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Scene Study prepares you to perform key scenes for your theater class or audition. We've got all the information you need for a great performance.

Excerpt from Act 3, Scene 3 Dialogue: Abigail, Ithamore, Friar Jacomo

 

ITHAMORE

Why, the devil inverted a challenge, my master
writ it, and I carried it, first to Lodowick, and imprimis
to Mathia[s];
And then they met, [and], as the story says,
In doleful wise they ended both their days.

ABIGAIL

And was my father furtherer of their deaths?

ITHAMORE

Am I Ithamore?

Read the full dialogue.
 

 

Understanding the Given Circumstances

  • The scene takes place in Malta, near Barabas’s household, which has been converted into a nunnery since he refused to pay tribute to the Turks, during a period when Malta is politically unstable, and tensions exist between Christian and Jewish communities in Malta.
  • Prior to this scene, Barabas, who is Jewish, sought revenge after the Christian governor Ferneze wronged him. He manipulated his daughter, Abigail, and Ithamore, an enslaved Turk, to achieve his murderous schemes. He orchestrated the deaths of two men, both pursuers of Abigail, by tricking them into a fatal duel.

 

Blocking and Movement

In theater, blocking is the process of planning the actors’ physical movements and positions. Be sure to show respect and establish trust when working with scene partners. As you prepare to block this scene, ask yourself the following questions:

  • How does Ithamore’s gleeful and mocking tone affect his physicality in the scene? 
  • What physical response might Abigail have to Ithamore’s revelations about the deaths of Lodowick and Mathias?
  • When Abigail requests that Ithamore summon a friar, how does her body language convey urgency, authority, or desperation?
  • What is the spatial relationship between Abigail and Ithamore throughout the scene? How does proximity or distance underscore their shifting power dynamics?
  • How does Friar Jacomo’s entrance and interaction with Abigail shift the scene’s mood? What blocking choices emphasize his role as a figure of authority and spiritual guidance?
  • As Abigail expresses her guilt and desire to join the convent, how might she physically embody repentance or grief?

 

Character Relationships

Thoroughly exploring each character’s background and relationships with other characters in the scene can be one of the most crucial aspects of developing a performance.

When approaching this scene for performance, ask yourself the following questions:

  • Is Abigail in a position of authority with Ithamore as the scene begins? How does she react to his apparent lack of remorse? Is there a noticeable shift in power, tone, or authority as Abigail attempts to dismiss him?
  • How does Abigail’s relationship with her father influence her reactions throughout this scene? Consider her progression from shock to sorrow and resolve—how might these emotions manifest in her tone and physicality?
  • What internal conflict does Abigail experience as she learns of her father’s involvement in the deaths of Lodowick and Mathias? How does this realization shape her decision to join the convent? Is this a rejection of her father, her religion, or both?
  • What role does Friar Jacomo play in Abigail’s emotional journey?
  • How does Abigail’s resolve not to betray her father despite her disdain for his actions speak to the complexity of their relationship and her sense of loyalty?

 

Full Act 3, Scene 3 Dialogue: Abigail, Ithamore, Friar Jacomo

 

Enter ITHAMORE.

ITHAMORE

Why, was there ever seen such villany,
So neatly plotted, and so well perform’d?
Both held in hand, and flatly both beguil’d?

Enter ABIGAIL.

ABIGAIL

Why, how now, Ithamore! why laugh’st thou so?

ITHAMORE

O mistress! ha, ha, ha!

ABIGAIL

Why, what ail’st thou?

ITHAMORE

O, my master!

ABIGAIL

Ha!

ITHAMORE

O mistress, I have the bravest, gravest, secret,
subtle, bottle-nosed knave to my master, that ever
gentleman had!

ABIGAIL

Say, knave, why rail’st upon my father thus?

ITHAMORE

O, my master has the bravest policy!

ABIGAIL

Wherein?

ITHAMORE

Why, know you not?

ABIGAIL

Why, no.

ITHAMORE

Know you not of Mathia[s’] and Don Lodowick[’s] disaster?

ABIGAIL

No: what was it?

ITHAMORE

Why, the devil inverted a challenge, my master
writ it, and I carried it, first to Lodowick, and imprimis
to Mathia[s];
And then they met, [and], as the story says,
In doleful wise they ended both their days.

ABIGAIL

And was my father furtherer of their deaths?

ITHAMORE

Am I Ithamore?

ABIGAIL

Yes.

ITHAMORE

So sure did your father write, and I carry the challenge.

ABIGAIL

Well, Ithamore, let me request thee this;
Go to the new-made nunnery, and inquire
For any of the friars of Saint Jaques,
And say, I pray them come and speak with me.

ITHAMORE

I pray, mistress, will you answer me to one question?

ABIGAIL

Well, sirrah, what is’t?

ITHAMORE

A very feeling one: have not the nuns fine sport with
the friars now and then?

ABIGAIL

Go to, Sirrah Sauce! is this your question? get ye gone.

ITHAMORE

I will, forsooth, mistress.

[Exit.]

ABIGAIL

Hard-hearted father, unkind Barabas!
Was this the pursuit of thy policy,
To make me shew them favour severally,
That by my favour they should both be slain?
Admit thou lov’dst not Lodowick for his sire,
Yet Don Mathias ne’er offended thee:
But thou wert set upon extreme revenge,
Because the prior dispossess’d thee once,
And couldst not venge it but upon his son;
Nor on his son but by Mathias’ means;
Nor on Mathias but by murdering me:
But I perceive there is no love on earth,
Pity in Jews, nor piety in Turks.—
But here comes cursed Ithamore with the friar.

Re-enter ITHAMORE with FRIAR JACOMO.

FRIAR JACOMO

Virgo, salve.

ITHAMORE

When duck you?

ABIGAIL

Welcome, grave friar.—Ithamore, be gone.

[Exit ITHAMORE.]

Know, holy sir, I am bold to solicit thee.

FRIAR JACOMO

Wherein?

ABIGAIL

To get me be admitted for a nun.

FRIAR JACOMO

Why, Abigail, it is not yet long since
That I did labour thy admission,
And then thou didst not like that holy life.

ABIGAIL

Then were my thoughts so frail and unconfirm’d
As I was chain’d to follies of the world:
But now experience, purchased with grief,
Has made me see the difference of things.
My sinful soul, alas, hath pac’d too long
The fatal labyrinth of misbelief,
Far from the sun that gives eternal life!

FRIAR JACOMO

Who taught thee this?

ABIGAIL

The abbess of the house,
Whose zealous admonition I embrace:
O, therefore, Jacomo, let me be one,
Although unworthy, of that sisterhood!

FRIAR JACOMO

Abigail, I will: but see thou change no more,
For that will be most heavy to thy soul.

ABIGAIL

That was my father’s fault.

FRIAR JACOMO

Thy father’s! how?

ABIGAIL

Nay, you shall pardon me.—O Barabas,
Though thou deservest hardly at my hands,
Yet never shall these lips bewray thy life!

[Aside.]

FRIAR JACOMO

Come, shall we go?

ABIGAIL

My duty waits on you.

[Exeunt.]

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