Elizabethean AU snippet
Quick Refresher on Shakespearean English:
-“Thou” and “thee” are either intimate or insulting.
-”Wherefore” means why.
-”Sirrah” is used to address social inferiors.
Note: The passage from Sophocles' Antigone is from the Fitts and Fitzgerald translation, which, while not exactly period appropriate, is both very readable and my favorite.
“She wants to what?” said Pakku, glaring Sokka with the piercing gaze that, along with his booming voice, made him perfect for the older heroes and dynamic father figures.
“Act,” squeaked Sokka.
“And you felt the need to dignify your sister's idiotic fantasy with a mention why?”
“Um...”
“Stop talking about me like I'm not present,” said the young woman in question, stepping forward to stand beside her brother. “I am not without a tongue and ears of my own.”
“What thou art without,” said Pakku, addressing the air above Katara's head, “is those parts which an actor requires: namely, a mind and a staff.” It was a clumsy jab, but the girl blushed. It took Pakku a moment to realize that it was in rage and not chagrin.
“I don't need a piddle-stick to act,” she said. “and I've a better mind than thou, good troupe master. If the law says I may not act, then the law is wrong. In Spain, they say, women actors are commonplace.”
“In Spain - ” began Pakku. Katara cut him off, launching into a monologue.
“How often have I heard the story of Niobe,
Tantalus's wretched daughter,
they say
The rain falls endlessly
And sifting soft snow; her tears are never done.
I feel the loneliness of her death in mine.”
She broke character and glanced around. “Someone give me the chorus,” she said.
“You have passed beyond human daring and come at last
Into a place of stone where Justice sits.
I cannot tell
What shape of your father's guilt appears in this, “ called a voice from the door to the stage.
Katara continued without seeing who had responded.
“You have touched it at last: that bridal bed
Unspeakable, horror of son and mother mingling:
Their crime, infection of all our family!
O Oedipus, father and brother!
Your marriage strikes from the grave to murder mine.
I have been a stranger here in my own - ”
“That's enough,” said the voice. Now Katara did look over. The speaker was a young man with dark hair and terrible scar around his left eye. He was carrying a pile of parchments. “You're good,” he continued. “Raw, but good. Nice voice, too.”
“Master Zuko,” said Pakku. “Our artificer was just escorting his sister out. You need not indulge her with such words.”
“I'm not indulging her,” said Zuko. He turned to Katara. “You want to act?” She nodded. “Good. I've got a role for you.”
Pakku stared at his company's playwright in disbelief. “I am the head of this troupe, young man, and while it is so - ”
“You're the head of the company,” said Zuko, “and I'm the only reason you have a patron. Do you want to loose your charter?”
Pakku's eyes went wide. Rage crept on to his face. “You, sirrah, earn our charter in the Lady Mai's bed - ”
“And in her ears,” said Zuko. “I know not which comes first, but both give me pleasure.”
“You're the playwright?” asked Katara, trying not to show her discomfort with his frank admission to fornicating with a noblewoman.
“Yes,” said Zuko. “And as of today, you are Rebecca,who scorns her cruel uncle and guardian and dresses in men's clothes to pursue her love.” He handed her a stack of parchment. “Here are your lines and cues.”
He turned to Pakku. “Besides,” he said. “Teo's voice has broken. Who else do you propose should play Rebecca?”
Pakku threw his hands into the air. “You curse me, spirits, with a company of fools!” But he did not object further.