Overview
- Female: 2
- Male: 0
Context
Having orchestrated the murder of her former fiancé Alonzo to marry Alsemero, Beatrice finds herself cornered by her own webs of violence and guilt. Alsemero possesses a book of medical secrets and virginity tests, leaving Beatrice terrified that her sexual history—having yielded her virginity to her accomplice De Flores as payment for the murder—will be exposed on her wedding night. When her waiting-woman Diaphanta enters, Beatrice seizes upon a desperate scheme to substitute Diaphanta in the
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DIAPHANTA Cuds, madam, are you here?
BEATRICE [Aside] Seeing that wench now,
A trick comes in my mind; 'tis a nice piece
Gold cannot purchase.--I come hither, wench,
To look my lord.
DIAPHANTA [Aside] Would I had such a cause
To look him too.--Why, he's i' th' park, madam.
BEATRICE There let him be.
DIAPHANTA Ay, madam, let him compass
Whole parks and forests, as great rangers do;
At roosting time a little lodge can hold 'em.
Earth-conquering Alexander, that thought the world
Too narrow for him, in the end had but his pit-hole.
BEATRICE I fear thou art not modest, Diaphanta.
DIAPHANTA Your thoughts are so unwilling to be known, madam;
'Tis ever the bride's fashion towards bedtime
To set light by her joys, as if she ow'd 'em not.
BEATRICE Her joys? Her fears, thou wouldst say.
DIAPHANTA Fear of what?
BEATRICE Art thou a maid, and talk'st so to a maid?
You leave a blushing business behind,
Beshrew your heart for't.
DIAPHANTA Do you mean good sooth, madam?
BEATRICE Well, if I'd thought upon the fear at first,
Man should have been unknown.
DIAPHANTA Is't possible?
BEATRICE I will give a thousand ducats to that woman
Would try what my fear were, and tell me true
Tomorrow when she gets from 't: as she likes
I might perhaps be drawn to 't.
DIAPHANTA Are you in earnest?
BEATRICE Do you get the woman, then challenge me,
And see if I'll fly from 't; but I must tell you
This by the way, she must be a true maid,
Else there's no trial, my fears are not hers else.
DIAPHANTA Nay, she that I would put into your hands, madam,
Shall be a maid.
BEATRICE You know I should be sham'd else,
Because she lies for me.
DIAPHANTA 'Tis a strange humour:
But are you serious still? Would you resign
Your first night's pleasure and give money too?
BEATRICE As willingly as live. [Aside] Alas, the gold
Is but a by-bet to wedge in the honour.
DIAPHANTA I do not know how the world goes abroad
For faith or honesty; there's both requir'd in this.
Madam, what say you to me, and stray no further?
I've a good mind, in troth, to earn your money.
BEATRICE Y'are too quick, I fear, to be a maid.
DIAPHANTA How? Not a maid? Nay, then, you urge me, madam,
Your honourable self is not a truer
With all your fears upon you--
BEATRICE [Aside] Bad enough then.
DIAPHANTA Then I with all my lightsome joys about me.
BEATRICE I'm glad to hear 't; then you dare put your honesty
Upon an easy trial.
DIAPHANTA Easy? Anything.
BEATRICE [Going to the closet] I'll come to you straight.
DIAPHANTA [Aside] She will not search me, will she,
Like the forewoman of a female jury?
BEATRICE Glass M. Ay, this is it. Look, Diaphanta,
You take no worse than I do.
[She drinks and hands Diaphanta the glass.]
DIAPHANTA And in so doing
I will not question what 'tis, but take it.
[She drinks.]
BEATRICE [Aside] Now if the experiment be true, 'twill praise itself,
And give me noble ease. [Diaphanta gapes.] Begins already,
There's the first symptom. [Diaphanta sneezes.] And what haste it makes
To fall into the second, there by this time:
Most admirable secret! On the contrary,
It stirs not me a whit, which most concerns it.
DIAPHANTA Ha, ha, ha!
BEATRICE [Aside] Just in all things and in order,
As if 'twere circumscrib'd, one accident
Gives way unto another.
DIAPHANTA Ha, ha, ha!
BEATRICE How now, wench?
DIAPHANTA Ha, ha, ha, I am so, so light
At heart, ha, ha, ha. so pleasurable!
But one swig more, sweet madam.
BEATRICE Ay, tomorrow;
We shall have time to sit by 't.
DIAPHANTA Now I'm sad again.
BEATRICE [Aside] It lays itself so gently too.--Come, wench,
Most honest Diaphanta I dare call thee now.
DIAPHANTA Pray tell me, madam, what trick call you this?
BEATRICE I'll tell thee all hereafter; we must study
The carriage of this business.
DIAPHANTA I shall carry 't well
Because I love the burthen.
BEATRICE About midnight
You must not fail to steal forth gently
That I may use the place.
DIAPHANTA Oh, fear not, madam;
I shall be cool by that time. The bride's place,
And with a thousand ducats! I'm for a justice now:
I bring a portion with me; I scorn small fools!
Thomas Middleton and William Rowley. The Changeling. http://www.tech.org/~cleary/change.html.
Performance Tips
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Establish clear social hierarchy and subtextual power: Beatrice must maintain her noble composure while practically begging her servant for a life-saving favor; contrast her aristocratic restraint with Diaphanta’s freer, cheekier banter.
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Differentiate the Asides: Both characters have vital asides that reveal their true, unfiltered objectives—ensure these are delivered directly to the audience with distinct vocal changes to separate internal calculus from external negotiation.
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to read performance tips for this scene from The Changeling and to unlock other amazing theatre resources!Emotional Beat Breakdown
1. Testing the Waters
- What shifts: The dynamic shifts from casual domestic avoidance to a covert, high-stakes proposition as Beatrice tests Diaphanta's moral flexibility.
- Character objectives: Beatrice seeks to gauge whether Diaphanta can be bought with gold while ensuring she is a true maid; Diaphanta tries to read her mistress’s strange, anxious behavior regarding her wedding night.
- Performance note: Keep the pacing brisk and conversational, but allow Beatrice's probing questions
Videos
Links
Full text of The Changeling: http://www.tech.org/~cleary/change.html
Wikipedia entry on The Changeling: https://en.wikipedia.org/wiki/TheChangeling(play)
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