Showing posts with label Play. Show all posts
Showing posts with label Play. Show all posts

The Gold Key: Mohit Chattopadhyay

Translated from Bengali to English by: Ketaki Datta

Ketaki Datta
Dramatis Personae:
Nandita
Goutam
Somendu
Nanda


[Curtain raises with a boom of gunshot. The room , almost dark, shows none. A rapping noise on the door outside wafts in. Fast, poignant.]

Nandita[while rapping the door from outside]: Gautambabu! Gautambabu! Please open the door. Nanda, are you there?

[An old servant , with a chimney-fitted lantern of yesteryears, unbolts the door. Nandita wipes her face with a handkerchief. Throwing an anxious glance through the window, she looks for something. Another abrupt gunshot startles Nandita a bit and she casts a surprised gaze at Nanda.]
                             
Nandita: Why that thunder of a  gun, Nanda?
                   [Restraining from answering, Nanda gingerly places the lamp on the table and kindles the wick]
 Gautambabu is there in the garden with his gun. Is he?

Nanda: Who else than he? Chotobabu is out of his wits, didimoni!! Evil spirits roam about in this jungle, Chotobabu might have been caught in the wind!
  
Nanda: What would he do? He keeps draining his pellets while aiming at the sky, after all he had his fill on heaps of trash! You know, didimoni, this man would lie dead in the precincts of this haunted house, chances of going back to his own house being remote. Does he ever listen to anyone? Let me go and tell him of your arrival.
                                        [Nanda is about to leave]   

 Nandita: Look Nanda, you don’t have to call him right now. I am going to sit here alone for sometime.[Nanda keeps leaving] Nanda, see through the window, whether a trouser-and-shirt clad gentleman is standing there near the tree on the courtyard or not.
Nanda:[throwing a glance through the window]: Yes, with a camera slung from his shoulder! He is looking at this end and bellowing smoke-rings.
Nandita: Okay, you may leave now, Nanda.
Nanda: Didimoni, who is that man? 
Nandita: I don’t know him. Since a few days, I spotted him hanging around the jungles in the vicinity. So many types of men pay visit to this place! All right, you may leave now, Nanda!
   [As Nanda leaves, Nandita draws up to the window gingerly. Gautam enters through the door, inside the room. A gun is held in his hands. Beard stands out on his face, trousers and the shirt are soiled. He is yet to mark Nandita. He keeps the gun on the table. Fishing out a wine-bottle from his pocket, he rolls it on the table noisily. On hearing the rattle, Nandita turns back to look. Irritation is writ large on her face]
Gautam [to himself] : “I would, if I could—
                                      If I could not, how could I?”
Nandita[in a sharp tone]:  Gautambabu!
 Gautam: [looks back hastily, tries to hide the table behind his back, as much as he can]:  Nandita, you??
Nandita: Oh I see, you can recognize me even after being dead-drunk!
Gautam: Inebriation is dead as possum by now, and, the spectre of the same is dead as…
Nandita: Please call Nanda for once, I shall go back to the hostel with him. 
Gautam: You have just come, would you return now itself? Let me ask Nanda to brew you a cup of tea. 
Nandita: I had tea before coming out .
Gautam: On hearing your voice anyone would think that, you have taken umbrage. But, believe me, I would never have touched all these if I knew you would be here. You know, Nandita Devi, I was keen on drawing down a bright and magnificent star to the ground by firing a gun. You know why? I would love to present you the same as you would come tomorrow morning. You loved to adorn the parting of your hair with a long gold pendant, just as the mothers of the yesteryear used to do. You looked splendid, exceptionally beautiful as you are  - :Basanti Puja was celebrated in our village hut, much similar to the one  the month of  April.  
Nandita: Do you like village, I mean,  the rural habitats?
Gautam: I am really fond of that, just as I am fond of you!

Nandita: Then I can easily guess how much you love it! You better go and pay a visit to your village without indulging in silly cranks in here. All your mental ills would vanish at the remonstrance of your mother!
Gautam: My mother is very good.
Nandita: Go home at least for once to see your mother, your mind will just freshen up!
Gautam: But how shall I go now? It is just next to impossible. This house cocoons it like a cobwebby magic spell, cast by a witch. On grabbing me alone , each brick and wood of this house whispers in my ears, “ Gautam, Gautam—is the gold key there for sure?” The spectre of that old jungle-chief comes tottering , being inebriated by the juice of ‘Mahua’, to say, “Hey Banerjeebabu, please do not throw the gold key into the water of the river! There it is, it is there!” …But, what is there? And, where exactly? How shall I know? The key is drubbing me at each moment! Will you take that key? I get spared then! I do not want to hand it to anyone save you! Will you take it, please?
Nandita: Wow! You are trying to pass the perilous buck on to me, aren’t you? Can’t you simply forget the key forever? You have turned the floor, the wall  of this ramshackle building into cornfields, by digging into them! Where would the box containing diamonds and other precious gems  lie hidden? And, even if it is, what use would those be put to ?
 Gautam: I am not covetous of treasures, Nandita devi! But some mystery, a strange casket—I would love to see what remains inside it!   A key,- it is really horrid to wait for a key alone! I wish to uncover something, I want to be dumbstruck with wonder, clutching the fabulous treasure in my two fists , I long for crying aloud in excitement like an emperor , at least for an instant!   Failing which, the key would keep oppressing me all my life, I am sure! 
Nandita: You haven’t got anything till now, a long time though over, and again, you kept no stone unturned in your quest. The key  can even be a figment of the Chief-of-the Jungle’s imagination, who can tell? 
Gautam: On the verge of dying, the wizened Chief handed me the key, lifting up his shaky fingers, being seated in this room, and, uttered, “ It’s there, you know, it’s there—a box with engravings on it.” I inquired, “ What’s there inside?” He smiled without answering. Again he said, “ Yes, its there.” All called him insane, but, I looked into his eyes, I listened to his voice, I heard the stir in his chest—he hasn’t spoken a lie, he knows not what a fib is.
             { Nandita throws a look outside through the window]
Gautam: What are you looking at? Are you feeling hot? Oh see what Nanda has done, he has kept the door closed. Wind is no thief that it would engender fear on its advent.
                                       [Goes to open the door]
Nandita: Let the door be closed.
Gautam: Why? Aren’t you feeling hot?
Nandita: No.
Gautam: But, a glance at you makes us seem that, you are feeling hot, feeling uneasy.

Nandita: Nothing is of concern, please sit quiet. Not a single soul is around, how do you stay in such a haunted house? Please let go of it..
Gautam: Just impossible!!I have left my quarter to settle here. I shall not budge an inch from this dilapidated house of the Chief of the Jungle.  I shall see the end of it!! I need that box. And if I fail somehow to get it ever, I shall throw the key into  water of the river here. The soul of the Chief of the Jungle would cry out aloud, in the woods. I shall derive the joy of vengeance out of it.
Nandita: You are not being able to get me, you , perhaps , are taking the revenge on your very own self.
Gautam: But all my blood can sense it , that, the box lies hidden somewhere in the darkness in here.
Nandita: In fact, you love to conceal yourself behind a falsely constructed darkness. Okay then, let me take your leave as of now. 
Gautam: Will you leave now? I keep pestering you with irrelevant piffle, do I not? 
Nandita: You are in the habit of talking incessantly, why should I be irritated? I have to get back to the hostel indeed. A path through the jungle, above all, it is night—if Manika would be here instead of me, she would die of continual thinking. 
Gautam: Shall I reach you home?
Nandita: No, Nanda would be coming along. As I frequent your place , many eyebrows are raised, sundry corollaries are drawn, and if I return home with you, it would invite many more surmises indeed. Manika is different, she is very nice—she gets me rightly. I shall introduce her to you.
  Gautam: What’s the use? I am fine being alone.
Nandita: Do you know, which nickname have  the school-mistresses given you for your detestable habit? Squirrel! You get lost amidst the trees on seeing a man. Don’t you enjoy to stay , making friends with others? But I never can do so, I come here for a chat  quite off and on, caring the least for your annoyance, though.
Gautam: I do not prefer many a thing, but cannot tell why I like you quite considerably.
[Nanda enters]
Nandita: Here comes Nanda, okay, I take your leave then.
 Nanda: Come along, Didimoni.
   [Nanda moves forward , opens the door and makes an exit towards the courtyard.]
Gautam: [simpering, like a boy]: You should walk cautiously, a monster makes his presence felt in this jungle.
Nandita[in a thoughtful face]: Monster? Are you talking about a strange person, with a camera dangling from his shoulder?
Gautam: No, that monster is sans camera. He even lacks in a distinct countenance, eyes, legs , heart—nothing at all! Yet, he gobbles tardily. 
Nandita[smilingly] : Trotting out a riddle or what? 
 Gautam: May be, a jungle-related conundrum. The monster is none but ‘darkness’. Everyday I watch the monster creeping into the woods in the evening. In course of time, it keeps swallowing all—the tinge of the flowers, the traces of light scattered on the creepers and the ground. Save the green hue, which it cannot gobble up, and which can be recognized even in the dark. This monster’s teeth will not be able to touch your green sari. I shall keep watching you leave and shall burst into a loud laughter, enjoying the hapless plight of this demon, deep down in my heart.  
Nandita: Beware of bursting into guffaw! You would take yourself to be a lunatic. And, stash that bottle away, please do not take a drop of it. 
Gautam[lifting the bottle up]: Not a drop is left in it, it’s empty as my heart. It’s really amazing  to witness the topsy-turvy caused by some hued water in the corporeal system. The whole cosmos undergoes a change, a coloured painting keeps hanging in the vacuum…it seems ,as though, innumerable spectacle of a floating fresco are let loose in the air. Don’t you like it?
Nandita: Nothing doing. I am fine. My world is still alive without the coloured paintings and frescoes hanging in the air! Bye, Nanda is surely getting angry with me.
Gautam: You are expected tomorrow for sure!
Nandita: I shall try if I can manage..
                                            [Nanda enters in a haste. He closes the door]
Nandita: What’s wrong?
Nanda: That man is coming again. I saw him coming from far in this direction, in slow steps. 
Gautam: Who? Of whom are you talking about?
Nandita : Strange!  How astonishingly daring! 
Gautam: Who are you talking about? Who is that man? Someone known to you?
Nandita: Never in my life I had known him. Even while today I was taking a stroll by the riverside, I found the bloke walking at my heels. Hence, I have come over to your place as it happens to be near. When I came, the man was taking a puff at his cigarette , standing on the courtyard  outside. That day, as we went to the fair, I observed him quite often, walking a bit far from us. As we took a bus to the town to watch a movie, the man had boarded the same bus too. 
 Gautam: Nanda, have you ever seen the man in the vicinity?
  Nanda: This is the first time I see him. Shall I go and ask his name?
   Gautam: You do not have to do anything. Please go inside and let me handle the matter.
Nandita: You should not go. Who knows what sort of man he is?
                                         [Nanda goes off to the room, inside]
Gautam[takes the gun]: I have a gun with me, what to fear?
Nandita: Yet, you should not open the door. Such strange men cannot be trusted at all.
Gautam: Why should I be so afraid? Let us better see what the matter is. Let me call him inside?
Nandita: In fact, I am struck with fear if I see him. Day before yesterday, a strange thing had taken place. Sometimes, I walk in sleep , unawares. That evening, Shanta was awake till late into the night, checking the answer-sheets, I got up from bed , opened the door and walked out. Shanta could not even guess that I was sleep-walking, she thought me walking out to avoid the heat in the room. Then, she ran after me to catch me up and bring me in , watching me to walk straight to the road. The man  stood on the crossing of the road in the direction, which I was taking. Shanta said that , he was smoking cigarettes, looking straight to our room. Fear gets the better of me, if I ponder over the whole affair.
Gautam: The man surely has some motive, it would be better to know that. The reason of the man’s aimless hanging about must be unearthed. I should accost him in to investigate, keeping your interest in mind. I am unbolting the door, you better go in. [Goes to open the door]
Nandita: Please do not go, it’s my humble request.
                          [Suddenly, the sound of rattling the door-ring was heard. A voice from without was heard, “Please open the door”]
Nandita: Don’t open. He must have come with some intention. [from without: “ Is Mr. Banerjee there? Gautam Banerjee, I mean?”]
Gautam: I am going to open it. You have nothing to be afraid of. 
  [Taking the gun in hand, he opens the door. A youth with extremely sharp features and curved eyes enters. A camera dangles from his shoulder and a cigarette from his lips. He resembles a tourist in appearance. He smiles wittily, throwing a glance at the gun held in Gautam’s hand.] 
The Man: Please keep down the gun. It makes such a nerve-shattering, strange noise[turning to both with folded palms] Namaskar, Namaskar![They, too, lift up their hands to reciprocate the gesture]
The Man: You are Gautam Banerjee, the Forest Officer, aren’t you? I am Somendu, Somendu Chakraborty. I know not why , you all are somewhat dazed, you are not even asking me to be seated. I am taking my seat, okay? [sitting] I have taken my seat, you see.
Gautam: But I cannot recognize you!
Somendu: Now you surely will. I know you, the people of this locale are calling you ‘Insane Officer’ lately. And, I know Nanditadevi indeed. Off and on, we have run into each other.
Nandita: Oh yes, we met , no doubt, but such meetings seemed too irritating to me. You keep following me such objectionably, all the time! Even today—
Somendu: Following someone is not always a sin or just obnoxious, Nanditadevi! It might even have an honest intent! 
Nandita: Come on, none follows anybody for a good reason, stealthily!
Somendu: Then , would it be a pious deed instead, if I appeared in front of you, you mean? It was necessary for me to watch you from far, from behind a fa├зade. As a painting is better to be seen from a distance, a man’s case is no different too. 
Gautam: We should be cognizant of your good intention, possibly.
Somendu: Oh sure! In a word, I have some interest in Nanditadevi. And, I want to make a clean breast of it to you, quite early, behind her back.
Nandita: Whatever you have to say anything regarding me, must speak in front of me, tell—this is  called “ courtesy”.
Gautam: Please speak out in front of her.
Somendu: Impossible! Gautambabu, you know, the funniest aspect of this tale is that, I kept observing Nandita devi keeping your interest in view. No doubt, I , too, had an intention. I nurtured a longing for snapping a photograph of Nanditadevi on a special occasion and in a chosen ambience. But, as and when I was about to click, it seemed to me that she would be looking more attractive immediately after. But, I wanted to take just a single snapshot, the final one. 
Nandita: A lady should not be photographed against her will- hope you  know that for sure.
 Somendu: But I didn’t take your snap! And even if I did, You would never know that. Many things go on behind our eyes, we can do nothing, neither you, nor I, none , for that matter.
Gautam: What do you do?
Somendu: Nothing at all. I roam about quite often. Varieties of game keep me going. In such deals, sometimes money pours in, sometimes just fun. Sometimes again, a temptation for cooking up events. This is also living by a philosophy , you may say, I am a philosopher.
Gautam: But which sort of philosophical sport stirred your interest to drop in my place? I just don’t get you.
 Nandita: But, I have got inklings about the mode of your play.
Somendu: But I am far bigger than the sample, much, much larger. I am a certainly conscientious, clever, well-educated despite my choice, and as luck willed, quite handsome.  I love to draw pictures, love to while away my time by singing songs, and, incidentally an altercation with a friend keeps me far from literary endeavours. Besides, these too are sort of attachments, encumbrances, you know!
Nandita: You could have pursued some subject seriously. Don’t you take pity on yourself?
Somedu: Yes, I feel terribly piteous of myself! I love myself to distraction! Possibly, I could have cried on my own demise! And, just to stay oblivious of this ‘crying’ , I search for a game or other . As lately, you all!  
Gautam: We?
Somendu: Yes, you !
Nandita: I see, you make yourself a riddle to derive joy out of it!
Somendu: Do you term everything as ‘riddle’? And the box which Gautambabu is looking for? Is that a conundrum?
Gautam: Do you know about the box?
Somendu: It is not so difficult to know about it. Only this story is the talk of the town! On hearing this, I stayed back—a game popped up in my grey cells. And, the temptation for taking a look at the gems and treasures. 
Gautam: Right you are! The attraction of the stunning look of jewels, the temptation of touching them, the thrill of inventing them! You know, though lights may be on, all over, in this house, a sliver of darkness lurks somewhere, beyond our gaze, and the casket lies in there, concealed by the darkness. It is there though it can’t be seen, as millions of fruits lie hidden on a tree, which can be found hanging , each from a single leaf-stalk; just as ‘love’ stays hidden in an acute,  dark nook in a woman’s heart! Likewise, a mysterious darkness is there, somewhere in this house, where the box sits all alone, terribly alone. I want that, I keenly do want. 
Somendu: Like you, I also do want it. And, Nanditadevi is our only hope, in this matter. 
Nandita: What do you mean?
Somendu: Yes, that box of jewels ca hardly be unearthed without your help. 
 Gautam: I can’t get your words.
  Somendu: If Nanditdevi kindly retires to the adjacent room for the time being, it would be easy for me to make Gautambabu understand the mystery, clearly. 
Nandita: I have not an iota of interest in such  games of yours. I was returning to the hostel, and I shall keep doing so.
Somendu: Oh!How funny!If you leave, Gautambabu alone would not be of any need to me. Please stay back for a couple of minutes. 
 Gautam: Please do not go away at this moment, Nanditadevi! Kindly wait for a few minutes; let me comprehend the matter. If really I can open the lid of the casket containing jewels! Please wait for a few minutes in the adjoining room, it’s my earnest request!
 Nandita: I have to go back to the hostel right now, positively! I must leave in some moments, I tell you.
          [Nandita goes to the adjacent room. For seconds, both of them sit quiet. Somendu , fixing his gaze straight into the eyes of Gautam, smiles silently.]
Somendu: Where is the gold key?
Gautam: It’s there.
Somendu: Good! In my eyes , there’s a kind of amazing light with which I can pierce through all darkness, even the dark, where the box lies.
Gautam? Are you telling the truth?
Somendu: I never tell a lie. But, half will be mine and the other half yours. Do you agree to this distribution?   
Gautam: Any condition will do for me. Just find that out. I am afraid, are you up to playing a funny game at my expense, aren’t you? 
Somendu: I never play a game for no reason whatsoever. Who wants to perspire by running without a cause? I get tired of innocent fun even. 
Gautam: You must have chalked out a plan of action to trace that casket! Have you thought of something or do you have any clue?
Somendu: Of course, there’s a plan. [lights up a cigarette] First of all, I demand Nanditadevi.                                                           [Looks at him to smirk in silence]
Gautam: What do you say? Your words sound so obscene!
Somendu: This itself is my ill-luck. Though it sounds obnoxious, my statement is just honest. I want Nandita Devi’s assistance in our plan, that’s it. I have no intention as to get involved with her on  a personal plane, thus claiming her and shouldering her responsibility in some way or other. I keep roaming round. This is not my cup of tea. 
 Gautam: But Nandita Devi is cross with you. And perhaps, I do not have any such claim on her to force her in any matter. She might not agree to help us in this matter. 
Somendu: then I don’t have any alternative than leaving for good. Okay then, let me take your leave[he gets to his feet]. That box could have been retrieved from the grave of darkness. The darkness wins at last. One day, your key would also get lost in this dark void. 
Gautam: Are you leaving? Really?
Somendu: Both my coming and leaving are real. 
Gautam: If I could learn about your plan, I mean, if could be credible and innocuous, I might try to make Nandita Devi understand. 
Somendu[comes forward to look straight into the eyes of Gautam]: Well! Look into my eyes. 
Gautam: What do you mean by ‘looking into your eyes”? What happens if I look into your eyes?[smiles] You are becoming disorganized just like me, I see. What if I look into the eyes ?
Somendu: Cast a steadfast gaze, sans batting eyelids, at me. If you get to see something mysterious through the eyes, keep commenting on it, slowly. Come on, look, look at me.[Gautam kept looking, as though hypnotized.]
  Somendu: Please be attentive. Watch the apple of the eye only. The eyeball would seem to be enlarging gradually, it would seem to be a glass ball—a blend of blue and pitch black, And on the ball, scenes are etched, one after another. Have you marked?
Gautam[in a trance]: Wonderful are your eyes—dense eyebrows, deep gaze, unblinking, mysterious! It seems as if you can see the white coral down to the bottom of the sea, as though the seeds lying underground; the golden , silver fishes , swimming in the lower stratum of  chest-deep water—all come within your ken. I can see many a thing, numerous spectacles, --scenes after scenes keep floating by—a strange tree, each leaf of which is varying in colour from the other; a river, each wave of which differs in hue with the other; Nandita…Nandita—her body is being laved by moonshine, her eyes are being snapped shut by the gush of wind ... the stirring of a green leaf wafted through the air like the sound of veena. How strange are the sights…sounds…sights…sounds…
Somendu: You are far more enchanted than I thought ! However, do you have faith in me? Haven’t I come with eyes filled with chimera? 
Gautam: Undoubtedly! You can do whatever you like!
Somendu: Whatever man wants to visualize, grows distinct in my eyes. This is a miraculous mirror. Now fish out the gold key. 
Gautam: But, I haven’t shown it to anyone till now. Even, I am afraid of taking a look at it. The key keeps stirring violently my within, like a squally gale in a cryptic darkness. I hardly see the gold key and I haven’t shown it to others too. 
Somendu: You need to show me. Bring it, please.
Gautam: But—
Somendu: Please do not while away the time! Fetch it—hand it to me.
[Opening the drawer quite cautiously, Gautam fishes the key out. He keeps looking at it, like a person in a trance, spinning it round and round. And then, he lurches forward to hand it to Somendu. Somendu casts a dispassionate glance at it and then holds it forward to him.]
Somendu: Keep it. Yes, with you. Now, please call Nanditadevi. 
Gautam: Right now?
 Somendu: Exactly now. You do not doubt me, for sure. A strange and subtle power is there in my sight, which is popularly known  as ‘mesmerism’. Adroit pursuit can escalate this power to a supernatural  level. I can drive a man through a dream-like stupor, can hold the nerves under my control, and can easily regulate the concealed, inner being  of an individual. I am a mesmerist. It requires a compassionate medium.  
Gautam: Have you chosen Nanditadevi as the ‘medium’?
Somendu: Precisely. Nanditadevi is sympathetic to you. Besides, she is a ‘somnambulist’—she is taken in grip  by the spirits of the night! Such characters serve as excellent go-betweens. I have reached such decision on observing Nanditadevi since long. 
Gautam: What if she doesn’t agree to act as a ‘medium’? 
 Somendu: She should agree, at least for your sake. And, you have to accomplish only this job. You will be finding the treasure-casket in my eyes. In a secret mirror inside my eyes, the reflection of the box we need , would fall and entranced Nandita would find out the same, dispelling thick fog and intense darkness. The Egyptian magicians used a small blue mirror for this matter. My eyes will serve as that looking-glass. Please ask Nanditadevi to come. 
Gautam: Somendubabu, if you go out for a while, it would be better. Because, if you are around, she cannot be made to understand by any means…Nanditadevi is so angry with you! If I succeed in making her agree to this, I shall call you. 
Somendu: Well, I am there near the door. I shall come just when you call me. 
  [Somendu leaves.]
 Gautam: Nanditadevi! Nanditadevi!
        [Nandita comes. She looks a bit solemn.]
Gautam: Sorry to have held you captive, quite objectionably, in the adjacent room! 
Nandita: Hope now I can go back home. 
Gautam: Would you like to leave? Nanditadevi, may I request you once?
 Nandita: I know. The conversation of ths room is sure to seep into the adjoining room! I am unable to respond to your entreaty, I apologize. It’s almost late into the night, I have to leave. 
Gautam: You, only you  can save me, Nanditadevi!
Gautam: The way you are aiming to live is just impossible for me ! Your rationality has gone haywire, you trust others in every possible way. It is so easy to deceive you! What had you marked in that gentleman’s eyes, I can’t say, but you came under the influence of a deceiver, in a jiffy, that I can see with my eyes! 
Gautam: The man is not an impostor. He is a man of strange powers. 
Nandita: No good can come out of any power that perplexes man. I take a mesmerist to be just a ‘mesmerist’, not a whit more than that. 
Gautam: But the man is even more than a mesmerist. Something else is there in him. The gentleman is strikingly mysterious, much hidden strength is there in him. 
Nandita: Hidden strength may even be portentous. We have still no idea about his  motive, the words of his mouth might not be true even.
Gautam: At least , the man is not a liar. He wants to have you just as a ‘medium’.
Nandita: I heard it.
Gautam: You only can lead us to the box, by acting as a ‘medium’.
 Nandita: Do you believe all these?
Gautam: I have no way but to have faith in some thing or other. Nanditadevi, I want to open the box by any means. Nanditadevi, you took me as your friend, tried to understand me, hoped to save me. If that’s true, won’t you try to help me out at this moment? Believe me, I might come to know the conundrum of the key right now. Please let me know. Truth or fib, please help me get hold of the box. Please help me emerge out of this uncouth darkness. I request you to give in.
Nandita: Once everything proves to be  hoax, can you imagine how hurt will you be?
Gautam: Yet this is my last attempt. All my efforts to find it out proved vain so far.I can’t even see any way to track it down. I can’t bear the weight of a nonsensical key anymore. Something has to be opened, what’s that? The pain of this misgiving  is simply unbearable. What am I being with each passing day? Tremendously broken! A door , if opened, could solve some mystery, but, I cannot open the door, cannot break it too. If some supernatural gush of wind stirs the door today, won’t you be kind enough to open it with the touch of your finger, if you can—won’t you?
 Nandita: Okay , call him, if you are pleased. I shall act as a medium. 
Gautam: You are really kind! Please wait, let me call him first. [crying out] Somendubabu! Somendubabu!
  [Somendu comes in]
Somendu: Thanks a lot, Nanditadevi! You will chant that incantation of Alibaba…The stone-door will open.. You will touch that  box floating through the fearful blackness, like a silver- lamplight –our hearts will glitter by the gems and the fabulous shine of those treasures. 
Gautam: Gems and the colossal moonshine of those treasures! In a hidden casket, moonlight lies captivated, with stifled breath, and I shall open it—what magnificent liberty!
Somendu: Let us begin our mission. The table has to be brought in the middle. [Somendu and Gautam lugged the table into the middle] And, the light? [turned the flame feeble] Nanditadevi, you and I will sit face to face Gautambabu, sit on the other end with a pen and paper. You will keep taking down whatever Nanditadevi will utter. Come, let’s sit down.
                     [They sit as decided. The mesmerizing posture of Somendu, his voice and way , would remind us of an experienced yet curious hypnotist.]
Somendu: Nanditadevi, look into my eyes, look deep into the magic mirror of my eyes. Think as if you are walking in your sleep, your body is getting light…so light that you could float in the air if you so desire. Now you can see more, you can see many newer spectacles. A strange mysterious wave is stirring in you, you are seeing the path in a novel sort of light, your inner within is aflutter with light and darkness. [Nandita would look to be in a trance, gradually] Now, you can see into the soul of the flower, the green flow that sweeps through the trees can be felt in your breast, you can feel the stir of the everlasting azure of the sky. Can’t you?  Nanditadevi, you can have a look at many a thing, can’t you?
[Nandita nods] 
Gautam: How strange! I —               [Immediately he falls silent at the motioning of Somendu] 
Somendu: Nanditadevi, what are you searching for?
Nanditadevi: [in a tired, monotonous, mechanical tone]: A box, an engraved treasure-casket of gems!
Somendu: Where lies the box?
Nandita: Looking for it, I am out to find it.
Somendu: Where are you looking for it? Look into my eyes, you will get it, you shall get it. 
Nandita: I cannot see anything inside your eyes, fog, just wet mist.
 Somendu: Now look, you will get to see, please look; the mist is getting dispelled, isn’t it?
Nandita: The fog is disappearing. Mists are getting blown off. I can see the casket, what a beautiful box! [Standing up in excitement, Gautam takes his seat again, at the behest of Somendu] 
 Somendu: Where is the box?
 Nandita: This room in your eyes; this room, it is spinning round in this room.
 Somendu: Keep watch, where the box moves to.
Nandita: A ball of cloud is enveloping the box, shoving it; shadowing it, trying to drift it away. 
Somendu: Observe, where the box moves by. Is it drifting out of the room?
Nandita: The cloud is drifting apart; the box is gliding by beyond this room, it is floating out  in the mild  breeze.
Somendu: Keep looking at it. Keep an eye, where it goes out—follow it closely.
   [Nandita is looking dog-tired and troubled]
Gautam: She is in pains. Somendu, it pains her.
Somendu: Nanditadevi, lean back your head on the chair. Close your eyes. Now, you will be able to see everything by keeping your eyes closed.  [Holding back her fatigued head on the chair , Nandita shuts her eyes] Now, where is the box? In the garden?
Nandita: In the garden.
Somendu: Where exactly in the garden? Any tree? Near any tree?
 Nandita: Yes, a tree, a tree…
Somendu: Tell me, which tree? Which tree?
Nandita: A tree, a..[[it seems , she cannot pronounce because of pain] 
 Somendu: Which tree? Red oleander? Beneath the red oleander tree? 
Nandita: Red oleander tree, beneath the red oleander tree—[uttering the words in terrible pain, she suspends her head like one, lying unconscious]
Gautam:[yelling]Got it, I got it! But, Nanditadevi, perhaps, has fallen ill.
Somendu: Nothing to fear. She will come round gradually. Now, give me the key.  
Gautam[visibly perturbed]: No, the key will lie with me, I shall open it. You better see that Nanditadevi gets back to normal in the meanwhile, I shall not open the box till her eyes stay closed; I shall open it in front of her eyes and see how the captive , strangulated moonshine comes aflame, gradually! Please wait, I am going to the garden with a shovel. 
 Somendu: Wait… you better stay back near her, I shall fetch the box.
Gautam[in a suppressed excitement]: No way! The box is mine as well as the key—I shall not allow anyone. I shall dig it out- I, I, I! I shall prise it open for the first time, I shall take a look at it, I shall see, I shall touch, I shall be the first one to cry in delight! I shall not allow anyone to touch it - no, never, never! 
                     [Gautam stands almost near the wall, retracing his steps back]
Somendu[in a calm, grave voice]: You stay back with her. I shall go. You need to stay beside her now, at this point of time. Please trust me. Let the key be with you, you , yourself will open it. I shall only fetch the box, that’s it. This is my duty—please help me mind my responsibility fully. I shall not escape. How can I flee away, the garden being surrounded by a high wall? Better you hold the gun in your hand—you will feel courageous. In any case, I shall not be able to emulate the gun. 
Gautam: So you want to go. All right, go, find the shovel near the staircase.
Somendu[inching near Nandita]: Nanditadevi, please look [she looks up], please come back with gingerly steps, return with slow and cautious steps. 
   [Somendu throws a glance at Nandita. Nandita looks at him with weary eyes. With mild, silent smile , Somendu heads towards the garden.]
Gautam: Nanditadevi, you came up with the news of that casket. You, perhaps, are not aware of a great deed you have done! Look at me, please do look at me. Please get well. You have to take a look at it. I shall not feel good , if you do not see it. Nanditadevi, are you feeling a bit better now? Can you hear, Somendubabu is digging earth with the shovel, can you hear the noise? Moonlight will spurt out from beneath the ground. Don’t you long for seeing it?
                                     [Nandita nods wearily]
Gautam: Please hold my hand. Walk with slow steps. You will feel better, feel hale. [lifting her with her hand, he makes her move slowly.]Gautam[Shouting
Gautam: Nanditadevi, Nandita—this is the first time I touch you. I am feeling so happy to be with you.! I shall call you, Nandita, only Nandita. Your name will sound light, just like your glance—Nandita, Nandita—just Nandita. Please speak out. I shall drop you at your place. Let the people of the world say whatever they like—I shall not obey them. I shall turn deaf ears to them. Nandita, are you feeling the walk painful? Please sit in here. [Nandita sits down, Gautam casts an engrossed glance at her face]. How strange! I am not addressing ‘revered You’ [apni,  in Bengali , is a reverential term] anymore! Just as the petals of a flower open smoothly, effortlessly, in the same way, silently, joyously, suddenly, I am addressing you ‘tumi’[an endearing address]. Nandita, Nandita, can you hear me? [Nandita’s face appeared graceful. She looked up much more distinctly.] Nandita, Somendubabu will come right now with that box, I can’t hear the noise of the shovel anymore. Speak out, can you recognize me? Tell me , what’s my name? Tell me??
Nandita[in a feeble, indistinct voice]: G-a-u-t-a-m  B-a-n-e-r-j-e-e! Gautam Banerjee!
Gautam: Repeat it! Pronounce it distinctly!
Nandita: Gautam Banerjee; Gautam—I can’t say, Gautam, Gautam—Gautam—
[Lowering the head on the table she keeps on uttering the word ‘Gautam’ , again and again. It seems, as if, she is smearing the name on her entire mind—in pain, in mirth, on the sly.]
Gautam: How splendid my name sounds on your mouth! I did not know, did not know!
  [With an earth-sodden, artistically engraved small box in his hand, Somendu appears near the door , in a sombre face]  
Gautam[yelling at the top of his voice]: Look Nandita,  look—yonder is that box, that box! 
  [He runs to take the box with both his hands and presses his own face on it! Gradually, the face turns pale, lacklustre! Nandita keeps looking at him, feebly. Gautam moves forward in very slow, slackened steps.]
Gautam: The box is so light! If nothing remains inside! I am afraid of opening it, Nandita, I am really afraid! 
  Somendu: The key is with you. Please open. 
Gautam: Shall I open it?
 Somendu: You have no choice but to open. I too have a share,  haven’t I ?
  [Gautam opens it. Lifting the lid, he looks in with wide-eyed wonder. His face is awash with illimitable wonder and weariness of anguish.]
Gautam: Oh! What is it? Not a trace of gems and treasures is there in this casket—just a key resembling the key in my hand rests in here- just another KEY! Oh God, again a key!!
Somendu: That cannot be broken in moiety! I am leaving. I don’t know what gain I had in this game! Whatever is there, may rest with you. Goodbye, let me go, I was expecting such a finale, however! 
                                       [Somendu leaves]
Gautam: Nandita, I am feeling so tired! What terrible ennui it is! Nandita, shall this key lead me to any other treasure-casket? Look at me, shall I again launch a quest? Shall I eep searching like this room in its entirety, the walls, digging deep int my heart? [gazing at Nandita’s face] How radiant your face looks, what am I seeing in your face? What am I seeing in your sight? Nandita, it seems as though the finely ornamented gems-casket lies in your heart, I hadn’t found it so long…. Nandita you have loads of pearls inside yourself, tons of diamond… all you have arranged beautifully in that box! I shall immerse my countenance in the glow of diamond; do what you please with me—throw me off into the sea, cast me away to the firmament, drop me into the hell, do whatever you like to! But, Nandita[,in a broken, distressed scream]if I again come across a key, opening the box inside your heart…just a key!!
  [Gautam’s sad, weary head hangs down. Nandita keeps on throwing a morose glance.]

Wordsmiths as Actors

“All the world’s a stage, and all the men and women merely players;” thus spoke Jacques in Act 2, Scene 7 [As You like it].


 I recall fumbling through my lines as Jacques years back, and the audience gushing over my histrionics; their na├пvet├й confusing the butterfly- dance in my stomach with acting!

Theatre had gripped me right from school, and I wrote and directed many skits in Hindi and English. Later, our theatre group, Navankur, staged many plays, to thunderous applause. I was audacious enough to translate Agatha Christie’s The Mousetrap into Hindi, making our quaking students jump headlong into the theatrical maelstrom, little knowing that their debut performances would take our breaths away!
 I later translated my novella, The Mystery of the Relic, into Hindi, staging it before an appreciative audience, as Meri Kahaani Sunogey?

Recently, I had the good fortune of being a small part of a spectacularly enriching on- line rehearsed reading of King Lear by India Poetry Circle’s IPC PLAYERS. IPC Players’ Macbeth was a resounding success in 2021. This year’s performance of King Lear, in association with the Shakespeare Society of India, was equally successful.
 
The following wordsmiths- actors wrote a new chapter in Shakespearean theatre, through their single-minded commitment and long- hours of rehearsals.

 Santosh Bakaya, as Doctor, and Lalit Magazine as Servant and Herald, were eleventh-hour entrants, rehearsing for less than a month. The others rehearsed for more than eight months, allowing no technical glitches, thunder, lightning, or rain to dampen their spirits.


Result: A scintillating attempt at recreating the Bard’s classic on an online platform, which floored those who watched it live on zoom on 15 December 2022.

Director and King Lear: Jairam Seshadri

Goneril: Sumitra Kumar

Regan: Urna Bose

Cordelia: Shashi Kothari

Earl of Gloucester: Paul Mathew

Earl of Kent: Anju Kishore
Edmund: Cathy Syldo Wilkes

Edgar: Sumita Dutta Shoam

Duke of Cornwall: Subha Bhardwaj

Duke of Albany: Gita Bharath

Fool and King of France: Geethanjali Dilip

Messenger: Aparna Suresh

Oswald: Kanupriya Iyer

Stage Manager: Vidya Shankar

Let me mention, that all the actors are award-winning wordsmiths, with many books to their credit.

Jairam Seshadri, the founder of IPC, who has authored Mantra Yoga [Rupa, 2021] Woof songs and the Eternal Self- Saboteur [Partridge, 2019], Jesus Sahasrnam-the 1008 names of Jesus Christ [AuthorsPress. 2018], enacted the role of King Lear with a rare finesse, enthralling everyone with his tone, diction, and dialogue delivery.  In the last scene, when he enters with the body of Cordelia, lamenting her death, not an eye among the audience was dry;

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

…

 She's gone forever!”

He excelled in this debut foray of directing a full-fledged Shakespearean play.

Anju Kishore who scintillated as Kent in King Lear, and as Macbeth in Macbeth last year, is an award-winning writer, poet, and editor, recently nominated for the Pushcart Prize for her haibun, Drumbeats by Triveni Haikai, India. As Kent, She impressed with her expressive energy, sense of timing, and diction; her lines sparkling through every emotion.

Paul Mathew, an actor since 1968, also an actor-trainer and playwright, enacted the role of Gloucester with amazing panache. For him, it was indeed fascinating to rediscover and demystify the bard through this play. His poetry book, SPIRIT LAKES and Other Poems: An Actor’s Journey, is a riveting read.
Gita Bharath, who charmed the audience as Duke of Albany is an award-winning writer, with six published volumes of poetry, devoting herself full-time to writing and blogging after her retirement from a thirty-four-year-old bank career.

 Subha Bhardwaj, a versatile writer, and member of Indian Poetry Circle having many publications in IPC, Chennai Poetry Circle, Haiku universe, and Literary Vibes, was malevolence incarnate as Lear’s son-in-law, Cornwall, evoking repugnance about the villainous character.

Aparna Suresh is an award-winning poet, writer, academic, editor, and translator, with many published works. Speck of a Soul [2019] was her first published anthology. She excelled in the small, but important role of the messenger. 

Geethanjali Dilip, The brain behind Yercaud Poetry Festival says that she ‘converses with her soul in soliloquies echoing in her poetry, which mirror the truths and beauty of life,’ played the Fool with great aplomb. As she spoke and sang, all those endearing quirks of the fool bubbled effervescently. She also performed the role of the Duke of France with finesse.

Urna Bose, Recipient of the prestigious Nissim International Prize for Poetry, 2021, poet and editor, right now editing TSL Humour Anthology, What’s the Fuss? was the very personification of evil, while enacting the role of Reagan, the evil sister, the scorching fury in her eyes, so palpable.

Founder of Adisakrit, a publishing house, Sumita Dutt Shoam’s debut novel, The Heart of Donna Rai, has been well-acclaimed. As Edgar, her nuanced acting, powerful rendition, impassioned intensity, and creative innovation provided a virtual feast for the senses.

Sumitra Kumar is a passionate poet and blogger, whose debut poetry book Romance with Breath [April 2022], portrayed the evil sister Goneril’s wicked machinations, jealous treachery, and aggressive ambition with flawless acumen. 

Shashi Kothari, a bilingual writer, with 7 poetry books- 6 in Hindi, and one in English, enacted the role of Cordelia, bringing out her pure, compassionate nature, impeccably.
  
Poet, and short- story writer, Cathy Sydlo Wilkes, figures in various international anthologies, and is the recipient of the Nissim Prize [Second, 2022] in Poetry, and has authored two books, Facets: a collection of uncommon poetry and Fowl Play: Commotion at the chicken yard and other nontraditional Animal Stories.
She took Edmund’s role to new heights with her deft manipulation of voice and excellent emoting, leaving the audience spellbound.

The young, talented author, poet, and actor, Kanupriya Iyer has authored two novels, Humsuffers and The Family Lockdown. As Oswald, she enchanted everyone with impressive dialogue delivery, her sword-wielding laced with a fiery ferocity.

Vidya Shankar, a well-known, awarded poet, excelled as the Stage Manager, tackling technical glitches\soundbytes, and filling in for the actors who suddenly disappeared from the scene due to connectivity problems.  

Let me conclude with a few lines from Paul Mathew’s poem, which he wrote immediately after the success of the play:

‘The glitches and heartbreaks
The generosity of fellow actors
The surprising performances
Far beyond the rehearsals
The bonding and the joy
of having climbed a formidable peak together.’

Some more of Paul Mathew’s lines from The Actor and Space [Dream Poetry: Restore Space, AuthorsPress, 2022]

‘the magic
 of the actor’s body
weaving space into an illusion
that a hundred others share.

theatre-
the sacred relationship between
man and space.’

Well, my belief in magic was reaffirmed when I saw wordsmiths donning the mantle of actors, ‘climbing a formidable peak together’, providing a sensory delight for those who watched.



















WORD WIZ - A Playlet by NS Murty

(One-Act Magic Realism Playlet)
N. S. Murty


FOREWORD

By Betty Oldmeadow

The year 2016 marked the 400th anniversary of the death of William Shakespeare, the greatest playwright in the English language. A poignant anecdote from the pages that follow, defines this great man:  ‘Shakespeare made ALL the world his stage, all languages, tongues and dialects his liege….’ What better time to pen a tribute to this world famous genius.

The opening scene of this amazing play, centred round a forgotten and neglected bust of Shakespeare, spirited me away to Shakespeare’s Globe Theatre in London where I imagine it being performed. This commemorative work is a vivid reminder of why it is important, and indeed educationally valuable, to become familiar with the works of this world famous writer. To neglect to do so, merely because the language of the Elizabethan era differs somewhat from that used today, is not reason enough to avoid cultivating a sense of belonging to this area of literature. This play speaks volumes; it invites the audience to ‘come on in and test the waters.’ To ignore the presence of the wisdom and historical value contained in Shakespeare’s works undoubtedly leaves a vacuum in the soul. This cleverly penned play whets the appetite and leaves one wanting more; it opens the door to the possibility of a new and exciting understanding and appreciation which has the potential to be life-changing. Accept the invitation to walk beside this modern day playwright as he places some of the works of Shakespeare in a nutshell. This play crushes the idea that we are separated by class, education or cultural identity; ardent fans of The Bard’s work will merely appreciate the intent behind this citation, whereas the novice may become increasingly aware that comprehending the works of the most important playwright of all time is, indeed, within the range of their understanding.

One of the main characters in the play is a mystic character, an old man, who in the past is supposed to have told the child, Shakespeare, stories in a rudimentary form, which later become his literary corpus. On stumbling upon a bust of the great man, he is aghast at its derelict state and attempts to remove the cobwebs, bird droppings and dead leaves that adorn it. Children appear and are forced to get into conversation with the old man when their ball accidentally hits him; the apology that ensues leads to a conversation about story telling.  As the play progresses, the old man agrees to tell the children some stories and to sing to them; they receive an education like never before! There is clever use of one of the most well-known monologues from As You Like It: ‘All the world’s a stage, and all the men and women merely players.’  Throughout the play, the old man sings a few lines of the seven stages of life to the children. As he sings, characters from his plays appear one after another and enact the seven stages.

Further magical scenes follow as characters from The Bard’s plays appear and re-enact the stories. The children remain enthralled which cements the fact that Shakespeare’s legacy is for young and old alike. As Ben Jonson (a peer and rival during the Elizabethan age) said of Shakespeare: ‘he was not of an age but for all time.’

A soldier comes into the equation and questions the wisdom of, what he considers to be fancy tales; ‘Tell them about history, war and bravery’ he advises. An exchange of opinions follow.

This play is a reminder that Shakespeare was a man of the people which contributes to his appeal and no doubt influenced the eloquence of his prose. It should be remembered that he rose to fame in spite of his modest education and humble beginnings; his plots present real human beings in a wide range of emotions and conflicts. This is made plainly evident in this script by the inclusion of appropriate and carefully selected scenes from Shakespeare’s tragedies, comedies and histories; for example The Tempest, Hamlet, King Lear, Julius Caesar, Romeo and Juliet, The Merchant of Venice, Troilus and Cressida and King Henry IV. These excerpts serve to bring Shakespeare’s phenomenal works to life within a modern day setting.

The descriptions of the set design to match the tone of this play, offer vivid visual impressions, i.e. ‘the wind changes direction:’  ‘The place looks dark, desolate and remote.’ ‘There will be a sudden flourish and the whole stage becomes dark.’ ‘Slowly, the right stage gets illuminated.’

In the finale, all the ghosts, spirits and apparitions come to the fore stage and mingle with the characters and all of them sing in unison, which would make a splendid and dramatic curtain call.

This skilled and well planned tribute (by a published author) to the greatest playwright of all time, offers the audience an opportunity to rediscover one of life’s greatest assets, the power and importance of language and the written word. Although this play is based on a world we have lost, it is much about the future as it is the past because although we may not be conscience of it, Shakespeare walks beside each and every one of us through our everyday language.

Salutations to our good friend, the Bard of Avon.

***


Dramatis Personae

Old Man:          Who taught child Shakespeare all the stories which later become his literary corpus.
Boy 1               }
Boy 2               }           Children playing rugby who accidentally stumble upon the Oldman
Girl 1               }
Girl 2               }
                                    Shakespearean Characters and text 

Miranda:          } From The Tempest Act I Scene II
Prospero:         }

Polonius:          } From Hamlet, The Prince of Denmark Act I Scene III
Hamlet             }                                                               Act III Scene I

Romeo:            } From Romeo and Juliet Act II Scene II
Juliet:               }

Portia:               } From The Merchant of Venice,  Act IV   Scene I
Arragon:           }                                                     Act II    Scene IX

King Lear         } From King Lear, Act IV Scene VI and Act V Scene III
Gloucester       }
Edgar               }

Brutus              } From Julius Caesar Act III Scene II

Sir John Falstaff} From King Henry IV, Act V Scene I

Cassandra        } From Troilus and Cressida, Act II, Scene II

And ………………Spirits, Ghosts, Apparitions, Witches, Fairies and their ilk.


(From the top branch of Muse
An eerie melody sweeps through ether
Matter springs to life for a while to amuse
And the spirit returns, saying it doesn’t matter)

A humble tribute to his master by a subject
On the eve of his 400th Death Anniversary

The Word Wiz
(Playlet)


(Note: All text in italics other than stage directions is Shakespearean)

When the curtain raises the fade out is on the memorial of Shakespeare. It will be in the typical Indian fashion: The bust of the bard in ruins sitting on a high platform, dusty and faded, wrapped in cobwebs and littered with bird droppings. The place looks dark, desolate and remote. Foot of the platform littered with dry leaves all over. The growth of bushes and the dust collecting over betray that it has been abandoned for long.

From afar children playing rugby, their cries, their calls, their shouts and hullaballoo is heard.

As the stage gets slowly illuminated an old man enters from one end of the stage and slowly passes by it.  He stops and looks at the statue for a while putting his hand over his eyes and then suddenly exclaims

Old man:    “Oh! Me! Gee god! What a curse!”…
(He dusts the statue passionately with his hands and his towel and cleans the surrounds plucking few plants from the neighbourhood.)
When I told you those myths and legends
They were just that.
But when you breathed life into ’em
On this Globe, they just walked into every home
God had summoned Light
But failed to keep his work intact.
Then came you, to complement his acquit,
It is no hyperbole, his whole, your ‘less’ dominate’.
His make withered… See you me?
While yours, walks free, steeple chasing time.
(Wind changes direction frequently putting to nought what he had done earlier. Then on one occasion he roars at it)
“You element! Are you in your elements?
Know you what you have been doing?
Rage as you wish elsewhere.
But here, weave as gentle not to move a feather
The Bard is resting here under.
Might be scripting a tale or two to the new audiences.”
(The wind ceases. As he resumes his work, children playing rugby enter chasing a ball that has come off-the-stage. The ball hits the old man. All of them halt and put on faces of regret. One of the boys comes forward.)

Boy1:         We are so very sorry. It was an accident.
Our playfulness over ran our propriety.
But Sir! What are you doing at this forlorn place?

Old man:    It’s Easter today
But it seems it was only yesterday.
I was sitting under that tree
When youth of your age used to flock around me
Pestering to tell them a tale each day.

Girl1:          Oh!  Then I get you. You’re the famed story teller.
My granny tells many stories about you.
Where have you been all along?
Why don’t you sing us that “All the world is a stage…”

Boy 2         (to other boys)                      Boys! It’s quits for the game.
(With the old man)                Tell us some stories.
All              Yes, we want to hear some stories.
(In chorus):    It was long since we heard any story.
Boy 2:        No, but first that song.
Old man:    Music and tales are so close to your heart, I know.
But tell me do you want the song or the tale first.
All:             We want the song first.
(Old man sings the song ‘All the world is a stage…’
As he begins the song, fade out will be on him.)
(As he sings the song characters from his plays come one after another and enact the seven stages of life.  The stage is divided between the old man and the characters and the focus will be alternating between them. When the old man sings the line “…at first an infant, mewing and puking in the nurse’s arms…”   The scene from The Tempest Act I Scene II is enacted when Prospero speaks to Miranda)
“All the world’s a stage, and all the men and women are players;
They have their exits and entrances;
And one man in his time plays many parts, the acts being seven ages.
At first the infant, mewing and puking in the nurse’s arms….
 (A howling of Tempest precedes the entry of characters)
“Miranda: “(Father!)
You have often
Begun to tell me what I am; but stopped,
And left me to a bootless inquisition,
Concluding, ‘stay: not yet.’
Prospero:   (Miranda!)
The hour’s now come;
The very minute bids thee open thine ear;
Obey, and be attentive.  Canst thou remember
A time before we came unto this cell?
I do not think thou canst, for then thou was not
Out three years old.
Miranda:   Certainly, sir, I can.
Prospero:  By what? By any other house, or person?
Of anything the image tell me, that
Hath kept with thy remembrance.
Miranda:    ‘Tis far off;
And rather like a dream, than an assurance
That my remembrance warrants.  Had I not
Four or five women once, that tended me?
Pros:         Thou hadst, and more, Miranda.  But how is it
That this lives in thy mind?  What seest thou else
In the dark backward and abysm of time?
If thou remember’st aught, ere thou cam’st here,
How thou cam’st here, thou may’st.
Miranda:   But that I do not.
Prospero:  Twelve year since, Miranda, twelve year since
Thy father was the Duke of Milan, and
A prince of power.
Miranda:   Sir, are not you my father?
Prospero:  Thy mother was a piece of virtue, and
She said thou wast my daughter; and thy father
Was Duke of Milan, and his only heir
A princess; no worse issued.
Miranda:   O, the heavens!
What foul play had we that we came from thence?
Or blessed wasn’t we did?
Prospero:   Both, both, my girl:
By foul play, as thou say’st, we were heaved
Thence;
But blessedly holp hither.
Miranda:   My heart bleeds
To think of the teen that I have turned you to,
Which is from my remembrance.

[Focus shifts back to the old man. As he sings: ‘ then the whining school boy, with his satchel, and shining morning face, creeping like a snail unwillingly to school’ ………. the scene from  The Hamlet Act I scene III is enacted where Polonius gives advice to his son Laertes:]

“Polonius: Yet here, Laertes! Aboard, aboard, for the shame!
The wind sits in the shoulder of your sail,
And you are stay’d for. There; my blessing
With thee!
And these few precepts in thy memory
See thou character. Give thy thoughts no tongue,
Nor any unproportion’d thought his act.
Be thou familiar, but by no means vulgar;
The friends thou hast, and their adoption tried,
Grapple them to your soul with hoops of steel;
But do not dull thy palm with entertainment
Of each new-hatch’d, unfledg’d comrade.  Beware
Of entrance to a quarrel, but being in,
Bear‘t that the opposed may beware of these.
Give everyman thine ear, but few thy voice;
Take each man’s censure, but reserve thy judgement.
Costly thy habit as thy purse can buy,
But not express’d in fancy; rich, not gaudy;
For the apparel oft proclaims the man,
And they in France of the best rank and station
Are most select and generous, chief in that.
Neither a borrower nor a lender be;
For loan oft loses both itself and a friend,
And borrowing dulls the edge of husbandry.
This above all; to thine own self be true,
And it must follow, as night the day,
Thou canst not then be false to any man.
Farewell; my blessing season this in thee!”

Old man      Sings…
(As he sings “And then the lover, sighing like furnace, with woeful ballad made to his mistress’ eyebrow” the scene from Romeo and Juliet Act II Scene II is enacted where Romeo speaks to Juliet by her window)
“Romeo:    By a name I know not how to tell thee who I am;
My name, dear saint, is hateful to myself,
Because it is an enemy to thee;
Had I it written, I would tear that word.
Juliet:        My ears have yet not drunk a hundred words
Of that tongue’s utterance, yet I know the sound:
Art thou not Romeo and a Montague?
Romeo:      Neither, fair maid, if either thee dislike.
Juliet:        How camest thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb;
And the place death, considering who thou art,
Of any of my kinsman find thee here.
Romeo:      With love’s light wings did I o’er-perch these walls;
For stony limits cannot hold love out,
And what love can do that dares love attempt;
And therefore your kinsmen are no stop to me.
Juliet:        If they do see they will murder thee.
Romeo:       Alack! There lies more peril in thine eye
Than twenty of their swords; look thou but sweet,
And I am proof against their enmity
Juliet:        I would not for the world they saw thee here,
Romeo:       I have night’s cloak to hide from their eyes;
And but thou love me, let them find me here;
My life were better ended by their hate,
Than death prorogued, wanting of thy love.”
Old man:    Sings
As he sings “then a soldier, full of strange oaths, and bearded like a pard, jealous in honour, sudden and quick in quarrel, seeking the babble reputation even in the cannon’s mouth” the scene from The Merchant of Venice Act II Scene IX when the prince of Arragon makes his bid to select the right casket is enacted:  Flourish of Cornets. Enter the Prince of Arragon, Portia, with their retinue.)

“Portia:     Behold, there stand the caskets, noble prince,
If you choose wherein I am contain’d,
Straight our nuptial rights shall be solemnised;
But if you fail, without more speech, my lord,
You must be gone from hence immediately.
Arr.            I am enjoin’d by oath to observe three things;
First, never to unfold to any one
Of the right casket, never in my life
To woo a maid in way of marriage;
Lastly,
If I do fail in the fortune of my choice,
Immediately to leave you and be gone.
Portia:        To these injunctions every one doth swear
That comes to hazard for my worthless self.
Arr:           And so have I address’d me.  Fortune now
To my heart’s hope!  Gold; Silver; and base Lead.
Who chooseth me must give and hazard all he hath:
You shall look fairer, ere I give or hazard
What says the golden chest? Ha! Let me see;
Who chooseth me shall gain what many men desire.
What many men desire! That ‘many’ may be meant
By the fool multitude, that chose by show,
Not learning more than the fond eye doth teach;
Which pries not the interior, but, like the martlet,
Builds in the weather on the outward wall,
Even in the force and the road of casualty.
I will not choose what many men will desire,
Because I will not jump with common spirits
And rank myself with barbarous multitudes.
Why then to thee, thy silver treasure-house;
Tell me once more what title thou dost bear:
Who chooseth me gets as much as he deserves
And well said too; for who shall go about
To cozen fortune and be honourable
Without the stamp of merit?  Let none presume
To wear an undeserved dignity.
O! That estates, degrees, and offices
Were not derived corruptly, and that clear honour
Were purchased by the merit of the wearer.
How many then should cover that stand bare;
How many be commanded that command;
How much low peasantry would then be glean’d
From the true seed of honour; and how much honour
Pick’d from the chaff and ruin of the times
To be new-varnish’d!  Well, but to my choice:
Who chooseth me shall get as much as he deserves.
I will assume desert.  Give me a key for this,
And instantly unlock my fortune here. (He opens the silver casket)
Portia:       Too long a pause for what you find there.
Arr:            What’s here? The portrait of a blinking idiot,
Presenting me a schedule!  I will read it.
How much unlike thou art to Portia!
How much unlike my hopes and my deservings!
Who chooseth me shall get as much as he deserves.
Did I deserve no more than a fool’s head?
Is that my prize? Are my deserts no better?”

Old man:    Sings…
(As he sings “And then the justice, in fair round belly with capon lined, with eyes severe, and beard of formal cut, full of wise saws and modern instances; and so he plays his part” The scene from First part of King Henry IV Act V scene I is enacted when the prince, King Henry, and others prepare for war.  Sir John Falstaff   enters the stage after the following conversation:

(Off the stage)
“King:        and, Prince of Wales, so dare we venture thee,
Albeit considerations infinite
Do make it against it. No, good Worcester, no,
We love our people well; even those we love
That are misled upon your cousin’s part;
And will they take the offer of our grace,
Both he and they and you, yea, every man
Shall be my friend again, and I will be his.
So tell your cousin, and bring me word
What he will do; but if he will not yield,
Rebuke and dread correction wait on us,
And they shall do their office.  So be gone:
We will not now be troubled with reply;
We offer fair, take it advisedly.
Prince:      It will not be accepted, on my life.
The Douglas and Hotspur both together
Are confident against the world in arms.
King:         Hence, therefore, every leader to his charge;
For, on their answer, will we set on them;
And God befriend us, as our case is just!
Falstaff:     Hal, if thou see me down in the battle,
And bestride me, so ‘tis a point of friendship.
Prince:      Nothing but a colossus can do thee that friendship.
Say thy prayers, and farewell.
Falstaff:     I would it were bedtime, Hal, and all well.
Prince:       Why, thou owest God a death.”

(Falstaff enters fore stage)

Falstaff:     ‘Tis not due yet:  I would be loath to pay him before
His day.  What need I be so forward with him that calls not
On me?  Well,‘tis no matter; honour pricks me on.  Yea,
But how if honour prick me off when I come on? How then?
Can honour set to a leg?  No.  Or an arm?  No.  Or take
Away the grief of the wound?  No.  Honour hath no skill in
Surgery then? No. What is honour? A word. What is that
Word honour?  Air.  A trim reckoning!  Who hath it?  He that
Died o’ Wednesday.  Doth he feel it?  No.  Doth he hear it?
No.  Is it insensible then?  Yes, to the dead. But will it not
Live with the living?  No.  Why?  Detraction will not suffer it.
Therefore I’ll none of it.  Honour is a mere scutcheon; and so
Ends my catechism.”

Old man:     Sings:
(As he sings “The sixth stage shifts into the lean and  slipper’d pantaloon, with spectacles on nose and pouch on side, his youthful hose well saved, a world too wide for his shrunk shank; and his big manly voice, turning again toward childish tremble, pipes and whistles in his sounds. the following scene from King Lear Act IV Scene VI is enacted:
“Lear:        No, they cannot touch me for coining; I am the king myself.
Edgar:        O thou side-piercing sight!
Lear:          Nature’s above art in that respect.
There’s your press-money.  That fellow handles his bow like a crow-keeper:
draw me a clothier’s yard.  Look, look! a mouse. 
Peace, peace! this piece of toasted cheese will do’t.
There’s my gauntlet; I will prove it on a giant. 
Bring up the brown bills.  O! well flown, bird;
i’ the clout, i’ the clout:  hewgh! Give the word.
Edgar:        Sweet marjoram.
Lear:          Pass.
Glou.          I know that voice.
Lear.           Ha! Goneril, with a white beard!  They flattered me like a dog, and told me I had white hairs in my beard ere the black ones were there.  To say ‘ay’ and ‘no’ to everything I said!  ‘Ay’ and ‘no’ too was no good divinity.  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 everything;‘t is a lie, I am not ague-proof.
Glou.          The trick of the voice I do well remember: Is’t not the king?
Lear.          Ay, every inch a king:
When I do stare, see how the subject quakes.
I pardon that man’s life.  What was thy cause? Adultery?
Thou shall not die: die for adultery! No:
The wren goes to‘t, and the small guilded fly
Does lecher in my sight.
Let copulation thrive; for Glouster’s bastard son
Was kinder to his father than my daughters
Got ‘tween the lawful sheets.
To‘t, luxury, pell-mell! for I lack soldiers.
Behold yond simpering dame,
Whose face between her forks presageth snow;
That minces virtue, and does shake the head
To hear of pleasure’s name;
The fitchew nor the soiled horse goes to‘t
With a more riotous appetite.
Down from the waist they are Centaurs.
Though women all above:
But to the girdle do the gods inherit,
Beneath is all the fiend’s:
There’s hell, there’s darkness, there’s the sulphurous pit,
Burning, scalding, stench, consumption; fie, fie, fie!
Pah! pah! give me an ounce of civet, good apothecary,
To sweeten my imagination: there’s money for thee.
Glou.          O! Let me kiss that hand.
Lear            Let me wipe it first; it smells of mortality.
Glou.          O ruin’d piece of nature! This great world
Shall so wear out to nought.  Dost thou know me?
Lear.           I remember thine eyes well enough. Dost thou sqiny at me?
No, do thy worst, blind cupid; I will not love.  Read thou this
Challenge; mark but the penning of it.
Glou.          Were all thy letters suns, I could not see.
Edgar.        (Aside): I would not take this from report; it is,
And my heart breaks at it.
Lear.          Read.
Glou.         What! with the case of eyes?
Lear            O, ho! Are you there with me? No eyes in your head,
Nor no money in your purse?  Your eyes are in a heavy case,
Our purse in a light: yet you see how this world goes.
Glou.          I see it feelingly.
Lear           What! Art mad? 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, in thine ear: change
Places; and, handy-dandy, which is the justice, which is the
Thief?  Thou hast seen a farmer’s dog bark at a beggar?
Glou.          Ay, sir.
Lear           And the creature run from the cur?
There you might’st behold the great image of authority;
A dog’s obeyed in office.
Thou rascal beadle, hold thy bloody hand!
Why dost thou lash that whore? Strip thine own back;
Thou hotly lusts to use her in that kind
For which thou whipp’st her. The usurer hangs the cozener.
Through tatter’d clothes small vices do appear;
Robes and furr’d gowns hide all.  Plate sin with gold,
And the strong lance of justice hurtless breaks;
Arm it in rags; a pigmy’s straw does pierce it.
None does offend, none, I say, none; I‘ll able ’em:
Take that of me, my friend, who have the power
To seal the accuser’s lips.  Get thee glass eyes;
And like scurvy politician, seem
To see the things thou dost not.  Now, now, now, now;
Pull off my boots; harder, harder; so.
Edgar.        (Aside) O! Matter and impertinency mix’d; Reason in madness.
Lear           If thou wilt weep my fortunes, take my eyes;
I know thee well enough; thy name is Gloucester;
Thou must be patient; we came crying hither;
Thou know’st the first time that we smell the air
We wawl and cry.  I will preach to thee: mark.
Glou.         Alack, alack the day!
Lear          Wwhen we are born, we cry that we are come
To this great stage of fools.  This a good block!
It were a delicate stratagem to shoe
A troop of horse with felt; I‘ll put‘t in proof,
And when I have stol’n upon these sons-in-law,
Then, kill, kill, kill, kill, kill, kill!
Enter a Gentleman, with attendants.
Gent.          O! Here he is;  lay hand upon him.
Sir, your most dear daughter—
Lear            No rescue? What!  a prisoner? I am even the natural fool
Of fortune.  Use me well; you shall have ransom.
Let me have surgeons; I am cut to the brains.
Gent.          You shall have anything.
Lear            No seconds? all myself?
Why this would make a man a man of salt,
To use his eyes for garden water-pots
Ay, and laying autumn’s dust.
Gent.          Good sir,–
Lear:               I will die bravely, like a smug bridegroom.  What!
I will be jovial; come, come; I am the king,
My masters, know you that?
Gent.          You are a royal one, and we obey you.
Lear            Then there’s life in‘t.  Nay, an you get it,
You shall get it by running.  Sa, sa, sa, sa.  (Exit: Lear)”

Old man     Sings:
(As he sings “Last scene of all, that ends this strange eventful history, is second childishness and mere oblivion, sans teeth, sans eyes, sans taste, sans everything” the scene from King Lear Act V Scene III is enacted:

“Lear:          (With Cordelia in his arms)
Howl, howl, howl, howl!  O!  You are men of stones:
Had I your tongues and eyes, I’d use them so
That heavens 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.
This feather stirs; she lives! If it be so,
It is a chance which does redeem all sorrows
That ever I have felt
A plague upon you, murderers, traitors all!
I might have saved her; now she’s gone for ever!
Cordelia, Cordelia! Stay a little.  Ha!
What is’t though say’st!  Her voice was ever soft,
Gentle and low, an excellent thing in the woman.
I kill’d the slave that was a-hanging thee.
Did not, fellow?
I have seen the day, with my good biting falchion
I would have made them skip; I am old now,
And these same crosses spoil me.
Mine eyes are not o' the best: I'll tell you straight.
And my poor fool is hang’d ! No, no, no life!
Why should a dog, a horse, a rat, have life,
And thou no breath at all?  Thou’lt come no more,
Never, never, never, never, never!
Pray you undo this button; thank you, sir
Do you see this?  Look on her, look, her lips,
Look there, look there!                            (Dies)

The focus shifts back to the old man

Boy1          Wah! Wah!
Boy2          Excellent!  Excellent!  Your song is excellent!
Old man:    But it is not mine.  It is his (pointing to the statue)
Who made all this world his stage,
All languages, tongues, and dialects his liege,
And nature which was so proud of its prowess
In creating characters at its will and fancy
Was still blinking its eyes in wonder at a Portia,
A Cordelia, a Juliet, an Ophelia or a Lucrece.
When his villains speak, they echo every man in no man
And when his heroes act, they seem down to earth.
The gamut of his writing is not to blare his genius
But to sum up: we differ merely from barriers without
When he wrought passions, they were neither random
Nor were they native to a soil, race or colour.
He chartered the scape of whole human emotions
And collected every single spec worth its name
Only to reflect like a faithful looking glass
For men to look-in, peruse, amend, and rejoice.
He never takes sides with good or evil
Nor hies behind his rolls just to preach a sermon
He bares the human contradictions, dilemmas, and disciplines
Without a hint of contrivance, from a natural flow of events.
We wail, we laugh, we play, get hurt, and simper
As he conjures up events from our very life
As the emotion dissipates it leaves no stains
But a sweet lingering aroma lasting our life time.
Boy1          What is his name?
Old man:    Didn’t you ever hear any stories
From your grannies at the fire place?
Boy2          My grand pa was the best story teller.
He would spin a story in a trice.
Girl1          My grand ma was even better.
Never was her story treasure empty.
Girl2          My mother tells me a story at bedtime
But she never repeats herself any time
Did you ever hear about the merchant
Who pawned himself for his friend’s love?
Boy1          Do you know about the king
Who tested the loyalties of his offspring?
Girl1          That is a household story
But have you ever heard how to tame a shrew?
Boy2          My grandsire tells exotic stories
About dreams, fantasies and what not.
All              (Simultaneously):  My grand pa is great,
No, my granny is great
No, my mother is great,
No my grandsire is great.
Old man:    But do you know where they got these stories from?
Boy2:         O, I forgot. Was it Shake…. Something?
Old man:    Say it properly.  William Shakespeare, the Bard of Avon.

(Enter a soldier)

Soldier:      Why spoil their youth with fiction and fancy tales?
Tell them about history, about war and bravery.
Old man:    Brave soldier! Good luck to thee.
But fiction is no easy meat to cook, prithee
True. You must wage war
Against no-law, no-custom, and no-scruple.
But if wars, laws and vengeance
Could discipline, chastise and correct people
We wouldn’t have had these any more.
Good and evil, the hemispheres of character
Wax and wane, by turns, at one another’s expense.
Fiction gives vent to the heroics within
And resurrects to life the springs drying up in psyche.
History is a recipe, a decocture from the past
Filtering fact from fiction, take whit by whit.
It is a lamp, not the spade that helps clear your way
And our duty is just that, ‘fore we pass away.
Soldier:      Might be so.   But, I fear your fiction
Dries up the heroics at that.
Reason, no doubt, seasons our emotion
But an excess of it inhibits our action.
Fancy is a flight, no one wants to get down
The wings of crazy ideas and exotic things
The world looks oblong, flat and perplexing.
History, on the contrary, is a record of our kin
Our lives, a reliving of theirs, events scattered though.
We make the same mistakes, feel same passions
Witness mutely the events...  momentary and momentous
Silly and serious, brazen and civil, timorous and trepid
We inherit their fate and fortunes alike.
Old man:    So, by consequence,
History and fiction stand on the same pedestal.
Soldier:      But with some knowledge and the will to work our way,
We can steer thro’ rough waters to possible safer shores.
Old man:    Isn’t life’s mirth or misery a chance?
Soldier:      Doesn’t bravery take the seat of chance?
If the world were surfeit of geniuses and giants
Wouldn’t actions end before they incubate in mind?
Action is the spice of thought
And if it were absent, life reduces to inanimate.
History whets action by comparison.
Old man:    Life imagined through history is fancy.
But fiction nearer to life is history.
I sow these seminal minds
With the viable seeds of fiction
That when they are up against a Brutus
They play Mark Antony
And when they are up against Hotspurs
They play the Henries.
Children:    But we want to hear the tales you said you told him
(They point towards the statue)
Old man:    Didn’t you hear the legend
That he who touches his quill
Shall see before him, his matter, making a drill
Girl1          Then let me chance to touch it first
To see in me the best or the worst.
(She attempts to touch the quill and there will be a sudden flourish and the whole stage becomes dark.  Slowly the right stage gets illuminated and the following scene from Troilus and Cressida, Act II Scene 2 will be enacted where Cassandra, a prophetess, comes running on to the stage)
Cassandra:  “Cry, Trojans, cry! Lend me ten thousand eyes.
And I will fill them with prophetic tears.
Virgins and boys, mid-age and wrinkled eld,
Soft infancy, that nothing canst but cry,
Add to my clamours! Let us pay betimes
A moiety of that mass of moan to come.
Cry, Trojans, cry! Practise your eye with tears!
Troy must not be, nor goodly Ilion stand;
Our fire brand brother, Paris, burn us all.
Cry, Trojans, cry!  A Helen and a woe!
Cry, cry! Troy burns, or let Helen go. (Exit)”

Left stage gets illuminated and the girl asks in all innocence

Girl1           What does it mean?
Old man:    Baby, you are!  Innocent to the core.
As elements play their role,
They please and frighten your soul.
You see things that others can’t think
And when you prophesise the world takes no wink
Boy1          Let me try then.
(There will be a sudden flourish and the whole stage becomes dark.  Slowly the right stage gets illuminated and the following scene from Hamlet, the Prince of Denmark, Act III Scene 1 is enacted where Hamlet, the prince comes on to the stage)
Hamlet:      “To be, or not to be: that is the question;
Whether‘tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to takes arms against a sea of troubles,
And by opposing end them?  To die:  to sleep;
No more; and by a sleep to say we end
The heartaches and the thousand natural shocks
That flesh is heir to, ‘tis a consummation
Devoutly to be wish’d, To die, to sleep;
To sleep; perchance to dream; ay, there’s the rub;
For in that sdeleep of death what dreams may come
When we have shuffled this mortal coil,
Must give us pause.  There’s the respect
That makes calamity or so long life;
For who would bear the whips and scorns of time,
The oppressor’s wrong, the proud man’s contumely,
The pangs of despised love, the law’s delay,
The insolence of office, and the spurns
The patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? Who would fardels bear
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover’d country from whose bourn
No traveller returns, puzzles the will,
And makes us rather bare those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o’er with the pale cast of thought,
And enterprises of great pith and movement
With this regard there currents turn awry,
And lose the name of action --Soft you now!
The fair Ophelia! Nymph, in thy orisons
Be all my sins remember'd.

As the left stage gets illuminated back
Boy1          (to Old man):  What does it mean?
Old man:    It means you become a philosophic dialectic
And often your action is impeded by your logic.
Girl2:         (touches the quill) after a flourish the scene from Merchant of Venice Act IV Scene 1 is enacted:

“Portia:     The quality of mercy is not strain’d,
It droppeth as gentle rain from heaven
Upon the place beneath: it is twice bless’d;
It blesseth him that gives and him that takes;
‘Tis mightiest in the mightiest; it becomes
The throned monarch better than his crown;
His sceptre shows the force of temporal power,
The attribute to awe and majesty,
Wherein doth sit the dread and fear of kings;
But the mercy is above this sceptred sway
It is enthroned in the hearts of kings,
It is an attribute to God himself;
An earthly power doth then show likest God’s
When mercy seasons justice.  Therefore, Jew,
Though justice be thy plea, consider this,
That in the course of justice none of us
Should see salvation; we do pray for mercy,
And that the same player doth teach us all to render
The deeds of mercy.

And when the light are restored to the left stage the old man looks at Girl2 and says:

Old man:    Honey!  It means you love fair play
As naturally as a bee honey.
As Boy2 touches the quill there will be flourish and the following from Julius Caeser Act III Scene 2 when Brutus tries to defend his action is enacted:
“Brutus:     Be patient till the last.
Romans, countrymen, and lovers!
hear me for my cause, and be silent, that you may hear:
believe me for mine honour, and have respect to mine honour,
that you may believe: censure me in your wisdom,
and awake your senses, that you may the better judge.
If there be any in this assembly, any dear friend of Caeser’s,
to him I say that Brutus’ love to Caeser was no less than his.
If then that friend demand why Brutus rose against Caeser,
this is my answer:
Not that I loved Caeser less, but I loved Rome more.
Had you rather Caeser were living, and die all slaves,
than that the Caeser were dead, to live all free men?
As Caeser loved me, I weep for him; as he
was fortunate, I rejoice at it;
as he was valiant, I honour him;
but as he was ambitious, I slew him.
There is tears for his love;
joy for his fortune;
honour for his valour;
and death for his ambition.
Who is here so base, that he
would be a bondman?
If any, speak; for him have I offended.
Who is here so rude, that would not be a Roman?
If any, speak. for him have I offended.
Who is here so vile, that will not love his country?
If any, speak; for him have I offended.
I pause for a reply.

(Behind the stage)

Chorus: None, Brutus, none.

Brutus:       Then none have I offended.
I have done no more to Caeser
than you shall do to Brutus.
The question of his death
was enrolled in the capitol;
his glory not extenuated,
wherein he was worthy,
nor his offences enforced, for which
he suffered death.

{Enter Antony and others, with Caeser’s body}

Here comes his body, mourned by Mark Antony:
Who, though he had no hand in his death,
shall receive the benefit of his dying,
a place in the commonwealth;
as which of you shall not?
With this I depart:
that as I slew my best lover for the good of Rome,
I have the same dagger for myself,
when it shall please my country to need my death.”

Old man:   (With Boy 2) It means you are valiant and a good speaker too
You can convince your detractors, as your supporters,
With ease.  But if you don’t permit passion to overcome you,
You will not regret your action as Brutus did.

(Behind the stage: voices of ghosts sprits and apparitions)

Chorus:      What about us?
We wafted in air ‘fore he was born
And came to life donning mantles under his pen.
We had our second lives,
When we played, danced when bestowed rare powers,
And as he met his elements,
So were we restored
Give us a chance to say our thanks
To leave our shadows along with his images.
(All the ghosts, spirits and apparitions come to the fore stage and mingle with the characters already appeared, and all of them sing in unison.  Spirits, ghosts and apparitions stand one side and other characters stand the other side to start with)




Song:
(Characters):
He gave us birth
He gave us breath
He gave us mirth and mantle
Spirits:       (Pointing the statue)
He gave us birth
He gave us breath
He gave us mirth and mantle
Characters: He gave us life
He made us fife
And bade us hustle and hassle
Spirits        He blessed us lifeDramatis Personae

Old Man:          Who taught child Shakespeare all the stories which later become his literary corpus.
Boy 1               }
Boy 2               }           Children playing rugby who accidentally stumble upon the Oldman
Girl 1               }
Girl 2               }
                                    Shakespearean Characters and text 

Miranda:          } From The Tempest Act I Scene II
Prospero:         }

Polonius:          } From Hamlet, The Prince of Denmark Act I Scene III
Hamlet             }                                                               Act III Scene I

Romeo:            } From Romeo and Juliet Act II Scene II
Juliet:               }

Portia:               } From The Merchant of Venice,  Act IV   Scene I
Arragon:           }                                                     Act II    Scene IX

King Lear         } From King Lear, Act IV Scene VI and Act V Scene III
Gloucester       }
Edgar               }

Brutus              } From Julius Caesar Act III Scene II

Sir John Falstaff} From King Henry IV, Act V Scene I

Cassandra        } From Troilus and Cressida, Act II, Scene II

And ………………Spirits, Ghosts, Apparitions, Witches, Fairies and their ilk.



(From the top branch of Muse
An eerie melody sweeps through ether
Matter springs to life for a while to amuse
And the spirit returns, saying it doesn’t matter)

A humble tribute to his master by a subject
On the eve of his 400th Death Anniversary

The Word Wiz
(Playlet)


(Note: All text in italics other than stage directions is Shakespearean)

When the curtain raises the fade out is on the memorial of Shakespeare. It will be in the typical Indian fashion: The bust of the bard in ruins sitting on a high platform, dusty and faded, wrapped in cobwebs and littered with bird droppings. The place looks dark, desolate and remote. Foot of the platform littered with dry leaves all over. The growth of bushes and the dust collecting over betray that it has been abandoned for long.

From afar children playing rugby, their cries, their calls, their shouts and hullaballoo is heard.

As the stage gets slowly illuminated an old man enters from one end of the stage and slowly passes by it.  He stops and looks at the statue for a while putting his hand over his eyes and then suddenly exclaims

Old man:    “Oh! Me! Gee god! What a curse!”…
(He dusts the statue passionately with his hands and his towel and cleans the surrounds plucking few plants from the neighbourhood.)
When I told you those myths and legends
They were just that.
But when you breathed life into ’em
On this Globe, they just walked into every home
God had summoned Light
But failed to keep his work intact.
Then came you, to complement his acquit,
It is no hyperbole, his whole, your ‘less’ dominate’.
His make withered… See you me?
While yours, walks free, steeple chasing time.
(Wind changes direction frequently putting to nought what he had done earlier. Then on one occasion he roars at it)
“You element! Are you in your elements?
Know you what you have been doing?
Rage as you wish elsewhere.
But here, weave as gentle not to move a feather
The Bard is resting here under.
Might be scripting a tale or two to the new audiences.”
(The wind ceases. As he resumes his work, children playing rugby enter chasing a ball that has come off-the-stage. The ball hits the old man. All of them halt and put on faces of regret. One of the boys comes forward.)

Boy1:         We are so very sorry. It was an accident.
Our playfulness over ran our propriety.
But Sir! What are you doing at this forlorn place?

Old man:    It’s Easter today
But it seems it was only yesterday.
I was sitting under that tree
When youth of your age used to flock around me
Pestering to tell them a tale each day.

Girl1:          Oh!  Then I get you. You’re the famed story teller.
My granny tells many stories about you.
Where have you been all along?
Why don’t you sing us that “All the world is a stage…”

Boy 2         (to other boys)                      Boys! It’s quits for the game.
(With the old man)                Tell us some stories.
All              Yes, we want to hear some stories.
(In chorus):    It was long since we heard any story.
Boy 2:        No, but first that song.
Old man:    Music and tales are so close to your heart, I know.
But tell me do you want the song or the tale first.
All:             We want the song first.
(Old man sings the song ‘All the world is a stage…’
As he begins the song, fade out will be on him.)
(As he sings the song characters from his plays come one after another and enact the seven stages of life.  The stage is divided between the old man and the characters and the focus will be alternating between them. When the old man sings the line “…at first an infant, mewing and puking in the nurse’s arms…”   The scene from The Tempest Act I Scene II is enacted when Prospero speaks to Miranda)
“All the world’s a stage, and all the men and women are players;
They have their exits and entrances;
And one man in his time plays many parts, the acts being seven ages.
At first the infant, mewing and puking in the nurse’s arms….
 (A howling of Tempest precedes the entry of characters)
“Miranda: “(Father!)
You have often
Begun to tell me what I am; but stopped,
And left me to a bootless inquisition,
Concluding, ‘stay: not yet.’
Prospero:   (Miranda!)
The hour’s now come;
The very minute bids thee open thine ear;
Obey, and be attentive.  Canst thou remember
A time before we came unto this cell?
I do not think thou canst, for then thou was not
Out three years old.
Miranda:   Certainly, sir, I can.
Prospero:  By what? By any other house, or person?
Of anything the image tell me, that
Hath kept with thy remembrance.
Miranda:    ‘Tis far off;
And rather like a dream, than an assurance
That my remembrance warrants.  Had I not
Four or five women once, that tended me?
Pros:         Thou hadst, and more, Miranda.  But how is it
That this lives in thy mind?  What seest thou else
In the dark backward and abysm of time?
If thou remember’st aught, ere thou cam’st here,
How thou cam’st here, thou may’st.
Miranda:   But that I do not.
Prospero:  Twelve year since, Miranda, twelve year since
Thy father was the Duke of Milan, and
A prince of power.
Miranda:   Sir, are not you my father?
Prospero:  Thy mother was a piece of virtue, and
She said thou wast my daughter; and thy father
Was Duke of Milan, and his only heir
A princess; no worse issued.
Miranda:   O, the heavens!
What foul play had we that we came from thence?
Or blessed wasn’t we did?
Prospero:   Both, both, my girl:
By foul play, as thou say’st, we were heaved
Thence;
But blessedly holp hither.
Miranda:   My heart bleeds
To think of the teen that I have turned you to,
Which is from my remembrance.

[Focus shifts back to the old man. As he sings: ‘ then the whining school boy, with his satchel, and shining morning face, creeping like a snail unwillingly to school’ ………. the scene from  The Hamlet Act I scene III is enacted where Polonius gives advice to his son Laertes:]

“Polonius: Yet here, Laertes! Aboard, aboard, for the shame!
The wind sits in the shoulder of your sail,
And you are stay’d for. There; my blessing
With thee!
And these few precepts in thy memory
See thou character. Give thy thoughts no tongue,
Nor any unproportion’d thought his act.
Be thou familiar, but by no means vulgar;
The friends thou hast, and their adoption tried,
Grapple them to your soul with hoops of steel;
But do not dull thy palm with entertainment
Of each new-hatch’d, unfledg’d comrade.  Beware
Of entrance to a quarrel, but being in,
Bear‘t that the opposed may beware of these.
Give everyman thine ear, but few thy voice;
Take each man’s censure, but reserve thy judgement.
Costly thy habit as thy purse can buy,
But not express’d in fancy; rich, not gaudy;
For the apparel oft proclaims the man,
And they in France of the best rank and station
Are most select and generous, chief in that.
Neither a borrower nor a lender be;
For loan oft loses both itself and a friend,
And borrowing dulls the edge of husbandry.
This above all; to thine own self be true,
And it must follow, as night the day,
Thou canst not then be false to any man.
Farewell; my blessing season this in thee!”

Old man      Sings…
(As he sings “And then the lover, sighing like furnace, with woeful ballad made to his mistress’ eyebrow” the scene from Romeo and Juliet Act II Scene II is enacted where Romeo speaks to Juliet by her window)
“Romeo:    By a name I know not how to tell thee who I am;
My name, dear saint, is hateful to myself,
Because it is an enemy to thee;
Had I it written, I would tear that word.
Juliet:        My ears have yet not drunk a hundred words
Of that tongue’s utterance, yet I know the sound:
Art thou not Romeo and a Montague?
Romeo:      Neither, fair maid, if either thee dislike.
Juliet:        How camest thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb;
And the place death, considering who thou art,
Of any of my kinsman find thee here.
Romeo:      With love’s light wings did I o’er-perch these walls;
For stony limits cannot hold love out,
And what love can do that dares love attempt;
And therefore your kinsmen are no stop to me.
Juliet:        If they do see they will murder thee.
Romeo:       Alack! There lies more peril in thine eye
Than twenty of their swords; look thou but sweet,
And I am proof against their enmity
Juliet:        I would not for the world they saw thee here,
Romeo:       I have night’s cloak to hide from their eyes;
And but thou love me, let them find me here;
My life were better ended by their hate,
Than death prorogued, wanting of thy love.”
Old man:    Sings
As he sings “then a soldier, full of strange oaths, and bearded like a pard, jealous in honour, sudden and quick in quarrel, seeking the babble reputation even in the cannon’s mouth” the scene from The Merchant of Venice Act II Scene IX when the prince of Arragon makes his bid to select the right casket is enacted:  Flourish of Cornets. Enter the Prince of Arragon, Portia, with their retinue.)

“Portia:     Behold, there stand the caskets, noble prince,
If you choose wherein I am contain’d,
Straight our nuptial rights shall be solemnised;
But if you fail, without more speech, my lord,
You must be gone from hence immediately.
Arr.            I am enjoin’d by oath to observe three things;
First, never to unfold to any one
Of the right casket, never in my life
To woo a maid in way of marriage;
Lastly,
If I do fail in the fortune of my choice,
Immediately to leave you and be gone.
Portia:        To these injunctions every one doth swear
That comes to hazard for my worthless self.
Arr:           And so have I address’d me.  Fortune now
To my heart’s hope!  Gold; Silver; and base Lead.
Who chooseth me must give and hazard all he hath:
You shall look fairer, ere I give or hazard
What says the golden chest? Ha! Let me see;
Who chooseth me shall gain what many men desire.
What many men desire! That ‘many’ may be meant
By the fool multitude, that chose by show,
Not learning more than the fond eye doth teach;
Which pries not the interior, but, like the martlet,
Builds in the weather on the outward wall,
Even in the force and the road of casualty.
I will not choose what many men will desire,
Because I will not jump with common spirits
And rank myself with barbarous multitudes.
Why then to thee, thy silver treasure-house;
Tell me once more what title thou dost bear:
Who chooseth me gets as much as he deserves
And well said too; for who shall go about
To cozen fortune and be honourable
Without the stamp of merit?  Let none presume
To wear an undeserved dignity.
O! That estates, degrees, and offices
Were not derived corruptly, and that clear honour
Were purchased by the merit of the wearer.
How many then should cover that stand bare;
How many be commanded that command;
How much low peasantry would then be glean’d
From the true seed of honour; and how much honour
Pick’d from the chaff and ruin of the times
To be new-varnish’d!  Well, but to my choice:
Who chooseth me shall get as much as he deserves.
I will assume desert.  Give me a key for this,
And instantly unlock my fortune here. (He opens the silver casket)
Portia:       Too long a pause for what you find there.
Arr:            What’s here? The portrait of a blinking idiot,
Presenting me a schedule!  I will read it.
How much unlike thou art to Portia!
How much unlike my hopes and my deservings!
Who chooseth me shall get as much as he deserves.
Did I deserve no more than a fool’s head?
Is that my prize? Are my deserts no better?”

Old man:    Sings…
(As he sings “And then the justice, in fair round belly with capon lined, with eyes severe, and beard of formal cut, full of wise saws and modern instances; and so he plays his part” The scene from First part of King Henry IV Act V scene I is enacted when the prince, King Henry, and others prepare for war.  Sir John Falstaff   enters the stage after the following conversation:

(Off the stage)
“King:        and, Prince of Wales, so dare we venture thee,
Albeit considerations infinite
Do make it against it. No, good Worcester, no,
We love our people well; even those we love
That are misled upon your cousin’s part;
And will they take the offer of our grace,
Both he and they and you, yea, every man
Shall be my friend again, and I will be his.
So tell your cousin, and bring me word
What he will do; but if he will not yield,
Rebuke and dread correction wait on us,
And they shall do their office.  So be gone:
We will not now be troubled with reply;
We offer fair, take it advisedly.
Prince:      It will not be accepted, on my life.
The Douglas and Hotspur both together
Are confident against the world in arms.
King:         Hence, therefore, every leader to his charge;
For, on their answer, will we set on them;
And God befriend us, as our case is just!
Falstaff:     Hal, if thou see me down in the battle,
And bestride me, so ‘tis a point of friendship.
Prince:      Nothing but a colossus can do thee that friendship.
Say thy prayers, and farewell.
Falstaff:     I would it were bedtime, Hal, and all well.
Prince:       Why, thou owest God a death.”

(Falstaff enters fore stage)

Falstaff:     ‘Tis not due yet:  I would be loath to pay him before
His day.  What need I be so forward with him that calls not
On me?  Well,‘tis no matter; honour pricks me on.  Yea,
But how if honour prick me off when I come on? How then?
Can honour set to a leg?  No.  Or an arm?  No.  Or take
Away the grief of the wound?  No.  Honour hath no skill in
Surgery then? No. What is honour? A word. What is that
Word honour?  Air.  A trim reckoning!  Who hath it?  He that
Died o’ Wednesday.  Doth he feel it?  No.  Doth he hear it?
No.  Is it insensible then?  Yes, to the dead. But will it not
Live with the living?  No.  Why?  Detraction will not suffer it.
Therefore I’ll none of it.  Honour is a mere scutcheon; and so
Ends my catechism.”

Old man:     Sings:
(As he sings “The sixth stage shifts into the lean and  slipper’d pantaloon, with spectacles on nose and pouch on side, his youthful hose well saved, a world too wide for his shrunk shank; and his big manly voice, turning again toward childish tremble, pipes and whistles in his sounds. the following scene from King Lear Act IV Scene VI is enacted:
“Lear:        No, they cannot touch me for coining; I am the king myself.
Edgar:        O thou side-piercing sight!
Lear:          Nature’s above art in that respect.
There’s your press-money.  That fellow handles his bow like a crow-keeper:
draw me a clothier’s yard.  Look, look! a mouse. 
Peace, peace! this piece of toasted cheese will do’t.
There’s my gauntlet; I will prove it on a giant. 
Bring up the brown bills.  O! well flown, bird;
i’ the clout, i’ the clout:  hewgh! Give the word.
Edgar:        Sweet marjoram.
Lear:          Pass.
Glou.          I know that voice.
Lear.           Ha! Goneril, with a white beard!  They flattered me like a dog, and told me I had white hairs in my beard ere the black ones were there.  To say ‘ay’ and ‘no’ to everything I said!  ‘Ay’ and ‘no’ too was no good divinity.  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 everything;‘t is a lie, I am not ague-proof.
Glou.          The trick of the voice I do well remember: Is’t not the king?
Lear.          Ay, every inch a king:
When I do stare, see how the subject quakes.
I pardon that man’s life.  What was thy cause? Adultery?
Thou shall not die: die for adultery! No:
The wren goes to‘t, and the small guilded fly
Does lecher in my sight.
Let copulation thrive; for Glouster’s bastard son
Was kinder to his father than my daughters
Got ‘tween the lawful sheets.
To‘t, luxury, pell-mell! for I lack soldiers.
Behold yond simpering dame,
Whose face between her forks presageth snow;
That minces virtue, and does shake the head
To hear of pleasure’s name;
The fitchew nor the soiled horse goes to‘t
With a more riotous appetite.
Down from the waist they are Centaurs.
Though women all above:
But to the girdle do the gods inherit,
Beneath is all the fiend’s:
There’s hell, there’s darkness, there’s the sulphurous pit,
Burning, scalding, stench, consumption; fie, fie, fie!
Pah! pah! give me an ounce of civet, good apothecary,
To sweeten my imagination: there’s money for thee.
Glou.          O! Let me kiss that hand.
Lear            Let me wipe it first; it smells of mortality.
Glou.          O ruin’d piece of nature! This great world
Shall so wear out to nought.  Dost thou know me?
Lear.           I remember thine eyes well enough. Dost thou sqiny at me?
No, do thy worst, blind cupid; I will not love.  Read thou this
Challenge; mark but the penning of it.
Glou.          Were all thy letters suns, I could not see.
Edgar.        (Aside): I would not take this from report; it is,
And my heart breaks at it.
Lear.          Read.
Glou.         What! with the case of eyes?
Lear            O, ho! Are you there with me? No eyes in your head,
Nor no money in your purse?  Your eyes are in a heavy case,
Our purse in a light: yet you see how this world goes.
Glou.          I see it feelingly.
Lear           What! Art mad? 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, in thine ear: change
Places; and, handy-dandy, which is the justice, which is the
Thief?  Thou hast seen a farmer’s dog bark at a beggar?
Glou.          Ay, sir.
Lear           And the creature run from the cur?
There you might’st behold the great image of authority;
A dog’s obeyed in office.
Thou rascal beadle, hold thy bloody hand!
Why dost thou lash that whore? Strip thine own back;
Thou hotly lusts to use her in that kind
For which thou whipp’st her. The usurer hangs the cozener.
Through tatter’d clothes small vices do appear;
Robes and furr’d gowns hide all.  Plate sin with gold,
And the strong lance of justice hurtless breaks;
Arm it in rags; a pigmy’s straw does pierce it.
None does offend, none, I say, none; I‘ll able ’em:
Take that of me, my friend, who have the power
To seal the accuser’s lips.  Get thee glass eyes;
And like scurvy politician, seem
To see the things thou dost not.  Now, now, now, now;
Pull off my boots; harder, harder; so.
Edgar.        (Aside) O! Matter and impertinency mix’d; Reason in madness.
Lear           If thou wilt weep my fortunes, take my eyes;
I know thee well enough; thy name is Gloucester;
Thou must be patient; we came crying hither;
Thou know’st the first time that we smell the air
We wawl and cry.  I will preach to thee: mark.
Glou.         Alack, alack the day!
Lear          Wwhen we are born, we cry that we are come
To this great stage of fools.  This a good block!
It were a delicate stratagem to shoe
A troop of horse with felt; I‘ll put‘t in proof,
And when I have stol’n upon these sons-in-law,
Then, kill, kill, kill, kill, kill, kill!
Enter a Gentleman, with attendants.
Gent.          O! Here he is;  lay hand upon him.
Sir, your most dear daughter—
Lear            No rescue? What!  a prisoner? I am even the natural fool
Of fortune.  Use me well; you shall have ransom.
Let me have surgeons; I am cut to the brains.
Gent.          You shall have anything.
Lear            No seconds? all myself?
Why this would make a man a man of salt,
To use his eyes for garden water-pots
Ay, and laying autumn’s dust.
Gent.          Good sir,–
Lear:               I will die bravely, like a smug bridegroom.  What!
I will be jovial; come, come; I am the king,
My masters, know you that?
Gent.          You are a royal one, and we obey you.
Lear            Then there’s life in‘t.  Nay, an you get it,
You shall get it by running.  Sa, sa, sa, sa.  (Exit: Lear)”

Old man     Sings:
(As he sings “Last scene of all, that ends this strange eventful history, is second childishness and mere oblivion, sans teeth, sans eyes, sans taste, sans everything” the scene from King Lear Act V Scene III is enacted:

“Lear:          (With Cordelia in his arms)
Howl, howl, howl, howl!  O!  You are men of stones:
Had I your tongues and eyes, I’d use them so
That heavens 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.
This feather stirs; she lives! If it be so,
It is a chance which does redeem all sorrows
That ever I have felt
A plague upon you, murderers, traitors all!
I might have saved her; now she’s gone for ever!
Cordelia, Cordelia! Stay a little.  Ha!
What is’t though say’st!  Her voice was ever soft,
Gentle and low, an excellent thing in the woman.
I kill’d the slave that was a-hanging thee.
Did not, fellow?
I have seen the day, with my good biting falchion
I would have made them skip; I am old now,
And these same crosses spoil me.
Mine eyes are not o' the best: I'll tell you straight.
And my poor fool is hang’d ! No, no, no life!
Why should a dog, a horse, a rat, have life,
And thou no breath at all?  Thou’lt come no more,
Never, never, never, never, never!
Pray you undo this button; thank you, sir
Do you see this?  Look on her, look, her lips,
Look there, look there!                            (Dies)

The focus shifts back to the old man

Boy1          Wah! Wah!
Boy2          Excellent!  Excellent!  Your song is excellent!
Old man:    But it is not mine.  It is his (pointing to the statue)
Who made all this world his stage,
All languages, tongues, and dialects his liege,
And nature which was so proud of its prowess
In creating characters at its will and fancy
Was still blinking its eyes in wonder at a Portia,
A Cordelia, a Juliet, an Ophelia or a Lucrece.
When his villains speak, they echo every man in no man
And when his heroes act, they seem down to earth.
The gamut of his writing is not to blare his genius
But to sum up: we differ merely from barriers without
When he wrought passions, they were neither random
Nor were they native to a soil, race or colour.
He chartered the scape of whole human emotions
And collected every single spec worth its name
Only to reflect like a faithful looking glass
For men to look-in, peruse, amend, and rejoice.
He never takes sides with good or evil
Nor hies behind his rolls just to preach a sermon
He bares the human contradictions, dilemmas, and disciplines
Without a hint of contrivance, from a natural flow of events.
We wail, we laugh, we play, get hurt, and simper
As he conjures up events from our very life
As the emotion dissipates it leaves no stains
But a sweet lingering aroma lasting our life time.
Boy1          What is his name?
Old man:    Didn’t you ever hear any stories
From your grannies at the fire place?
Boy2          My grand pa was the best story teller.
He would spin a story in a trice.
Girl1          My grand ma was even better.
Never was her story treasure empty.
Girl2          My mother tells me a story at bedtime
But she never repeats herself any time
Did you ever hear about the merchant
Who pawned himself for his friend’s love?
Boy1          Do you know about the king
Who tested the loyalties of his offspring?
Girl1          That is a household story
But have you ever heard how to tame a shrew?
Boy2          My grandsire tells exotic stories
About dreams, fantasies and what not.
All              (Simultaneously):  My grand pa is great,
No, my granny is great
No, my mother is great,
No my grandsire is great.
Old man:    But do you know where they got these stories from?
Boy2:         O, I forgot. Was it Shake…. Something?
Old man:    Say it properly.  William Shakespeare, the Bard of Avon.

(Enter a soldier)

Soldier:      Why spoil their youth with fiction and fancy tales?
Tell them about history, about war and bravery.
Old man:    Brave soldier! Good luck to thee.
But fiction is no easy meat to cook, prithee
True. You must wage war
Against no-law, no-custom, and no-scruple.
But if wars, laws and vengeance
Could discipline, chastise and correct people
We wouldn’t have had these any more.
Good and evil, the hemispheres of character
Wax and wane, by turns, at one another’s expense.
Fiction gives vent to the heroics within
And resurrects to life the springs drying up in psyche.
History is a recipe, a decocture from the past
Filtering fact from fiction, take whit by whit.
It is a lamp, not the spade that helps clear your way
And our duty is just that, ‘fore we pass away.
Soldier:      Might be so.   But, I fear your fiction
Dries up the heroics at that.
Reason, no doubt, seasons our emotion
But an excess of it inhibits our action.
Fancy is a flight, no one wants to get down
The wings of crazy ideas and exotic things
The world looks oblong, flat and perplexing.
History, on the contrary, is a record of our kin
Our lives, a reliving of theirs, events scattered though.
We make the same mistakes, feel same passions
Witness mutely the events...  momentary and momentous
Silly and serious, brazen and civil, timorous and trepid
We inherit their fate and fortunes alike.
Old man:    So, by consequence,
History and fiction stand on the same pedestal.
Soldier:      But with some knowledge and the will to work our way,
We can steer thro’ rough waters to possible safer shores.
Old man:    Isn’t life’s mirth or misery a chance?
Soldier:      Doesn’t bravery take the seat of chance?
If the world were surfeit of geniuses and giants
Wouldn’t actions end before they incubate in mind?
Action is the spice of thought
And if it were absent, life reduces to inanimate.
History whets action by comparison.
Old man:    Life imagined through history is fancy.
But fiction nearer to life is history.
I sow these seminal minds
With the viable seeds of fiction
That when they are up against a Brutus
They play Mark Antony
And when they are up against Hotspurs
They play the Henries.
Children:    But we want to hear the tales you said you told him
(They point towards the statue)
Old man:    Didn’t you hear the legend
That he who touches his quill
Shall see before him, his matter, making a drill
Girl1          Then let me chance to touch it first
To see in me the best or the worst.
(She attempts to touch the quill and there will be a sudden flourish and the whole stage becomes dark.  Slowly the right stage gets illuminated and the following scene from Troilus and Cressida, Act II Scene 2 will be enacted where Cassandra, a prophetess, comes running on to the stage)
Cassandra:  “Cry, Trojans, cry! Lend me ten thousand eyes.
And I will fill them with prophetic tears.
Virgins and boys, mid-age and wrinkled eld,
Soft infancy, that nothing canst but cry,
Add to my clamours! Let us pay betimes
A moiety of that mass of moan to come.
Cry, Trojans, cry! Practise your eye with tears!
Troy must not be, nor goodly Ilion stand;
Our fire brand brother, Paris, burn us all.
Cry, Trojans, cry!  A Helen and a woe!
Cry, cry! Troy burns, or let Helen go. (Exit)”

Left stage gets illuminated and the girl asks in all innocence

Girl1           What does it mean?
Old man:    Baby, you are!  Innocent to the core.
As elements play their role,
They please and frighten your soul.
You see things that others can’t think
And when you prophesise the world takes no wink
Boy1          Let me try then.
(There will be a sudden flourish and the whole stage becomes dark.  Slowly the right stage gets illuminated and the following scene from Hamlet, the Prince of Denmark, Act III Scene 1 is enacted where Hamlet, the prince comes on to the stage)
Hamlet:      “To be, or not to be: that is the question;
Whether‘tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to takes arms against a sea of troubles,
And by opposing end them?  To die:  to sleep;
No more; and by a sleep to say we end
The heartaches and the thousand natural shocks
That flesh is heir to, ‘tis a consummation
Devoutly to be wish’d, To die, to sleep;
To sleep; perchance to dream; ay, there’s the rub;
For in that sdeleep of death what dreams may come
When we have shuffled this mortal coil,
Must give us pause.  There’s the respect
That makes calamity or so long life;
For who would bear the whips and scorns of time,
The oppressor’s wrong, the proud man’s contumely,
The pangs of despised love, the law’s delay,
The insolence of office, and the spurns
The patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? Who would fardels bear
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover’d country from whose bourn
No traveller returns, puzzles the will,
And makes us rather bare those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o’er with the pale cast of thought,
And enterprises of great pith and movement
With this regard there currents turn awry,
And lose the name of action --Soft you now!
The fair Ophelia! Nymph, in thy orisons
Be all my sins remember'd.

As the left stage gets illuminated back
Boy1          (to Old man):  What does it mean?
Old man:    It means you become a philosophic dialectic
And often your action is impeded by your logic.
Girl2:         (touches the quill) after a flourish the scene from Merchant of Venice Act IV Scene 1 is enacted:

“Portia:     The quality of mercy is not strain’d,
It droppeth as gentle rain from heaven
Upon the place beneath: it is twice bless’d;
It blesseth him that gives and him that takes;
‘Tis mightiest in the mightiest; it becomes
The throned monarch better than his crown;
His sceptre shows the force of temporal power,
The attribute to awe and majesty,
Wherein doth sit the dread and fear of kings;
But the mercy is above this sceptred sway
It is enthroned in the hearts of kings,
It is an attribute to God himself;
An earthly power doth then show likest God’s
When mercy seasons justice.  Therefore, Jew,
Though justice be thy plea, consider this,
That in the course of justice none of us
Should see salvation; we do pray for mercy,
And that the same player doth teach us all to render
The deeds of mercy.

And when the light are restored to the left stage the old man looks at Girl2 and says:

Old man:    Honey!  It means you love fair play
As naturally as a bee honey.
As Boy2 touches the quill there will be flourish and the following from Julius Caeser Act III Scene 2 when Brutus tries to defend his action is enacted:
“Brutus:     Be patient till the last.
Romans, countrymen, and lovers!
hear me for my cause, and be silent, that you may hear:
believe me for mine honour, and have respect to mine honour,
that you may believe: censure me in your wisdom,
and awake your senses, that you may the better judge.
If there be any in this assembly, any dear friend of Caeser’s,
to him I say that Brutus’ love to Caeser was no less than his.
If then that friend demand why Brutus rose against Caeser,
this is my answer:
Not that I loved Caeser less, but I loved Rome more.
Had you rather Caeser were living, and die all slaves,
than that the Caeser were dead, to live all free men?
As Caeser loved me, I weep for him; as he
was fortunate, I rejoice at it;
as he was valiant, I honour him;
but as he was ambitious, I slew him.
There is tears for his love;
joy for his fortune;
honour for his valour;
and death for his ambition.
Who is here so base, that he
would be a bondman?
If any, speak; for him have I offended.
Who is here so rude, that would not be a Roman?
If any, speak. for him have I offended.
Who is here so vile, that will not love his country?
If any, speak; for him have I offended.
I pause for a reply.

(Behind the stage)

Chorus: None, Brutus, none.

Brutus:       Then none have I offended.
I have done no more to Caeser
than you shall do to Brutus.
The question of his death
was enrolled in the capitol;
his glory not extenuated,
wherein he was worthy,
nor his offences enforced, for which
he suffered death.

{Enter Antony and others, with Caeser’s body}

Here comes his body, mourned by Mark Antony:
Who, though he had no hand in his death,
shall receive the benefit of his dying,
a place in the commonwealth;
as which of you shall not?
With this I depart:
that as I slew my best lover for the good of Rome,
I have the same dagger for myself,
when it shall please my country to need my death.”

Old man:   (With Boy 2) It means you are valiant and a good speaker too
You can convince your detractors, as your supporters,
With ease.  But if you don’t permit passion to overcome you,
You will not regret your action as Brutus did.

(Behind the stage: voices of ghosts sprits and apparitions)

Chorus:      What about us?
We wafted in air ‘fore he was born
And came to life donning mantles under his pen.
We had our second lives,
When we played, danced when bestowed rare powers,
And as he met his elements,
So were we restored
Give us a chance to say our thanks
To leave our shadows along with his images.
(All the ghosts, spirits and apparitions come to the fore stage and mingle with the characters already appeared, and all of them sing in unison.  Spirits, ghosts and apparitions stand one side and other characters stand the other side to start with)

Song:
(Characters):
He gave us birth
He gave us breath
He gave us mirth and mantle
Spirits:       (Pointing the statue)
He gave us birth
He gave us breath
He gave us mirth and mantle
Characters: He gave us life
He made us fife
And bade us hustle and hassle
Spirits        He blessed us life
He blessed us fife
And bestowed hoary story
All              (Together and severally):
Blessed I am
And blessed you are
To notch this ion from eon
O, Bard of Avon!
O, Lord of heaven!
Let play this play-let on and on.
Amen!
(Curtain comes down)

***
He blessed us fife
And bestowed hoary story
All              (Together and severally):
Blessed I am
And blessed you are
To notch this ion from eon
O, Bard of Avon!
O, Lord of heaven!
Let play this play-let on and on.
Amen!
(Curtain comes down)
***