Il Candelaio, tr. J. R. Hale, Act 5, Sc. 18) | 238 | |||||||||
| Elizabethan/Jacobean | |||||||||||
| 83 | Slitgut takes note of several passengers crawling out of the Thames after shipwreck ((1604) Marston, Chapman, and Jonson, Eastward Ho!, Act 4, Sc. 1) | 242 | |||||||||
| 84 | Mosca ejects Volpone's would-be heirs ((1606) Ben Johnson, Volpone, Act 5, Sc. 1) | 245 | |||||||||
| 85 | Novice Ralph inspires bumbling men to battle and glory ((1607) Beaumont and Fletcher, The Knight of the Burning Pestle, Act 5, Sc. 2) | 248 | |||||||||
| 86 | Ralph, with a forked arrow through his head, recites his dying speech ((1607) Beaumont and Fletcher, The Knight of the Burning Pestle, Act 5 Sc. 3) | 250 | |||||||||
| Restoration | |||||||||||
| 87 | Bayes the Poet explains his strategy for making plays ((1671) George Villiers, Duke of Buckingham, The Rehearsal, Act 1, Sc. 1) | 254 | |||||||||
| 88 | Bayes seeks advice on presenting his prologue ((1671) George Villiers, Duke of Buckingham, The Rehearsal, Act 1, Sc. 2) | 257 | |||||||||
| 89 | Rhodophil laments the misfortune of marriage, and plans consolation with a yet-to-be-won mistress ((1672) John Dryden, Marriage-a-la-Mode, Act 1, Sc. 1) | 259 | |||||||||
| 90 | Rhodophil resolves that he and Doralice must forever suffer the misfortune of their marriage ((1672) John Dryden, Marriage-a-la-Mode, Act 3, Sc. 1) | 262 | |||||||||
| 91 | Horner explains to his doctor the advantages of pretending to be a eunuch ((1675) William Wycherley, The Country Wife, Act 1) | 265 | |||||||||
| 92 | Ramble declares a "new order of nature" for true wits and against fools ((1675) John Crowe, The Country Wit, Act 2) | 268 | |||||||||
| 93 | Sir Fopling Flutter displays on his person the French mode ((1676) George Etherege, The Man of Mode, Act 3, Sc. 1) | 270 | |||||||||
| 94 | Whittmore, under instructions from Lucia, must "feign a courtship" to Isabella ((1678) Aphra Behn, Sir Patient Fancy, Act 2, Sc. 1) | 274 | |||||||||
| 95 | Petro demonstrates how the body can tell a tale and pick a pocket, with small aid from words or sense ((1679) Aphra Behn, The Feign'd Courtesan, Act 2, Sc. 1) | 276 | |||||||||
| 96 | Belfont Senior, the "swinish" rustic son of a brutish father, embraces London's low life ((1688) Thomas Shadwell, The Squire of Alsatia, Act 1, Sc. 1) | 280 | |||||||||
| 97 | Sosia, playing two parts, rehearses the news he is bringing to Alcmene ((1690) John Dryden, Amphitryon, Act 2, Sc. 1) | 282 | |||||||||
| 98 | Mellefont recounts how Lady Touchwood invaded his bedchamber and wooed with fury ((1694) William Congreve, The Double Dealer, Act 1, Sc. 3) | 285 | |||||||||
| 99 | Maskwell strengthens Mellefont's confidence in his loyalty by confidently confessing his treachery ((1694) William Congreve, The Double Dealer, Act 2, Sc. 7) | 288 | |||||||||
| 100 | Maskwell, self-congratulating, apostrophizes treachery and double dealing ((1694) William Congreve, The Double Dealer, Act 2, Sc. 2) | 290 | |||||||||
| 101 | The valet Jeremy is horrified at his master's plan to turn playwright ((1695) William Congreve, Love for Love, Act 1, Sc. 1) | 292 | |||||||||
| 102 | Loveless, impoverished by riot, remains thoroughly well disposed toward pleasure ((1696) Colley Cibber, Love's Last Shift, Act 1, Sc. 1) | 295 | |||||||||
| 103 | Loveless embraces love of virtue together with bliss, and fulsomely repents ((1696) Colley Cibber, Love's Last Shift, Act 5, Sc. 2) | 298 | |||||||||
| 104 | Sir Novelty Fashion demonstrates how he merits his name ((1696) Colley Cibber, Love's Last Shift, Act 2, Sc. 1) | 299 | |||||||||
| 105 | Lord Foppington favors a lady with an account of his day ((1696) John Vanbrugh, The Relapse, Act 2, Sc. 2) | 301 | |||||||||
| 106 | Loveless is disquieted by the logic of his wavering marital affections ((1696) John Vanbrugh, The Relapse, Act 3, Sc. 1) | 303 | |||||||||
| 107 | Lord Foppington, in the epilogue, condemns the author ((1696) John Vanbrugh, The Relapse, Epilogue) | 306 | |||||||||
| 108 | Fainall dismisses wives, marriage, cuckoldry and jealously ((1700) William Congreve, The Way of the World, Act 3, Sc. 3) | 308 | |||||||||
| 109 | Mirabel offers his conditions for marriage to Millimant ((1700) William Congreve, The Way of the World, Act 4, Sc. 1) | 310 | |||||||||
| 110 | Beaumine commiserates with and warns Phillabell, who is in danger of marriage ((1700) Catherine Trotter, Love at a Loss, Act 1, Sc. 2) | 313 | |||||||||
| 111 | Beaumine, while chastising Lesbia, pretends to talk himself into an immediate proposal of marriage ((1700) Catherine Trotter, Love at a Loss, Act 3, Sc. 1) | 315 | |||||||||
| XVII Century French | |||||||||||
| 112 | Tartuffe attempts to seduce Elmire, the wife of his patron ((1664) Jean-Baptiste Moliere, Tartuffe, or The Imposter, tr. Christopher Hampton, Act 3, Sc. 3) | 320 | |||||||||
| 113 | Sganarelle reveals the true nature of his master Don Juan ((1665) Jean-Baptiste Moliere, Don Juan, tr. G. Graveley and I. Maclean, Act 1, Sc. 1) | 323 | |||||||||
| 114 | Don Juan explains his contempt for the idea of fidelity ((1665) Jean-Baptiste Moliere, Don Juan, tr. G. Graveley and I. Maclean, Act 1, Sc. 2) | 325 | |||||||||
| 115 | Don Juan explains his devotion to "the fashionable vice," hypocrisy ((1665) Jean-Baptiste Moliere, Don Juan, tr. G. Graveley and I. Maclean, Act 5, Sc. 2) | 327 | |||||||||
| 116 | Alceste, condemning Celimene's falseness, also confesses his love ((1666) Jean-Baptiste Moliere, The Misanthrope, tr. Richard Wilbur, Act 4, Sc. 3) | 329 | |||||||||
| 117 | Arlecchino's account of his trip to the moon ((c1660s) Giuseppe Domenico Biancolelli (Alrecchino), tr. Pierre Louis Duchartre) | 333 | |||||||||
| 118 | Arlecchino's heroic attempt to commit suicide ((c1660s) Giuseppe Domenico Biancolelli (Arlecchino), ad. L. Katz) | 336 | |||||||||
| XVIII Century English | |||||||||||
| 119 | Young Bookwit, newly arrived in London, prepares to put into practice his scrupulous study of women ((1703) Richard Steele, The Lying Lover, Act 1, Sc. 1) | 340 | |||||||||
| 120 | Captain Clerimont, disguised as a painter, offers a young lady her choice of compelling attitudes for her portrait ((1704) Richard Steele, The Tender Husband, Act 4, Sc. 2) | 343 | |||||||||
| 121 | Bevil Jr., constrained but courteous, counters his father's choice of wife for him ((1722) Richard Steele, The Conscious Lovers, Act 1, Sc. 2) | 346 | |||||||||
| 122 | Sharp implores his destitute master to marry ((1740) David Garrick, The Lying Valet, Act 1, Sc. 1) | 349 | |||||||||
| 123 | Puff reveals the secrets of his craft ((1779) Richard Brinsley Sheridan, The Critic, Act 1, Sc. 2) | 352 | |||||||||
| XIX/XX Century German/Scandinavian/English | |||||||||||
| 124 | Leonce contemplates with cheer love, emptiness, and boredom ((1836) Georg Buchner, Leonce and Lena, tr. Carl Richard Mueller, Act 1, Sc. 3) | 356 | |||||||||
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Title: Classical Monologues: Volume 1, Younger Men Manufacturer: Hal Leonard LLCHal Leonard LLC Item Number: 9781557835758 Publication Date: November 2002 Number: 2 Product Description: Full Name: Classical Monologues: Volume 1, Younger Men; Short Name:Classical Monologues Universal Product Code (UPC): 9781557835758 WonderClub Stock Keeping Unit (WSKU): 9781557835758 Rating: 4/5 based on 2 Reviews Image Location: https://wonderclub.com/images/covers/57/58/9781557835758.jpg Weight: 0.200 kg (0.44 lbs) Width: 5.250 cm (2.07 inches) Heigh : 6.800 cm (2.68 inches) Depth: 0.940 cm (0.37 inches) Date Added: August 25, 2020, Added By: Ross Date Last Edited: August 25, 2020, Edited By: Ross
Read Reviews for Classical Monologues: Volume 1, Younger Men Write review
Denise Danker reviewed Classical Monologues: Volume 1, Younger Men on June 09, 2015 Classical Monologues: Volume 1, Younger Men
I've never read a play collection before where each play was actually great. What a pleasant surprise!
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