Faculty of the VCA and MCM

Audition Monologues
Bachelor of Fine Arts (Theatre Practice)
Monologue Selections for 2015 entry
Please read the following instructions carefully
You must prepare one monologue from the following selection for your audition otherwise we
cannot audition you.
Where possible, you are advised to read the entire plays from which your monologue is chosen
in order to place the speech in context.
Here are some notes to help you prepare and present your monologue:

It must be learnt. We are unable to audition you otherwise.

Use your natural accent.
We are not, at this stage, interested in seeing if you can play characters
outside your age range. A piece of this kind might be suitable only if you
can relate to it in a personal way.
Try to present your monologue in a way which shows your understanding of the text
and which is simple and truthful.

Faculty of the VCA and MCM, The University of Melbourne

Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 1 of 21

Index
Male - Shakespeare
KING LEAR
Act I; Scene ii Edmund .................................................................................................................................... 5
HAMLET
Act III; Scene iii Hamlet .................................................................................................................................. 6
MACBETH
Act I; Scene vii Macbeth ................................................................................................................................. 7
THE COMEDY OF ERRORS
Act III; Scene ii S. Antipholus ......................................................................................................................... 8
JULIUS CAESAR
Act I; Scene ii Cassius .................................................................................................................................... 9
THE TAMING OF THE SHREW
Act IV; Scene i Petruchio ...............................................................................................................................11
OTHELLO
Act II; Scene i Iago ........................................................................................................................................12
JULIUS CAESAR
Act III; Scene i Mark Antony ..........................................................................................................................13
KING HENRY V
Act III; Scene i King Henry V .........................................................................................................................14

Female - Shakespeare
THE WINTERS TALE
Act III; Scene ii Hermione ..............................................................................................................................15
TWELFTH NIGHT
Act II; Scene ii Viola ......................................................................................................................................16
THE MERCHANT OF VENICE
Act III; Scene ii Portia ....................................................................................................................................17
HENRY IV PART I
Act II; Scene iii Lady Percy ............................................................................................................................18
HENRY IV PART III
Act I; Scene iv Queen Margaret .....................................................................................................................19
A MIDSUMMER NIGHTS DREAM
Act III; Scene ii Helena ..................................................................................................................................20
ROMEO AND JULIET
Faculty of the VCA and MCM, The University of Melbourne
Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 2 of 21

Act II; Scene v Juliet ......................................................................................................................................21

AS YOU LIKE IT
Act III; Scene v Rosalind ................................................................................................................................22
ALLS WELL THAT ENDS WELL
Act I; Scene iii Helena ....................................................................................................................................23

Faculty of the VCA and MCM, The University of Melbourne

Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 3 of 21

Male - Shakespeare
King Lear Act I; Scene ii
Edmund:
Thou, Nature, art my goddess; to thy law
My services are bound. Wherefore should I
Stand in the plague of custom, and permit
The curiosity of nations to deprive me,
For that I am some twelve or fourteen moon-shines
Lag of a brother? Why bastard? Wherefore base?
When my dimensions are as well compact,
My mind as generous, and my shape as true,
As honest madam's issue, why brand they us
With base? with baseness? bastardy? base, base?
Who, in the lusty stealth of nature, take
More composition and fierce quality
Than doth, within a dull, stale, tired bed
Go to the creating a whole tribe of fops
Got 'tween asleep and wake? Well, then,
Legitimate Edgar, I must have your land.
Our father's love is to the bastard Edmund
As to the legitimate. Fine word legitimate!
Well, my legitimate, if this letter speed,
And my invention thrive, Edmund the base
Shall top the legitimate. I grow. I prosper.
Now, gods, stand up for bastards!

Text taken from http://www.shakespeareswords.com/PlayList.aspx. Entire plays, definitions and other resources can also
be found at this site.

Faculty of the VCA and MCM, The University of Melbourne

Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 4 of 21

Male - Shakespeare
Hamlet Act III; Scene iii
Hamlet:
Now might I do it pat, now he is praying.
And now Ill dot. And so he goes to heaven.
And so am I revenged. That would be scanned.
A villain kills my father; and for that
I, his sole son, do this same villain send
To heaven.
Why, this is hire and salary, not revenge.
He took my father grossly, full of bread,
With all his crimes broad blown, as flush as May;
And how his audit stands, who knows save heaven?
But in our circumstance and course of thought,
Tis heavy with him. And am I then revenged,
To take him in the purging of his soul,
When he is fit and seasoned for his passage?
No.
Up, sword, and know thou a more horrid hent.
When he is drunk asleep, or in his rage,
Or in thincestuous pleasure of his bed,
At game, a-swearing, or about some act
That has no relish of salvation int -Then trip him, that his heels may kick at heaven,
And that his soul may be as damned and black
As hell, whereto it goes. My mother stays.
This physic but prolongs thy sickly days.
Text taken from http://www.shakespeareswords.com/PlayList.aspx. Entire plays, definitions and other resources can also
be found at this site.
Faculty of the VCA and MCM, The University of Melbourne
Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 5 of 21

Male - Shakespeare
Macbeth Act I; Scene vii
Macbeth:
If it were done when tis done, then twere well
It were done quickly. If the assassination
Could trammel up the consequence, and catch
With his surcease success; that but this blow
Might be the be-all and the end-all! -- here,
But here, upon this bank and shoal of time,
Wed jump the life to come. But in these cases
We still have judgment here; that we but teach
Bloody instructions, which, being taught, return
To plague the inventor. This even-handed justice
Commends the ingredients of our poisoned chalice
To our own lips. Hes here in double trust:
First, as I am his kinsman and his subject,
Strong both against the deed; then, as his host,
Who should against his murderer shut the door,
Not bear the knife myself. Besides, this Duncan
Hath borne his faculties so meek, hath been
So clear in his great office, that his virtues
Will plead like angels, trumpet-tongued, against
The deep damnation of his taking-off;
And Pity, like a naked new-born babe,
Striding the blast, or heavens cherubim, horsed
Upon the sightless couriers of the air,
Shall blow the horrid deed in every eye,
That tears shall drown the wind. I have no spur
To prick the sides of my intent, but only
Vaulting ambition, which oerleaps itself
And falls on the other.

Text taken from http://www.shakespeareswords.com/PlayList.aspx.

Entire plays, definitions and other resources can also be found at this site.
Faculty of the VCA and MCM, The University of Melbourne
Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 6 of 21

Male - Shakespeare
The Comedy of Errors Act III; Scene ii
S. Antipholus:
Sweet mistress, what your name is else, I know not,
Nor by what wonder you do hit of mine.
Less in your knowledge and your grace you show not
Than our earths wonder, more than earth divine.
Teach me, dear creature, how to think and speak.
Lay open to my earthy gross conceit,
Smothered in errors, feeble, shallow, weak,
The folded meaning of your words deceit.
Against my souls pure truth why labour you
To make it wander in an unknown field?
Are you a god? Would you create me new?
Transform me, then, and to your power Ill yield.
But if that I am I, then well I know
Your weeping sister is no wife of mine,
Nor to her bed no homage do I owe.
Far more, far more to you do I decline.
O, train me not, sweet mermaid, with thy note,
To drown me in thy sisters flood of tears.
Sing, siren, for thyself, and I will dote.
Spread oer the silver waves thy golden hairs,
And as a bed Ill take thee, and there lie,
And in that glorious supposition, think
He gains by death that hath such means to die.
Let love, being light, be drowned if she sink.

Text taken from http://www.shakespeareswords.com/PlayList.aspx. Entire plays, definitions and other resources can also
be found at this site.
Faculty of the VCA and MCM, The University of Melbourne
Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 7 of 21

Male - Shakespeare
Julius Caesar Act I; Scene ii
Cassius:
Why, man, he doth bestride the narrow world
Like a Colossus, and we petty men
Walk under his huge legs, and peep about
To find ourselves dishonourable graves.
Men at some time are masters of their fates;
The fault, dear Brutus, is not in our stars,
But in ourselves, that we are underlings.
Brutus and Caesar. What should be in that 'Caesar'?
Why should that name be sounded more than yours?
Write them together, yours is as fair a name;
Sound them, it doth become the mouth as well;
Weigh them, it is as heavy; conjure with 'em,
Brutus will start a spirit as soon as Caesar.
Now, in the names of all the gods at once,
Upon what meat doth this our Caesar feed,
That he is grown so great? Age, thou art shamed!
Rome, thou hast lost the breed of noble bloods!
When went there by an age, since the great flood,
But it was famed with more than with one man?
When could they say, till now, that talked of Rome,
That her wide walls encompassed but one man?
Now is it Rome indeed, and room enough,
When there is in it but one only man.
O, you and I have heard our fathers say,
There was a Brutus once that would have brooked
Th eternal devil to keep his state in Rome
As easily as a king.
Text taken from http://www.shakespeareswords.com/PlayList.aspx. Entire plays, definitions and other resources can also
be found at this site.

Faculty of the VCA and MCM, The University of Melbourne

Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 8 of 21

Male - Shakespeare
The Taming of the Shrew Act IV; Scene i
Petruchio:
Thus have I politicly begun my reign,
And 'tis my hope to end successfully.
My falcon now is sharp and passing empty,
And till she stoop she must not be full-gorged,
For then she never looks upon her lure.
Another way I have to man my haggard,
To make her come and know her keeper's call,
That is, to watch her, as we watch these kites
That bate and beat and will not be obedient.
She eat no meat today, nor none shall eat.
Last night she slept not, nor tonight she shall not.
As with the meat, some undeserved fault
I'll find about the making of the bed,
And here I'll fling the pillow, there the bolster,
This way the coverlet, another way the sheets.
Ay, and amid this hurly I intend
That all is done in reverend care of her.
And, in conclusion, she shall watch all night,
And if she chance to nod I'll rail and brawl,
And with the clamour keep her still awake.
This is a way to kill a wife with kindness,
And thus I'll curb her mad and headstrong humour.
He that knows better how to tame a shrew,
Now let him speak -- 'tis charity to show.

Text taken from http://www.shakespeareswords.com/PlayList.aspx. Entire plays, definitions and other resources can also be found at
this site.

Faculty of the VCA and MCM, The University of Melbourne

Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 9 of 21

Male - Shakespeare
Othello Act II; Scene i
Iago:
That Cassio loves her, I do well believet:
That she loves him, 'tis apt and of great credit.
The Moor howbeit that I endure him not
Is of a constant, loving, noble nature,
And, I dare think, he'll prove to Desdemona
A most dear husband. Now, I do love her too;
Not out of absolute lust though peradventure
I stand accountant for as great a sin
But partly led to diet my revenge
For that I do suspect the lusty Moor
Hath leaped into my seat, the thought whereof
Doth, like a poisonous mineral, gnaw my inwards,
And nothing can, or shall, content my soul
Till I am evened with him, wife for wife;
Or failing so, yet that I put the Moor
At least into a jealousy so strong
That judgment cannot cure. Which thing to do,
If this poor trash of Venice, whom I leash
For his quick hunting, stand the putting on,
I'll have our Michael Cassio on the hip,
Abuse him to the Moor in the rank garb
For I fear Cassio with my night-cap too
Make the Moor thank me, love me, and reward me
For making him egregiously an ass,
And practising upon his peace and quiet,
Even to madness. 'Tis here, but yet confused:
Knavery's plain face is never seen till used.
Text taken from http://www.shakespeareswords.com/PlayList.aspx. Entire plays, definitions and other resources can also be found at
this site.

Faculty of the VCA and MCM, The University of Melbourne

Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 10 of 21

Male - Shakespeare
Julius Caesar Act III; Scene i
Mark Antony:
O, pardon me, thou bleeding piece of earth,
That I am meek and gentle with these butchers.
Thou art the ruins of the noblest man
That ever lived in the tide of times.
Woe to the hand that shed this costly blood!
Over thy wounds now do I prophesy -Which, like dumb mouths, do ope their ruby lips,
To beg the voice and utterance of my tongue -A curse shall light upon the limbs of men;
Domestic fury and fierce civil strife
Shall cumber all the parts of Italy;
Blood and destruction shall be so in use
And dreadful objects so familiar,
That mothers shall but smile when they behold
Their infants quartered with the hands of war,
All pity choked with custom of fell deeds;
And Caesar's spirit, ranging for revenge,
With Ate by his side, come hot from hell,
Shall in these confines with a monarch's voice
Cry havoc, and let slip the dogs of war,
That this foul deed shall smell above the earth
With carrion men, groaning for burial.

Text taken from http://www.shakespeareswords.com/PlayList.aspx. Entire plays, definitions and other resources can also be found at
this site.

Faculty of the VCA and MCM, The University of Melbourne

Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 11 of 21

Male - Shakespeare
King Henry V Act III; Scene i
King Henry V:
Once more unto the breach, dear friends, once more,
Or close the wall up with our English dead!
In peace there's nothing so becomes a man
As modest stillness and humility:
But when the blast of war blows in our ears,
Then imitate the action of the tiger;
Stiffen the sinews, conjure up the blood,
Disguise fair nature with hard-favoured rage;
Then lend the eye a terrible aspect;
Let it pry through the portage of the head
Like the brass cannon; let the brow o'erwhelm it
As fearfully as doth a galled rock
O'erhang and jutty his confounded base,
Swilled with the wild and wasteful ocean.
Now set the teeth, and stretch the nostril wide,
Hold hard the breath, and bend up every spirit
To his full height! On, on, you noblest English,
Whose blood is fet from fathers of war-proof!
Fathers that, like so many Alexanders,
Have in these parts from morn till even fought,
And sheathed their swords for lack of argument.
Dishonour not your mothers; now attest
That those whom you called fathers did beget you!
Be copy now to men of grosser blood,
And teach them how to war.
Text taken from http://www.shakespeareswords.com/PlayList.aspx. Entire plays, definitions and other resources can
also be found at this site.

Faculty of the VCA and MCM, The University of Melbourne

Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 12 of 21

Female - Shakespeare
The Winters Tale Act III; Scene ii
Hermione:
Sir, spare your threats!
The bug which you would fright me with I seek.
To me can life be no commodity:
The crown and comfort of my life, your favour,
I do give lost, for I do feel it gone,
But know not how it went. My second joy,
And first-fruits of my body, from his presence
I am barred, like one infectious. My third comfort,
Starred most unluckily, is from my breast
The innocent milk in its most innocent mouth
Haled out to murder. Myself on every post
Proclaimed a strumpet; with immodest hatred
The childbed privilege denied, which longs
To women of all fashion; lastly, hurried
Here to this place, ith open air, before
I have got strength of limit. Now, my liege,
Tell me what blessings I have here alive
That I should fear to die. Therefore proceed.
But yet hear this mistake me not: no life,
I prize it not a straw; but for mine honour,
Which I would free if I shall be condemned
Upon surmises, all proofs sleeping else
But what your jealousies awake, I tell you
Tis rigour and not law. Your honours all,
I do refer me to the oracle:
Apollo be my judge!
Text taken from http://www.shakespeareswords.com/PlayList.aspx. Entire plays, definitions and other resources can also be found at
this site.

Faculty of the VCA and MCM, The University of Melbourne

Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 13 of 21

Female - Shakespeare
Twelfth Night Act II; Scene ii
Viola:
I left no ring with her; what means this lady?
Fortune forbid my outside have not charmed her!
She made good view of me, indeed so much
That methought her eyes had lost her tongue,
For she did speak in starts, distractedly.
She loves me, sure, the cunning of her passion
Invites me in this churlish messenger.
None of my lords ring? Why, he sent her none.
I am the man! If it be so as tis
Poor lady, she were better love a dream.
Disguise, I see thou art a wickedness
Wherein the pregnant enemy does much.
How easy is it for the proper false
In womens waxen hearts to set their forms.
Alas, our frailty is the cause, not we,
For such as we are made, if such we be.
How will this fadge? My master loves her dearly;
And I, poor monster, fond as much on him;
And she, mistaken, seems to dote on me.
What will become of this? As I am man,
My state is desperate for my masters love.
As I am woman now, alas the day,
What thriftless sighs shall poor Olivia breathe!
O time, thou must untangle this, not I!
It is too hard a knot for me tuntie.
Text taken from http://www.shakespeareswords.com/PlayList.aspx. Entire plays, definitions and other resources can also be found at
this site.

Faculty of the VCA and MCM, The University of Melbourne

Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 14 of 21

Female - Shakespeare
The Merchant of Venice Act III; Scene ii
Portia:
You see me, Lord Bassanio, where I stand,
Such as I am. Though for myself alone
I would not be ambitious in my wish
To wish myself much better, yet for you
I would be trebled twenty times myself,
A thousand times more fair, ten thousand times
More rich, that only to stand high in your account,
I might in virtues, beauties, livings, friends,
Exceed account; but the full sum of me
Is sum of something, which to term in gross,
Is an unlessoned girl, unschooled, unpractised,
Happy in this, she is not yet so old
But she may learn; happier than this,
She is not bred so dull but she can learn;
Happiest of all is that her gentle spirit
Commits itself to yours to be directed,
As from her lord, her governor, her king.
Myself and what is mine to you and yours
Is now converted. But now I was the lord
Of this fair mansion, master of my servants,
Queen oer myself; and even now, but now,
This house, these servants, and this same myself
Are yours, my lords. I give them with this ring,
Which when you part from, lose, or give away,
Let it presage the ruin of your love
And be my vantage to exclaim on you.
Text taken from http://www.shakespeareswords.com/PlayList.aspx.
Entire plays, definitions and other resources can also be found at this site.
Faculty of the VCA and MCM, The University of Melbourne
Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 15 of 21

Female - Shakespeare
Henry IV Part I Act II; Scene iii
Lady Percy:
O my good lord, why are you thus alone?
For what offence have I this fortnight been
A banished woman from my Harry's bed?
Tell me, sweet lord, what is it that takes from thee
Thy stomach, pleasure, and thy golden sleep?
Why dost thou bend thine eyes upon the earth,
And start so often when thou sittest alone?
Why hast thou lost the fresh blood in thy cheeks,
And given my treasures and my rights of thee
To thick-eyed musing, and curst melancholy?
In thy faint slumbers I by thee have watched
And heard thee murmur tales of iron wars,
Speak terms of manage to thy bounding steed,
Cry 'Courage! To the field!' And thou hast talked
Of sallies, and retires, of trenches, tents,
Of palisadoes, frontiers, parapets,
Of basilisks, of cannon, culverin,
Of prisoners' ransom, and of soldiers slain,
And all the currents of a heady fight.
Thy spirit within thee hath been so at war
And thus hath so bestirred thee in thy sleep,
That beads of sweat have stood upon thy brow
Like bubbles in a late-disturbed stream,
And in thy face strange motions have appeared,
Such as we see when men restrain their breath
On some great sudden hest. O, what portents are these?
Some heavy business hath my lord in hand,
And I must know it, else he loves me not.

Text taken from

http://www.shakespeareswords.com/PlayList.aspx.
Entire plays, definitions and other resources can also
be found at this site.

Faculty of the VCA and MCM, The University of Melbourne

Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 16 of 21

Female - Shakespeare
Henry VI Part III Act I; Scene iv
Queen Margaret:
Brave warriors, Clifford and Northumberland,
Come, make him stand upon this molehill here.
What! Was it you that would be Englands king?
Wast you that revelled in our parliament
And made a preachment of your high descent?
Where are your mess of sons to back you now?
The wanton Edward and the lusty George?
And wheres that valiant crook-back prodigy,
Dicky your boy, that with his crumbling voice
Was wont to cheer his dad in mutinies?
Or, with the rest, where is your darling Rutland?
Look, York; I stained this napkin with the blood
That valiant Clifford, with his rapiers point,
Made issue from the bosom of the boy;
And if thine eyes can water for his death,
I give thee this to dry thy cheek withal.
Alas, poor York! But that I hate thee deadly,
I should lament thy miserable state.
I prithee grieve, to make me merry, York.
What! Hath thy fiery heart so parched thine entrails
That not a tear can fall for Rutlands death?
Why art thou patient, man? Thou shouldst be mad;
And I, to make thee mad, do mock thee thus.
Stamp, rave, and fret, that I may sing and dance.
Thou wouldst be fee'd, I see, to make me sport;
York cannot speak, unless he wear a crown.
A crown for York! And, lords, bow low to him;
Hold you his hands, whilst I do set it on.

Text taken from

http://www.shakespeareswords.com/PlayList.aspx.
Entire plays, definitions and other resources can also
be found at this site.

Ay, marry, sir, now looks he like a king!

Faculty of the VCA and MCM, The University of Melbourne
Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 17 of 21

Female - Shakespeare
A Midsummer Nights Dream Act III; Scene ii
Helena:
Lo, she is one of this confederacy.
Now I perceive they have conjoined all three
To fashion this false sport in spite of me.
Injurious Hermia, most ungrateful maid,
Have you conspired, have you with these contrived
To bait me with this foul derision?
Is all the counsel that we two have shared
The sisters vows, the hours that we have spent
When we have chid the hasty-footed time
For parting us O, is all forgot?
All schooldays' friendship, childhood innocence?
We, Hermia, like two artificial gods
Have with our needles created both one flower,
Both on one sampler, sitting on one cushion,
Both warbling of one song, both in one key,
As if our hands, our sides, voices, and minds,
Had been incorporate. So we grew together
Like a double cherry, seeming parted
But yet an union in partition,
Two lovely berries moulded the one stem,
So with two seeming bodies but one heart,
Two of the first, like coats in heraldry,
Due but to one, and crowned with one crest.
And will you rent our ancient love asunder,
To join with men in scorning your poor friend?
It is not friendly, 'tis not maidenly.
Our sex as well as I may chide you for it,
Though I alone do feel the injury.

Text taken from

http://www.shakespeareswords.com/PlayList.aspx.
Entire plays, definitions and other resources can also
be found at this site.
Faculty of the VCA and MCM, The University of Melbourne
Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 18 of 21

Female - Shakespeare
Romeo and Juliet Act II; Scene v
Juliet:
The clock struck nine when I did send the Nurse.
In half an hour she promised to return.
Perchance she cannot meet him. Thats not so.
O, she is lame! Loves heralds should be thoughts,
Which ten times faster glides than the suns beams,
Driving back shadows over louring hills.
Therefore do nimble-pinioned doves draw love,
And therefore hath the wind-swift Cupid wings.
Now is the sun upon the highmost hill
Of this days journey, and from nine till twelve
Is three long hours, yet she is not come.
Had she affections and warm youthful blood,
She would be as swift in motion as a ball.
My words would bandy her to my sweet love,
And his to me.
But old folks, many feign as they were dead
Unwieldy, slow, heavy and pale as lead.
O God, she comes! O honey Nurse, what news?
Hast thou met with him? Send thy man away.

Text taken from http://www.shakespeareswords.com/PlayList.aspx. Entire plays, definitions and other resources can also
be found at this site.

Faculty of the VCA and MCM, The University of Melbourne

Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 19 of 21

Female - Shakespeare
As You Like It Act III; Scene v
Rosalind:
And why, I pray you? Who might be your mother,
That you insult, exult and all at once
Over the wretched? What though you have no beauty
As, by my faith, I see no more in you
Than without candle may go dark to bed
Must you be therefore proud and pitiless?
Why, what means this? Why do you look on me?
I see no more in you than in the ordinary
Of nature's sale-work. 'Od's my little life,
I think she means to tangle my eyes too!
No, faith, proud mistress, hope not after it:
'Tis not your inky brows, your black silk hair,
Your bugle eyeballs, nor your cheek of cream
That can entame my spirits to your worship.
You foolish shepherd, wherefore do you follow her,
Like foggy south, puffing with wind and rain?
You are a thousand times a properer man
Than she a woman. 'Tis such fools as you
That makes the world full of ill-favoured children.
'Tis not her glass, but you that flatters her,
And out of you she sees herself more proper
Than any of her lineaments can show her.
But, mistress, know yourself; down on your knees
And thank heaven, fasting, for a good man's love!
For I must tell you friendly in your ear,
Sell when you can, you are not for all markets.

Text taken from

Cry the man mercy, love him, take his offer.

http://www.shakespeareswords.com/PlayList.aspx.

Foul is most foul, being foul to be a scoffer.

Entire plays, definitions and other resources can also

So take her to thee, shepherd. Fare you well.

be found at this site.

Faculty of the VCA and MCM, The University of Melbourne

Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 20 of 21

Female - Shakespeare
Alls Well that Ends Well Act I; Scene iii
Helena:
Then, I confess,
Here on my knee, before high heaven and you,
That before you, and next unto high heaven,
I love your son.
My friends were poor, but honest; so's my love.
Be not offended, for it hurts not him
That he is loved of me. I follow him not
By any token of presumptuous suit,
Nor would I have him till I do deserve him,
Yet never know how that desert should be.
I know I love in vain, strive against hope,
Yet in this captious and intenable sieve
I still pour in the waters of my love
And lack not to lose still. Thus, Indian-like,
Religious in mine error, I adore
The sun that looks upon his worshipper
But knows of him no more. My dearest madam,
Let not your hate encounter with my love,
For loving where you do; but if yourself,
Whose aged honour cites a virtuous youth,
Did ever in so true a flame of liking,
Wish chastely and love dearly, that your Dian
Was both herself and love O then, give pity
To her whose state is such that cannot choose
But lend and give where she is sure to lose;
That seeks not to find that her search implies,
But riddle-like lives sweetly where she dies.

Text taken from

http://www.shakespeareswords.com/PlayList.aspx.
Entire plays, definitions and other resources can also
be found at this site.

Faculty of the VCA and MCM, The University of Melbourne

Bachelor of Fine Art Theatre Practice Audition Monologue Booklet 2013 Entry
Page 21 of 21