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The works of William Shakspeare, complete

Alexander Chalmers · 1866 · Scanned text

997,385 words · about 69 h 51 min to read

Period artwork: Interior of the Bodleian Library, 1845
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Licence: PD · Library of Congress states the book is in the public domain and free to use and reuse (https://data.labs.loc.gov/digitized-books/README.html); published 1866, author long deceased · Library of Congress, Selected Digitized Books (https://www.loc.gov/item/39018229); text via the Common Pile (CC BY 4.0 compilation, per-document rights preserved)

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About this book

Author
Alexander Chalmers
Language
English
Published
1866
Length
997,385 words · about 69 h 51 min
Sections
650 reader sections
Text
Scanned text, read from page scans by OCR; may contain errors
Rights
Public domain

 

Contents (650)
  1. Front matter about 36 min
  2. Contents under 1 min
  3. Part Third, Measure for Measure about 1 min
  4. SCENE I.— On a Ship at Sea. A Storm with thunder and lightning about 3 min
  5. SCENE II.— The island: before the cell of Fnospi:ao. Enter Prospkro and Miranda about 19 min
  6. ACT II. (SCENE I. — Another part of the Island about 19 min
  7. ACT III. SCENE I.— Before Prospero's Cell about 9 min
  8. SCENE III. — Another part of the Island about 5 min
  9. SCENE I.— Before Prospero's Cell. Enter Prospero, Ferdinand, and Miranda about 10 min
  10. Act V. Scene I. TEMPEST about 19 min
  11. SCENE II. — The same. Garden of Julia's house. Enter Julia and Lucetta about 2 min
  12. Scene III. TWO GENTLEMEN OF VEKGNA about 7 min
  13. SCENE I. — Milan. An Apartment in the Duke's Palace. Enter Valentine and Speed about 7 min
  14. SCENE III.— The same. A Street. Enter Launce, leading a dog about 3 min
  15. SCENE IV. — Milan. An Apartment inthe Duke' t Palace. Enter Valentine, Silvia, Thurio, and Speed about 9 min
  16. SCENE VI. — The same. An Apartment in tin Palace. Enter Proteus under 1 min
  17. Scene VII. TWO GENTLEMEN OF VERONA about 4 min
  18. SCENE I. — Milan. An Ante-room in the Duke's Palace. Enter Duke, Thurio, and Proteus about 13 min
  19. SCENE II. — The same. A Room in the Duke's Palace. Enter Duke and Thurio ; Proteus behind about 9 min
  20. Scene IV. TWO GENTLEMEN OF VERONA about 12 min
  21. SCENE I.— The same. An Abbey. Enter Erlamour under 1 min
  22. SCENE II. — The same. An Apartment in the Duke's Palace about 2 min
  23. SCENE III.— Frontiers of Mantua. The Forest. Enter Silvia and Outlaws about 1 min
  24. SCENE IV.— Another part of the Forest. Enter Valentine about 7 min
  25. SCENE I. — Windsor. Before Page's House about 11 min
  26. SCENE II.— The same. Enter Sir Hugh Evans and Simple under 1 min
  27. SCENE III. — A Room in the Garter Inn. Enter Falstaff, Host, Bahdolph, Ntm, Pistol, and Robin under 1 min
  28. Scene IV. MERRY WIVES OF WINDSOR about 10 min
  29. SCENE I.— Before Page's House. Enter Mistress Page, with a letter about 9 min
  30. SCENE II.— A Room in the Garter Inn. Enter Falstaf* and Pistol about 12 min
  31. SCENE III.— Windsor Park. Enter Caius and Rugby about 3 min
  32. SCENE I. — A Field near Frogmore. Enter Sir Hugh Evans and Simple about 7 min
  33. SCENE III.— A Room in Ford's Home. Enter Mrs. Fohd and Mrs. Page about 9 min
  34. SCENE IV.— A Room in Page's House. Enter Fenton and Mistress Anne Page about 4 min
  35. SCENE V.— A Room in the Garter Inn. Enter Falstaff and Bardolph about 5 min
  36. SCENE I.— The Street about 2 min
  37. SCENE II.— A Room in Ford's House about 8 min
  38. SCENE III.— A Room in the Garter Inn. Enter Host and Bardolph under 1 min
  39. SCENE IV.— A Room in Ford's House about 3 min
  40. SCENE V.— A Room in the Garter Inn. Enter Host and Simple about 5 min
  41. SCENE VI. — Another Room in the Garter Inn. Enter Fenton and Host about 2 min
  42. SCENE I. — A Room in the Garter Inn. Enter Falstaff and Mrs. Quickly about 1 min
  43. SCENE II.— Windsor Park. Enter Page, Shallow, and Slender about 1 min
  44. SCENE III.— The Street in Windsor. Enter Mrs. Page, Mrs. Fohd, and Dr. Caius about 1 min
  45. SCENE IV.— Windsor Park. Enter Sir Hugh Evans, and Fairies under 1 min
  46. SCENE V.— Another Part of the Park. Enter Falstaff disguised, with a buck's head on about 10 min
  47. Act I about 22 min
  48. SCENE I.— The Sea-coast. Enter Antoxio and Sedastiaw about 3 min
  49. SCENE III.— 4 Room in Olivia's House. Enter Sir Toby Belch, and Sir Andrew Ague-cheek about 7 min
  50. SCENE IV.— A Room in the Duke's Palace. Enter Duke, Vioii, Curio, and others. ' about 2 min
  51. Act II. SONG about 3 min
  52. SCENE V.— Olivia's Garden about 8 min
  53. SCENE I.— Olivia's Garden. Enter Viola, and Clown with a tabor about 6 min
  54. SCENE II. — A Room in Olivia's House about 3 min
  55. SCENE III.— A Street. Enter Antojuo and Sebastian about 2 min
  56. SCENE IV.— Olivia's Garden. Enter Olivia and Maria about 11 min
  57. Act IV. Scene I. OR, WHAT YOU WILL about 3 min
  58. SCENE I.— The Street before Olivia's House. Enter Sebastian and Clown about 3 min
  59. SCENE II.— A Room in Olivia's House. Enter Maria and Clown about 28 min
  60. Scene IV. MEASURE FOR MEASURE about 5 min
  61. SCENE V.— A Nunnery. Enter Isabella and Fiiancisca about 3 min
  62. SCENE I.— A Hall in Angelo's House, Enter Angelo, Escalus, Provost, Officers, and •'Alter Attendants about 5 min
  63. Act i I Now, sir, come 0.1: what was done to Elbow's wife, once moie7 about 5 min
  64. SCENE II. — Another Room in the same. Enter Provost and a Servant about 7 min
  65. SCENE III.— A Room in a Prison. Enter Duke, habited like a Friar, and Provost about 1 min
  66. Scene IV. MEASURE FOR MEASURE about 4 min
  67. Act III. And strip myself to death, as to a bed about 24 min
  68. SCENE I — A Room in Mariana's House. Mariana discovered sifting,- a Boy si?iging. SONG. Take, oh take those lips away about 8 min
  69. Scene III. MEASURE FOR MEASURE about 9 min
  70. SCENE IV— A Room in Angelo's House. Enter Axgelj and Escalus about 2 min
  71. SCENE VI.— Street near the city gate. Enter Isabella and Mariana about 1 min
  72. SCENE I. — A public place near the City Gate about 23 min
  73. Act 1. Scenf 1 about 9 min
  74. SCENE II. — A Room in Leonato's House. Enter Leonato and Antonio about 1 min
  75. SCENE III. — Another Room in Leonato's House. Enter Don John and Conraiie about 3 min
  76. SCENE I. — A Hall in Leonato's House. Enter Leonato, Antonio, Hero, Beatrice, and others about 12 min
  77. Scene III. MUCH ADO ABOUT NOTHING about 7 min
  78. I under 1 min
  79. II about 2 min
  80. Act III. Scene 1. MUCH ADO ABOUT NOTHING about 5 min
  81. SCENE I. — Leonato's Garden. Enter Hero, Margaret, and Ursula about 4 min
  82. SCENE II. — A Room in Leonato's House. Enter Don Pedro, Claudio, Benedick, and Leonato about 4 min
  83. SCENE III. — .4 Street about 6 min
  84. Scene IV. MXJCA ADO ABOUT NOTHING about 4 min
  85. SCENE V. — Another Room in Leonato's House. Enter Leonato, with Dogberrt and Verges about 2 min
  86. SCENE I.— The Inside of a Church about 12 min
  87. SCENE II. — ^1 Prison about 18 min
  88. Scene IV about 7 min
  89. SCENE I. — Athens. A Room in the Palace of Theseus about 9 min
  90. SCENE II. — The same. A Room in a Cottage. Enter Snug, Bottom, Flute, Snout, Quince about 14 min
  91. SCENE III.— Another part of the Wood. Enter Titania, with her train about 6 min
  92. SCENE I.— The same. The Queen of Fairies lying asleep. Enter Quince, Snug, Bottom, Flute, Snout, and Starveling about 24 min
  93. ACT IV. SCENE I.— The same about 8 min
  94. SCENE II. — Athens. A Room in Quince's House. Enter Quince, Flute, Snout, and Start eling about 2 min
  95. Act V about 18 min
  96. Act I. Doth falsely blind the eyesight of his look about 13 min
  97. Act II. Scene I. LOVE'S LABOR'S LOST about 17 min
  98. Act IV. Scene T. LOVE'S LABOR'S LOST about 14 min
  99. SCENE III.— Another part of the Park. Enter Biron, with a paper about 13 min
  100. Act V. Scene * LOVE'S LABOR'S LOST about 1 min
  101. SCENE 1.-^4 Street. Enter Holofernes, Sir Nathaniel, and Dull about 16 min
  102. Scene II, LOVE'S LABOR'S LOST about 23 min
  103. III under 1 min
  104. IV. When all aloud the icind doth blow about 13 min
  105. SCENE III.— Venice. A Public Place. Enter Bassajoo and Shtlock about 7 min
  106. SCENE I. — Belmont. A Room in Portia's House about 2 min
  107. SCENE II.— Venice. A Street. Enter Launcelot Gob bo about 8 min
  108. SCENE III.— A Room in Shylock's House. Enter Jessica and Launcelot about 2 min
  109. SCENE V.— Before Shylock's House. Enter Shtlock and Launcelot about 2 min
  110. SCENE VI.— The same. Enter Gratiano and Salarino, masked about 3 min
  111. SCENE VII. — Belmpnt. A Room in Portia's House under 1 min
  112. Scene IX. MERCHANT OF VENICE about 8 min
  113. SCENE I.— Venice. A Street. Enter Salanio and Salaiuno about 1 min
  114. Scene II. MERCHANT JF VENICE about 16 min
  115. SCENE III.— Venice. A Street. Enter Shtlock, Salanio, Antokio, and Gaoler about 1 min
  116. SCENE IV. — Belmont. A Room in Portia's Houn Enter Portia, Nerissa, Lorenzo, Jessica, and about 3 min
  117. SCENE V.— A Garden. Enter Launcelot and Jessica about 3 min
  118. SCENE I. — Venice. A Court of Justice about 17 min
  119. SCENE II. — ^1 Street. Enter Portia and Nehissa about 13 min
  120. Act I about 22 min
  121. ACT II. SCENE I.— The Forest of Arden about 3 min
  122. SCENE III.— Before Oliver's House. Enter Orlando and Adam, meeting under 1 min
  123. Scene IV. AS YOU LIKE IT about 6 min
  124. SCENE V.—The same about 2 min
  125. SCENE VI.— The same. Enter Orlando and Adam about 1 min
  126. SCENE VII.— The same about 7 min
  127. SCENE I. — A Room in the Palace. Enter Duke Frederick, Oliver, Lords, and Attendants about 6 min
  128. Act III about 5 min
  129. Scene III. AS YOU LIKE IT about 9 min
  130. SCENE IV.— Before a Cottage. Enter Rosalind and Celia about 2 min
  131. SCENE V.— Another Part of the Forest. Enter Silvius and Phebe about 5 min
  132. SCENE I.— The Same. Enter Rosalind, Celia, and Jaq.ues about 8 min
  133. SCENE II. — Another part of the Forest. Enter J aq,uks and Lords, in the habit of Foresters about 1 min
  134. SCENE III.— The Forest. Enter Rosalind and Celia about 4 min
  135. Act V. Scene 1. AS YOU LIKE IT about 2 min
  136. SCENE I.— The same. Enter Touchstone and Audrey about 7 min
  137. SCENE III.— The same. Enter Touchstone and Audrey about 1 min
  138. SCENE IV.— Another Part of the Forest about 8 min
  139. Epilogue about 1 min
  140. SCENE I. — Rousillon. A Room in the Countess's Palace about 8 min
  141. SCENE II. — Paris. A Room in the King's Falace about 13 min
  142. Act II about 11 min
  143. SCENE III.— Paris. A Room in the King's Palace. Enter Behtiiam, Lafeu, and Paholles about 7 min
  144. Scene IV. ALL'S WELL THAT ENDS WELL about 6 min
  145. SCENE V. — Another Room in the same. Enter Lafeu and Bertram about 12 min
  146. Scene VI. ALL'S WELL THAT ENDS WELL about 9 min
  147. SCENE VII.— Florence. A Room in the Widow's House about 1 min
  148. Scene I. ALL'S WELL THAT ENDS WELL about 1 min
  149. Act IV about 4 min
  150. SCENE II.— Florence. A Room in the Widow's House about 3 min
  151. SCENE III.— The Florentine Camp about 11 min
  152. Scene V. ALUS WELL THAT ENDS WELL about 5 min
  153. Act V about 3 min
  154. SCENE I.— Marseilles. A Street. Enter Helena, Widow, and Diana, with two Attendants about 1 min
  155. SCENE II.— Rousillon. The inner Court of tht Countess's Pa/ace about 2 min
  156. SCENE III. — A Room in the Countess's Palace about 14 min
  157. SCENE I. — Before an Alehouse on a Heath. Enter Hostess and Sly about 7 min
  158. Act 1. Scene T. TAMING OF THE SHREW about 14 min
  159. SCENE II.— Before Hortensio's House. Enter Petruchio and Grumto about 11 min
  160. Act II about 13 min
  161. Act III. Scene I. TAMING OF THE SHREW about 16 min
  162. Act IV about 12 min
  163. SCENE III.— A Room in Petruchio's House. Enter Katharixa and Ghumto about 7 min
  164. SCENE IV. — Padua. Before Baptista's House. Enter Tranio, and the Pedant dressed like Vincentio under 1 min
  165. Scene V. TAMING OF THE SHREW about 6 min
  166. SCENE I. — Padua, before Lucentio's House about 2 min
  167. Scene II. TAMING OF THE SHREW about 11 min
  168. Act I. Scene 1 about 20 min
  169. Act II. Scene 1. WINTER'S TALE about 8 min
  170. Scene III. WINTER'S TALE about 11 min
  171. SCENE I. — A Street in some Town. Enter Cleomexes and Dion about 6 min
  172. Scene III. WINTER'S TALE about 11 min
  173. SCENE I. — Bohemia. A Room in the Palace about 2 min
  174. SCENE II.— A Roadnearthe Shepherd's Cottage Enter Autolycus, singing about 5 min
  175. SCENE III. — ^1 Shepherd's Cottage. Enter Florizel and Pebdita about 6 min
  176. Act IV about 27 min
  177. SCENE I. — Sicilia. A Room in the Palace of Leontes. Enter Leontes, Cleomexes, Diojt, Paulina about 5 min
  178. Scene II. ^ :nter's tale about 4 min
  179. Act. V about 5 min
  180. Scene III. WINTER'S TALE about 18 min
  181. SCENE I.— A public Place. Enter Adrxana and Luciajja about 4 min
  182. SCENE II.— The same. Enter Antipholus of Syracuse about 29 min
  183. SCENE III.— The same. Enter Antipholcs of Syracuse about 4 min
  184. SCENE IV.— The same. Enter Antipholus o/Ephesus, and an Officer about 7 min
  185. SCENE I.— The same. Enter Merchant and Angelo about 17 min
  186. SCENE II. — A Camp near Forres about 2 min
  187. SCENE III.— A Heath about 3 min
  188. Scene IV. MACBETH about 5 min
  189. SCENE V. — Inverness. A Room in Macbeth's Castle. Enter Lady Macbeth, reading a letter about 3 min
  190. SCENE VI.— Before the Castle about 5 min
  191. SCENE I. — Court within Macbeth's Castle about 3 min
  192. SCENE II.— The same. Enter Lady Macbeth about 2 min
  193. Scene III about 7 min
  194. SCENE IV.— Without the Castle. Enter Rosse and an Old Man about 2 min
  195. SCENE I. — Forres. A Room in the Palace. Enter Banq.uo about 5 min
  196. SCENE II.— Another Room about 2 min
  197. SCENE III. — A Park or Lawn, with a Gate about 1 min
  198. Scene IV. MACBETH about 7 min
  199. SCENE V.— The Heath about 3 min
  200. SCENE I. — A dark Cave. In the middle, a Cauldron boiling about 6 min
  201. SCENE II.— Fife. A Room in Macduff's Castle. Enter Lady Macduff, her Son, and Rossk about 3 min
  202. SCENE III.— England. A Room in the King's Falacs about 9 min
  203. SCENE I. — Dunsinane. A Room in the Castle about 3 min
  204. SCENE II. — The Country near Dunsinane about 1 min
  205. SCENE III. — Dunsinane. A Room in the Castle. Enter Macbeth, Doctor, and Attendants about 1 min
  206. Scene V about 5 min
  207. SCENE VII.— Another Part of the Plain. Enter Macbeth about 5 min
  208. SCENE I. — Northampton. A Room of State in the Palace. Enter King John, Queen Elinor, Pembroke about 10 min
  209. Act II about 10 min
  210. Scene II. KING JOHN. 38ft about 9 min
  211. Act III Scene i. KING JOHN about 17 min
  212. SCENE III.— The same about 10 min
  213. SCENE I. — Northampton. A Roomin the Castle. Enter Hubeut and two Attendants about 15 min
  214. SCENE III.— Before the Castle. Enter Authuk, on the Walk about 6 min
  215. ACT V. SCENE \.—A Room in the Palace about 10 min
  216. SCENE IV.— Another Part of the same. Enter Salisbury, Pembroke, Bigot, andothers about 2 min
  217. SCENE V.— The French Camp. Enter Lewis and his Train about 1 min
  218. SCENE VI. — An open Place in the Neighborhood o/Swinstead-Abbey about 2 min
  219. Scene VII. KING JOHN about 4 min
  220. SCENE I. — London. A Room in the Palace. Enter Kino Richard, attended: John ofGacn.t about 24 min
  221. Act II about 11 min
  222. SCENE II.— The same. A Room in the Palace. Enter Queen, Bushy, and Bagot about 6 min
  223. SCENE III.— The Wilds in Gloucestershire. Enter Boliiigbroke and Northumberland, with Forces about 6 min
  224. SCENE IV.— A Camp in Wales. Enter Salisbury, and a Captain about 1 min
  225. SCENE I. — Bolingbroke's Camp at Bristol about 2 min
  226. SCENE II.— The Coast of Wales. A Castle in about 8 min
  227. SCENE III.— Wales. Before Flint Castle about 6 min
  228. Scene IV about 5 min
  229. SCENE I. — London. Westminster-Hall about 12 min
  230. Act V Scene i KING RICHARD II about 4 min
  231. SCENE II.— The same. A Room in the Dulu of York's Falace. Enter York, and liis Duchess about 5 min
  232. SCENE III.— Windsor. A Room in the Castle. Enter Bolinghroke, as Ki?ig; Percy, and other Lords about 5 min
  233. SCENE IV. Enter Exton and a Servant under 1 min
  234. SCENE V.— Pomfret. The Castle about 7 min
  235. SCENE I. — London. A Room in the Palace about 4 min
  236. SCENE II. — Another Room in the Palace. Eni°.r Hexhi Prince of Wales, and Falstaff about 9 min
  237. SCENE III. — Another Room in the Palace about 11 min
  238. SCENE I.— Rochester. An Inn Yard about 4 min
  239. SCENE II.— The Road by Gadshill. Enter Prince Henry and Poins; Bardolph about 4 min
  240. SCENE III.— Warkworth. A Room in the Castle. Enter Hotspur, reading a Letter. But for mine own part, my lord, I could about 4 min
  241. SCENE IV. — Eastcheap. A Room in the Boar's Head Tavern. Enter PniNCE Henbt and Poins about 21 min
  242. SCENE 1. — Bangor. A room in the Archdeacon's House. Enter Hotspur, Worcester, Mortimer, and about 10 min
  243. SCENE II.— London. A Room in the Palace. Enter King Henry, Prince of Wales, ana about 2 min
  244. Scene III. King Henry IV about 12 min
  245. SCENE I. — The Rebel Camp near Shrewsbury. Enter Hotspuii, Worcester, and Douglas about 5 min
  246. SCENE II. — A public Road near Coventry. Enter Falstaff and Bardolph about 1 min
  247. Scene III. KING HENRY IV about 6 min
  248. SCENE IV.— York. A Room in the Archbishop's House about 1 min
  249. SCENE I. — 77)e King's Camp near Shrewsbury. Enter King Henry, Prince Henry, Prince about 5 min
  250. SCENE II.— The Rebel Camp. Enter Worcester and Vernon about 4 min
  251. SCENE III.— Plain near Shrewsbury about 2 min
  252. Scene IV. KING HENRY IV about 8 min
  253. SCENE V. —Another Part of the Field about 4 min
  254. Act I about 22 min
  255. SCENE I.— London. A Street about 7 min
  256. SCENE II.— Another Street. Enter Prince Henry and Poins about 7 min
  257. SCENE III.— Warkworth. Before the Castle. Enter Northumberland, Lady Northc mber about 3 min
  258. SCENE IV. — London A Room in the Boars Head Tavern, in Easlcheap about 14 min
  259. SCENE I.— A Room in the Palace. Enter King Henrt in his Night-gown iviih a about 4 min
  260. SCENE II. — Court before Justice Shallow's House in Gloucestershire about 25 min
  261. SCENE III.— Another Part of the Forest. Alarums: Excursions: Enter Falstaff and Colevile, meeting about 5 min
  262. SCENE IV.— Westminster. A Room in the Palace about 11 min
  263. Act V. Scene I. KING HENRY IV about 3 min
  264. SCENE I.— Gloucestershire. A Hall in Shallow's House. Enter Shallow, Falstaff, Bardolph, and Page about 3 min
  265. SCENE II.— Westminster. A Room in the Palace about 5 min
  266. SCENE III.— Gloucestershire. The Garden of Shallow's House about 5 min
  267. SCENE IV.— London. A Street about 1 min
  268. SCENE V. — A public Place near Westminster Abbey about 8 min
  269. SCENE I. — London. An Ante-chamber in the King's Palace about 3 min
  270. SCENE II. — A Room of Stale in the same. Enter King Henry, Gloster, Bedford, Exe about 10 min
  271. Act II Scene I. KING HENRY V about 15 min
  272. SCENE III. — Mrs. Quickly's House in Eastcheap about 2 min
  273. SCENE IV.— France. A Room in the French King's Palace about 5 min
  274. ACT III. Enter Chorus about 1 min
  275. SCENE I.— Before Harfleur about 1 min
  276. SCENE II.— The same about 6 min
  277. SCENE III.— Before the Gates o/Harfleur. The Governor and some Citizens on the Walls,- thi about 2 min
  278. SCENE IV. — Rouen. A Room in the Palace. Enter Katharine and Alice about 4 min
  279. SCENE VI.— The English Camp in Picardy. Enter Gower and Fluellen. Gove, How now, captain Fluellen ? come you from the bridge? about 39 min
  280. SCENE VII.— Another Part of the Field about 7 min
  281. SCENE VIII.— Before King Henry's Pavilion. Enter Goweii and Williams about 5 min
  282. Act V. ACT V about 2 min
  283. SCENE I. — France. An English Court of Guard. Enter Fluellen and Goweu about 4 min
  284. SCENE II. — Troyes in Champagne. An Apartment in the French King's Palace about 16 min
  285. ACT I. SCENE I.— Westminster Abbey about 12 min
  286. SCENE III.— London. Hill before the Tower about 3 min
  287. Scene IV. KING HENRY VI about 6 min
  288. SCENE V.— Before one of the Gates of Orleans about 2 min
  289. SCENE VI.— The same about 1 min
  290. SCENE I.— The same about 3 min
  291. SCENE II— Orleans.— Within the Town. Enter Talbot, Bedford, Burgundy, a Captain about 2 min
  292. SCENE III.— Auvergne. Court of the Castle. Enter the Countess and her Porter about 3 min
  293. SCENE IV.— London. The Temple Garden. Enter the Earls of Somerset, Suffolk, and Warwick ; Richard Plantagenet, Vkrnon about 5 min
  294. SCENE V.— A Room in the Tower about 4 min
  295. Act III. Scene I. 4<?7 under 1 min
  296. SCENE I.— The Parliament House about 7 min
  297. SCENE II.— France. Before Rouen about 6 min
  298. SCENE III.— The Plai7is near the City about 3 min
  299. SCENE IV. — Paris. A Room in the Palace. Enter King Henry, Gloster, and other Lords about 2 min
  300. SCENE I.— Paris. A Room of State about 7 min
  301. SCENE II.— France. Before Bourdeaux. Enter Talrot, with his Forces about 2 min
  302. SCENE III.— Plains in Gascony about 2 min
  303. SCENE IV.— Other Plains of Gascony about 4 min
  304. SCENE VI.— A Field of Bailk. Alarum: Excursions, wherein Talbot's Son is about 2 min
  305. SCENE VII.— Another Part of the same about 4 min
  306. Act V about 21 min
  307. SCENE I. — London. A Room of State in the Palace about 9 min
  308. SCENE II.— .A Room In the Duke of Gloster'* House. Enter Gloster and the Duchess about 4 min
  309. SCENE III.— A Room in the Palace. Enter Peter, and others, with Petitions about 8 min
  310. SCENE IV.— The Duke of Gloster's Garden. Enter Margery Jouhdain, Hume, Southwell about 3 min
  311. SCENE I.— Saint Alban's about 8 min
  312. SCENE II.— London. The Duke of York's Garden about 3 min
  313. SCENE III.— A Hall of Justice about 4 min
  314. SCENE IV.— A Street. Enltr Gloster and Servants, in mourning cloala about 4 min
  315. SCENE I.— The Abbey at Bury about 14 min
  316. SCENE II.— Bury. A Room in the Palace. Enter certain Murderers, hastily about 15 min
  317. SCENE III. — London. Cardinal Beaufort's Bed-chamber about 1 min
  318. SCENE I. — Kent. The Sea-shore near Dover about 6 min
  319. SCENE II.— Blackheath. Enter George Bf.tis and Johx Holland about 7 min
  320. SCENE III.— Another part of Blackheath about 1 min
  321. SCENE IV. — London. A Room in the Palace about 2 min
  322. SCENE V.— The Tower about 1 min
  323. SCENE VI.— Cannon Street about 1 min
  324. SCENE VII.— Smithfield about 4 min
  325. Scene IX. KING HENRY VI about 6 min
  326. SCENE X.— Kent. Iden's Garden. Enter Cade about 4 min
  327. SCENE I.— Near Saint Alban's about 8 min
  328. SCENE II.— Saint Alban's under 1 min
  329. Scene III. KING HENRY VI about 6 min
  330. SCENE I. — London. The Parliament House about 11 min
  331. SCENE II. — A Room in Sandal Castle, near Wakefield, in Yorkshire. Enter Edward, Richard, and Montague about 3 min
  332. SCENE III.— Plains near Sandal Castle about 1 min
  333. Scene IV about 8 min
  334. SCENE I. — A Plain near Mortimer's Cross in Herefordshire about 14 min
  335. SCENE III.— A Field of Battle behveen Towtort and Saxton in Yorkslrr? about 3 min
  336. SCENE V.— Another Part of the Field. Alarum. Enter Kino Henry about 2 min
  337. Scene VI. KING HENRY VI about 29 min
  338. SCENE I. — London. A Room in the Palace. Enter Gloster, Clarence, Somerset, Monagce, and others about 6 min
  339. SCENE II.— A Plain in Warwickshire about 1 min
  340. SCENE III. — Edward's Camp near Warwick. Enter certain Watchmen, toguardthe King's Tent about 4 min
  341. SCENE V.— A Park near Middleham Castle in Yorkshire. Enter Gloster, Hastings, Sin Willtam Stanlet, and others about 1 min
  342. SCENE VI.— A Room in the Tower about 2 min
  343. Scene VII. KING HENRY VI about 5 min
  344. SCENE VIII.— London. A Room in the Palace. Enter King Henry, Warwick, Clarence about 2 min
  345. SCENE I.— Coventry about 5 min
  346. SCENE II.— A Field of Batik near Barnet. Alarums and Excursions. Enter King Edwabd about 3 min
  347. SCENE IV.— Plains near Tewksbury about 2 min
  348. Scene V. KING HENRY VI about 5 min
  349. SCENE VI.— London. A Room in the Tower. King Hesht is discovered sitting with a Book in his about 4 min
  350. SCENE VII.— A Room in the Palace. King Edwaud is discovered sitting on his Throne, Queen Elizabeth with the infant Prince about 3 min
  351. SCENE I.— London. A Street. Enter Gloster about 6 min
  352. SCENE II.— Another Street. Enter the Corpse of King Henry the Sixth, borne about 10 min
  353. SCENE III.— A Room in the Palace. Enter Queen Elizabeth, Lord Rivers, and about 13 min
  354. Scene IV. KING RICHARD III about 11 min
  355. SCENE I.— 4 Room in the Palace about 7 min
  356. Scene III. KING RICHARD III about 6 min
  357. SCENE IV.— A Room in the Palace. Enter the Archbishop of York, the young Duke about 3 min
  358. SCENE I.— A Street about 12 min
  359. SCENE III.— Pomfret. Before the Castle about 1 min
  360. SCENE IV.— London. A Room in the Tower about 4 min
  361. Scene VI. KING RICiIARD III about 5 min
  362. SCENE VII.— Court o/Baynard's Castle. Enter Gloster and Buckingham, meeting about 9 min
  363. SCENE I.— Before the Tower about 9 min
  364. SCENE III.— The same Enter Tyrrel about 2 min
  365. SCENE IV.— Before the Palace. Enter Queen Margaret about 40 min
  366. Prologue about 1 min
  367. SCENE I. — London. An Ante-chamber in the Palace about 25 min
  368. ACT II. SCENE L— A Street about 7 min
  369. SCENE II. — An Ante-chamber in ihe Palace-. Enter the Lord Chamberlain, reading a Letter about 6 min
  370. SCENE III.— An Ante-chamber >n ihe Queen's Apartments about 4 min
  371. SCENE IV.— A Hall in Black-Fi.ars about 9 min
  372. Act III. Scene I. KIN\J} HENRY VIII under 1 min
  373. SCENE I. — Palace at Bridewell. A Room in the Queen's Apartment about 7 min
  374. SCENE II. — Ante-chamber to the King's Apartment about 14 min
  375. Act IV about 30 min
  376. Scene III. KING HENRY VIII about 6 min
  377. SCENE IV.— The Palace? about 5 min
  378. SCENE I.— Troy. Before Priam's Palace. Enter Troilus, armed, and Pandarus about 10 min
  379. Scene II. TROILUS AND CRESSIDA about 5 min
  380. SCENE III.— The Grecian Camp. Before Agamemnon's Tent about 13 min
  381. SCENE I. — Another Part of the Grecian Camp. Enter Ajax and Thersites about 4 min
  382. SCENE II.— Troy. A Room in Priam's Palace. Enter Priam, Hector, Troiltjs, Paris, and about 13 min
  383. Scene III. TROILUS AND CRESSIDA about 4 min
  384. SCENE I. — Troy. A Room in Priam's Palace. Enter Paitdards and a Servant about 5 min
  385. SCENE II.— Pandarus' Orchard about 8 min
  386. Scene III. TROILUS AND CRESSIDA about 17 min
  387. Scene IV. TROILUS AND CRESSIDA about 7 min
  388. SCENE V. — The Grecian Camp. Lists set out. Enter Ajax armed; Agamemxon, Achilles about 10 min
  389. Act V. Scene I. TROILUS AND CRESSIDA under 1 min
  390. SCENE I.— The Grecian Camp. Before Achilles' Tent. Enter Achilles and Patroclus about 4 min
  391. SCENE II.— Before Calchas' Tent. Enter Biomedes about 7 min
  392. SCENE III.— Troy. Before Priam's Palace. Enter Hector and Andromache about 4 min
  393. SCENE IV.— Between Troy and the Grecian Camp about 1 min
  394. Scene VI. TROILUS AND CRESSIDA about 4 min
  395. SCENE VIII.— The same. Enier Menelaus and Pahis, fighting: then about 1 min
  396. SCENE IX.— Another Part of the Field. Enter Hector about 1 min
  397. SCENE X.—Tke same about 3 min
  398. SCENE I. — Athens. A Haa in Timon's House about 10 min
  399. Scene II. TIMON OF ATHENS about 25 min
  400. Scene IV. TIMON OF ATHENS about 7 min
  401. SCENE V.— The Senate-House about 1 min
  402. Scene VI. TIMON OF ATHENS about 8 min
  403. SCENE I.— Without the Walls of Athens. Enter Timon about 1 min
  404. Scene III. TIMON OF ATHENS about 23 min
  405. SCENE I.— Be/b>fiTimon's Cave. Enter Poet and Painter; Timon behind, unseen about 4 min
  406. SCENE II.— The same about 4 min
  407. SCENE III.— The Walls of Athens. Enter two Senators, and a Messenger about 1 min
  408. SCENE IV.— The Woods. Timon's Cave, and a Tomb-stone seen under 1 min
  409. SCENE V.— Before the Walls of Athens about 4 min
  410. SCENE I.— Rome. A Street about 10 min
  411. SCENE II.— Corioli. The Senate-Hcuse. Enter Tullus Aufidius, and certain Senators about 1 min
  412. SCENE III. — Rome. An Apartment in Marcius' House about 3 min
  413. Act I about 1 min
  414. SCENE IV.— Before Corioli about 3 min
  415. SCENE V.— Within the Town. A Street. Enter certain Romans, with Spoils about 1 min
  416. SCENE VI.— Near the Camp of Cominius about 4 min
  417. SCENE VIII.— A Field of Battle between the Roman and the Volscian Camps about 1 min
  418. SCENE IX.— The Roman Camp about 3 min
  419. Act II. Scene I. CORIOLANUS about 2 min
  420. SCENE I.— Rome. A public Place. Enter Mejjexius, Sicinius, and Brutus about 6 min
  421. Scene II. CORIOLANUS about 20 min
  422. ACT III. SCENE I.— A Street about 19 min
  423. SCENE III. -The Forum. Enter Sicini ts and Brutus about 3 min
  424. Act IV. Scene I. CORIOLANUS about 2 min
  425. SCENE I.— Before a Gate of the City about 5 min
  426. SCENE III. — A Highway between Rome and Antium about 2 min
  427. SCENE IV. — Antium. Before Aufidius's House. Enter Coriolanus, in mean Apparel, disguised and muffled about 1 min
  428. SCENE V.— A Hall in Aufidius's House.- Music within. Enter a Servant about 9 min
  429. SCENE VI.— Rome. A public Place. Enter Siciuius and Brutus about 6 min
  430. SCENE VII. — A Camp,- at a small distanct from Rome under 1 min
  431. Act V. Scene I. CORIOLANUS about 2 min
  432. SCENE I.— Rome. A public Place. Enter Menenius, Comixius, Sicinius, Brutus, and others about 3 min
  433. SCENE II. — An advanced Post of the Volscian Camp before Rome. The Guard at their Stations. Enter to them Menenius about 4 min
  434. SCENE III.— The Tent of Coriolanus. Enter Coriolaxcs, Aufidius, and others about 8 min
  435. SCENE IV.— Rome. A public Place. Enter Meuenius and Sicinius about 10 min
  436. SCENE I.— Rome. A Street. Enter Flavius, Mi.nvi.ivs, and a Rabble of Citizens about 3 min
  437. SCENE II.— A public Place. Enter, in Procession, with Music,C msah; Anton t about 12 min
  438. SCENE III.— A Street about 6 min
  439. SCENE I.— Brutus's Orchard about 12 min
  440. SCENE II.— A Room in Cajsar's Pa/ace about 5 min
  441. SCENE III.— 4 Street near the Capitol. Enter Artemidorus, raiding a Paper about 1 min
  442. SCENE IV.— Another Part of the same Street about 2 min
  443. SCENE I.— The Capitol; the Senate sitting. A Crowd of People in the Street leading to the Capitol: among them Artemidorus and the about 11 min
  444. SCENE II.— The Forum about 10 min
  445. SCENE III.— A Street Enter Cinna, the Poet about 1 min
  446. SCENE I. — A Room in Antony's House. Antony, Octavius, and Lepidus, seated at a Table about 4 min
  447. SCENE III. — Within the Tent of Brutus. Lucius, and Titinius, at some distance from it about 11 min
  448. SCENE I.— The Plains of Philippi. Enter Octavius, Antont, and their Army about 5 min
  449. SCENE III.— Another Part of the Field. Alarum. Enter Cassius and Titinius about 5 min
  450. SCENE V.— Another Part of the Field. Enter Brutus, Dardanius, Clitus, Strato about 4 min
  451. SCENE I. — Alexandria. A Room in Cleopatra's Palace. Enter Demetrius and Philo about 2 min
  452. SCENE II.— Another Hoom about 3 min
  453. Scene III. ANTONY AND CLEOPATR V about 8 min
  454. SCENE IV. — Rome. An Apartment in Csesar'i House about 3 min
  455. SCENE V. — Alexandria. A Room in the Palace about 3 min
  456. SCENE I. — Messina. A Room in Pompey's House. Enter Pompey, Menecrates, and Menas about 2 min
  457. SCENE II.— Rome. A Room in the House of Lepidus. Enter Enobahbcs and Lepidus about 9 min
  458. SCENE III. — A Room in Caesar's House. Enter Cjesar, Antony, Octavia between them about 2 min
  459. SCENE IV.— A Street under 1 min
  460. SCENE V. — Alexandria. A Room in th- Palace. Enter Cleopatra, Charmian, Iras, and Alexas about 5 min
  461. SCENE VI.— Near Misenum. Enter Pompey and Menas, at one side, with Drum about 5 min
  462. SCENE VII.— On board Pompey'? Galley about 5 min
  463. SCENE I.— A Plain in Syria about 1 min
  464. SCENE II. — Rome. An Ante-chamber in Caesar's House about 3 min
  465. SCENE III. — Alexandria. A Room in the Palace. Enter Cleopatiia, Chahmian,Iiias, and Alvxxs about 2 min
  466. SCENE IV. — Athens. A Room in Antony* House. Enter Antony and Octavia under 1 min
  467. Scene V. . ANTONY AND CLEOPATRA about 6 min
  468. SCENE VII. — Antony's Camp near the Promontory of Actiurn about 3 min
  469. Scene IX. ANTONY AND CLEOPATRA about 5 min
  470. SCENE X.— Caesar's Camp in Egypt. Enter Cesar, Dolabella, Thyretjs, and others about 1 min
  471. SCENE XI. — Alexandria. A Room in the Palace. Enter Cleopatra, Enobarbus, Charmian, and Iras about 8 min
  472. SCENE I. — Caesar's Camp at Alexandria about 1 min
  473. SCENE II. — Alexandria. A Room in the Palace about 2 min
  474. SCENE III.— Before the Palace. Enter two Soldiers to their Guards about 1 min
  475. SCENE IV.— A Room in the Palace. Enter Antony, and Cleopatra; Charmian, ana others, attending about 20 min
  476. SCENE I. — Cesar's Camp before Alexandria. Enter Cesar, Agbippa, Dolabella, Mecenas about 3 min
  477. SCENE II. — Alexandria. A Room in the Monument about 15 min
  478. Act I about 6 min
  479. Scene IV. CYMBELINE about 4 min
  480. SCENE V. — An Apartment in Philario's House about 6 min
  481. SCENE VI.— Britain. A Room in Cymbeline's Palace about 11 min
  482. SCENE I.— Court before Cymbeline's Palace. Enter Cloten, and two Lords about 2 min
  483. SCENE II. — A Bed-chamber,- in one Part of it a Trunk about 2 min
  484. SCENE III. — An Ante-chamber joining Imogen's Apartment. Enter Cloten and Lords about 6 min
  485. SCENE IV.— Rome. An Apartment in Phila rio's House about 6 min
  486. SCENE V. — Another Room in the same. Enter Posthumus about 1 min
  487. SCENE I.— Britain. A Room of State in Cymbeline's Palace about 3 min
  488. Scene III. CYMBELINE about 8 min
  489. SCENE IV.— ISear Milford-Kaven. Enter Pisjnio and Imogen about 7 min
  490. SCENE V.— A Room in Cymbeline's Palace. 7?«/er Cymbeline, Queen, Cloten, Lvzivs, and about 6 min
  491. SCENE VI.— Before the Cave of Belarius. Enter Imogen, in Boy's Clothes about 4 min
  492. SCENE VII.— Rome. Enter two Senators and Tribunes about 1 min
  493. SCENE I.— Wales. The Forest, near the Cave. Enter Cloten about 1 min
  494. Scene II. CYMBELINE about 4 min
  495. Act IV about 12 min
  496. SCENE III.— A Room in Cymbeline*s Palace. Enter CrsiBEi.iiirE, Lords, and Ptsanio about 2 min
  497. SCENE IV.— Before the Cave. Enter Belartus, Guiderius, and Arviuagus about 2 min
  498. SCENE I.— 4 Field between the British and Roman Camps. Enter Posthcmcs, with a bloody Handkerchief about 1 min
  499. SCENE II.— The same about 4 min
  500. Scene IV. CYMBELINE about 8 min
  501. SCENE V.— Cymbeline's Tent about 20 min
  502. SCENE I.— Rome. Before the Capitol about 2 min
  503. Scene II. TITUS ANDRONICUS about 16 min
  504. ACT II. SCENE I.— Before the Palace about 6 min
  505. SCENE III. — A desert Part of the Forest about 7 min
  506. SCENE IV.— The same. Enter Aaron with Quintus and Martius about 4 min
  507. SCENE V.— The same about 2 min
  508. Act III Scene I under 1 min
  509. SCENE I.— Rome. A Street about 9 min
  510. Scene II. TITUS ANDRONICUS about 6 min
  511. ACT IV. SCENE I.— Before Titus's House about 12 min
  512. SCENE III.— A Public Place about 5 min
  513. SCENE IV.— Before the Palace about 1 min
  514. Act V, Shall be no shelter to these outrages about 3 min
  515. SCENE I. — Plains near Rome. Enter Lucius, and Goths, with Drum and Colors about 6 min
  516. SCENE II.— Rome. Before Titus's House. Enter Tamora, Chiron, and Demetrius, disguised about 8 min
  517. SCENE III.— A Pavilion, with Tables, <S,c Enter Lucius, Marcus, and Goths, with Aaron, Prisoner about 8 min
  518. ACT I. Enter Gower. 1 Before tne taloxe of Antioch about 11 min
  519. Scene IV. PRINCE OF TYRE about 3 min
  520. SCENE I V.— Tharsus. A Room in the Governor's House about 4 min
  521. ACT II. Enter Gower about 10 min
  522. SCENE III.— The same. A Hall of State.— A Banquet prepared about 1 min
  523. Scene IV. PRINCE OF TYRE about 5 min
  524. SCENE V. — Pentapolis. A Room in the Palace about 3 min
  525. ACT III. Enter Goweii about 2 min
  526. SCENE I. Enter Pericles, on a Ship at Sea about 3 min
  527. SCENE II. — Ephesus. A Room in Cerimon's House about 4 min
  528. SCENE III.— Tharsus. A Room in Ceeon's House about 2 min
  529. SCENE IV.— Ephesus. A Room in Cerimoh's House. Enter Cerimon and Thaisa about 1 min
  530. Act IV. Scene 1 ACT IV about 1 min
  531. SCENE I. — Tharsus. An open Place near the Sea-shore. Enter Dionyza and Leonine about 2 min
  532. Scene III. PRINCE OF TYRE about 7 min
  533. SCENE IV.— Tharsus. A Room in Cleon's House. Enter Cleojt and Dionyza about 2 min
  534. Scene VI. PRINCE OF TYRE about 25 min
  535. SCENE I.— A Room of State in King Lear's Palace. Enter Kent, Gloster, and Edmund about 11 min
  536. SCENE II.— A Hall in the Earl of Gloster's Castle. Enter Edmund with a Letter about 4 min
  537. Scene IV. KING LEAR about 17 min
  538. SCENE V. — Court before the same. Enter Leah, Kent, and Fool about 1 min
  539. Act II Scene I. KING LEAK under 1 min
  540. SCENE I. — A Court within the Castle of the Earl of Gloster. Fnter Edmund and Ouran, meeting about 5 min
  541. SCENE II.— Before Gloster's Castle. Enter Kent and Steward, severally about 6 min
  542. SCENE III.— A Part of the Heath. Enter Edgar about 1 min
  543. SCENE IV.— Before Gloster's Castle. Enter Lkah, Fool, and Gentleman about 12 min
  544. SCENE I.— A Heath about 2 min
  545. SCENE II.— Another Part of the Heath. Storm continues. Enter Lear and Fool about 3 min
  546. SCENE III.— A Room in Gloster's Castle. Enter Glosteii and Edmund about 1 min
  547. SCENE IV.— A Part of the Heath, with a Hovel. Enter Lear, Kent, and Fool about 3 min
  548. Scene V. KING LEAR about 5 min
  549. SCENE VI. — A Chamber in a Farm-House, adjoining (he Castle. Enter Gloster, Lear, Kent, Fool, and Edgar about 4 min
  550. Scene VII. KING LEAK about 5 min
  551. SCENE I.— The Heath. Enter Edgar about 7 min
  552. SCENE III. — The French Camp near Dover. Enter Kent, and a Gentleman about 2 min
  553. SCENE IV.— The same. A Tent. Enter Cohhelia, Physician, and Soldiers about 1 min
  554. SCENE V.— A Room in Gloster's Castle. Enter Regan and Steward about 13 min
  555. SCENE VII.— A Tent in the French Camp about 4 min
  556. Act V about 18 min
  557. SCENE I.— A Public Place about 6 min
  558. Scene II. ROMEO AND JULIET about 7 min
  559. SCENE III.— A Room in Capulet's House. Enter Lady Capulet and Nurse about 2 min
  560. Scene IV. ROMEO AND JULIET about 13 min
  561. SCENE I. — An open Place, adjoining Capulet's Garden. Enter Romeo about 2 min
  562. SCENE II.— Capulet's Garden. Enter Romeo about 7 min
  563. SCENE III.— Friar Lawrence's Cell. Enter Fiuar Lawrence, with a Basket about 4 min
  564. SCENE IV.— A Street. Enter Benyolio and Mehcutio about 8 min
  565. SCENE V.— Capulet's Garden. Enter Juliet about 3 min
  566. SCENE VI.— Friar Laurence' Cell. Enter Friar Laurence and Romeo about 1 min
  567. SCENE I.— A Public Place. Enter Mercutio, Benvolio, Page, and Servants about 8 min
  568. SCENE II.— A Room in Capulet's House. Enter Julikt about 5 min
  569. SCENE III.— Friar Laurence's Cell. Enter Friar Laurence and Romeo. • about 3 min
  570. Scene V. ROMEO AND JULIET about 14 min
  571. SCENE I.— Friar Laurence's Cell. Enter Friar Laurence and Paris about 5 min
  572. SCENE II. — A Room in Capulet's House. Enter Capulet, Ladt Capulet, Nurse, and Servants about 2 min
  573. SCENE III.— Juliet's Chamber. Enter Juliet and Nurse about 4 min
  574. SCENE V.— Juliet's Chamber,- Juliet on the Bed. Enter Nurse about 6 min
  575. SCENE I.— Mantua. A Street. Enter Romko about 3 min
  576. SCENE II.— Friar Laurence's Cell. Enter Friar John about 1 min
  577. SCENE III. — ^4 Church-Yard,- in it, a Monument belonging to the Capulets about 13 min
  578. SCENE I.— Elsinore. A Platform before the Castle about 6 min
  579. Act I about 1 min
  580. SCENE II. — A Room of State in the same. Enter the King, Queen, Ham let, Polonius. Laehtes, Voltimand, Cohnelius, Lords, and about 15 min
  581. SCENE IV.— The Platform about 4 min
  582. SCENE V. — A more remote Part of the Platform. Re-enter Ghost and Hamlet about 4 min
  583. Act II. Scene 1. PRINCE OF DENMARK about 3 min
  584. SCENE I. — A Room in Polonius's House. Enter Polonius and Reynaldo about 5 min
  585. Scene II. PRINCE OF DENMARK about 22 min
  586. ACT III. SCENE I.— .A Room in the Castle about 22 min
  587. SCENE III. — A Room in the same. Enter King, Rosencrantz, and Guiliiensteric about 4 min
  588. SCENE IV. — Another Room in the same. Enter Queen and Polonius about 6 min
  589. Act IV Scene 1 PRINCE OF DENMARK about 2 min
  590. SCENE I.— A Room in the Castle. Enter King, Queen, Rosencrantz, and Guildensterx about 2 min
  591. SCENE II. — Another Room in the same. Enter Hamlet about 4 min
  592. SCENE IV.— A Plain in Denmark. Enter Fortinbras, and Forces, marching under 1 min
  593. Scene V. PRINCE OF DENMARK about 8 min
  594. Scene VII. PRINCE OF DENMARK about 10 min
  595. SCENE I.— A Church Yard. Enter two Clowns, with Spades, S(c about 7 min
  596. Scene II. PRINCE OF DENMARK about 20 min
  597. Act I about 11 min
  598. SCENE III— A Council Chamber about 13 min
  599. Act II about 2 min
  600. SCENE I.— A Sea-port Town in Cyprus. A Platform. Enter Montano and two Gentlemen about 12 min
  601. SCENE II. — ^4 Street. Enter a Herald, with a Proclamation, People following under 1 min
  602. SCENE III.— A Hall in the Castle. Enter Othello, Desdemona, Cassio, and Attendants about 14 min
  603. SCENE I.— Before the Castle. Enter Cassio, and some Musicians about 2 min
  604. SCENE II.— A Room in the Castle. Enter Othello, Iago, and Gentlemen under 1 min
  605. SCENE III.— Before the Castle. Enter Desdemojta, Cassio, and Emilia about 18 min
  606. Scene IV. THE MOOR OF VENICE about 33 min
  607. SCENE I.— A Street. Enter Iago and Roderigo about 6 min
  608. SCENE II. — A Bed-chamber: Desdemona in Bed asleep. A Light burning. Enter Othello about 2 h 6 min
  609. VI. Then let not winter's ragged hand deface under 1 min
  610. VII under 1 min
  611. VIII under 1 min
  612. IX about 1 min
  613. X under 1 min
  614. XI about 1 min
  615. XII about 1 min
  616. XIII under 1 min
  617. XIV under 1 min
  618. XV under 1 min
  619. XVI. But wherefore do not you a mightier way under 1 min
  620. XVII about 1 min
  621. XVIII about 1 min
  622. XIX about 1 min
  623. XX under 1 min
  624. XXI about 1 min
  625. XXII about 1 min
  626. XXIII. As an unperfect actor on the stage under 1 min
  627. XXIV about 1 min
  628. XXV under 1 min
  629. XXVI about 1 min
  630. XXVII under 1 min
  631. XXVIII under 1 min
  632. XXIX under 1 min
  633. XXX under 1 min
  634. XXXI under 1 min
  635. XXXII. If thou survive my well-contented day under 1 min
  636. XXXIII about 1 min
  637. XXXV under 1 min
  638. XXXVI under 1 min
  639. XXXVII about 1 min
  640. Xxxviii under 1 min
  641. XXXIX about 1 min
  642. XL about 1 min
  643. XLI under 1 min
  644. XLII about 1 min
  645. XLIII about 1 min
  646. XLIV under 1 min
  647. XLV about 1 min
  648. XLVII about 1 min
  649. XLVIII under 1 min
  650. XLIX about 1 h 18 min

Continue:

Front matter

ft?

7 <Bk l i

*m

Contents

Sketch of the Life of Shakspeare,

Page iii

Henry IV — Part Second,

Part Third, Measure for Measure

. 85

Richard III, . .

Henry VIII

Midsummer's Night's Dream,

. 131

Love's Labor's Lost, . . .

Timon of Athens, .

Merchant of Venice, . . .

. 173

CORIOLANUS, . .

As You Like It, ...

Julius Cesar,

. 218

Antony and Cleopatra, .

Taming of the Shrew, . .

Cymbeline, . . .

Winter's Tale, ....

. 266

Comedy of Errors, . • .

. 309

King Lear, . .

•Cing John, .....

Romeo and Juliet, .

Richard II, . .

. 352

Hamlet, . . .

Hen in IV — Part First, .

s&e

TEMPEST.

PERSONS REPRESENTED.

,110X80, King of Naples.

6ebastian, his brother.

Pro3peiio, the rightful Duke of Milan.

A jtox i o, his brother, the usurping Duke of Milan.

Ferdinand, son to the king of Naples.

Gonzalo, an honest old Counsellor of Naples.

Adrian, > r , t, > Lords.

TRANCISCO, )

Caliban, a savage and deformed Slave. Trinculo, a Jester.

Stephano, a drunken Butler.

Master of a Ship, Boatswain, and Mariners.

Miranda, Daughter to Pruspero

Ariel, an airy Spirit.

Iris,

Ceres, Juno, Nymphs, Reapers,

> Spirits.

Other Spirits attending on Prosper*.

ACTI.

SCENE I.— On a Ship at Sea. A Storm with thunder and lightning

Enter a Ship-master and a Boatswain.

Master. Boatswain, — Boats. Here, master: what cheer? Master. Good : Speak to the mariners : fall to't yarely 1 , or we run ourselves aground : bestir, bestir.

[Exit.

Enter Mariners.

Boats. Heigh, my hearts; cheerly, cheerly, my hearts ; yare, yare : Take in the top-sail ; Tend to the master's whistle. — Blow till thou burst thy wind, if room enough !

Enter Alonso, Sebastian, Antonio, Ferdinand, Gonzalo, and others.

Ahn. Good boatswain, have care. Where's the master? Play the men.

Bouts. I pray now, keep below.

Ant. Where is the master, boatswain?

Boats. Do you not hear him? You mar our labor ! keep your cabins : you do assist the storm.

Gon. Nay, good, be patient.

Boats. When the sea is. Hence ! What care these roarers for the name of king? To cabins: silence: trouble us not.

Gon. Good; yet remember whom thou hast aboard

Boats. N->ne that I moie love than myself —

» Readily

You are a counsellor; if you can command these elements to silence, and work the peace of the present, 5 we will not hand a rope more ; use your authority. If you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it so hap. — Cheerly, good hearts, — Out of our way, I say.

[Exit.

Gon. I have great comfort from this fellow; methinks he hath no drowning mark upon him : his complexion is perfect gallows. Stand fast, good fate, to his hanging ! make the rope of his destiny our cable, for our own doth little advantage ! If he be not born to be hanged, our case is miserable.

[Exeunt.

Re-enter Boatswain.

Boats. Down with the top-mast; yare; lower, lower; bring her to try with main course. [A cry within.'] A plague upon this howling ! they are louder than the weather, or our office. —

Re-enter Sebastian, Antonio, and Gonzalo.

Yet again ? what do you here ? Shall we give o'er and drown ? Have you a mind to sink ?

Seb. A pox o' your throat ! you bawling, blasphemous, uncharitable dog!

Boats. Work you, then.

Ant. Hang, cur, hang! you whoreson, insolent noise-maker, we are less afraid to be drowned than thou art.

• Present in «t«i»i

TEMPEST.

Gon. I'll warrant him from drowning; though the ship were no stronger than a nut-shell, and as leaky as an unstaunched' wench.

Boats. Lay her a-hold, a-hold; set her two courses; off to sea again, lay her off.

Enter Mariners, wet.

Mar. All lost! to prayers, to prayers! all lost!

[Exeunt.

Boats. What, must our mouths be cold?

Gon. The king and prince at prayers! let us assist them, For our case is as theirs.

Seb. I am cat of patience.

Ant. We are merely 3 cheated of our lives by drunkards. — This wide-chapped rascal; — 'Would thou mightst

lie drowning The washing often tides!

Gon. He'll be hanged yet;

Though every drop of water swear against it, And gape at wid'st to glut him. [A confused noise within.] Mercy on us ! — We split, we split ! Farewell, my wife and children ! — Farewel ;, brother ! — We split, we split, we split. —

Ant. Let's all sink with the king. [Exit.

Seb. Let's take leave of him. [Exit.

Gon. Now would I give a thousand furlongs of sea for ai. acre of barren ground; long heath, brown furze, any thing: the wills above be done! but I would fain die a dry death. [Exit.

SCENE II.— The island: before the cell of Fnospi:ao. Enter Prospkro and Miranda

Mir. If by your art, my dearest father, you have Put the wild waters in this roar, allay them: The sky, it seems, would pour down stinking pitch, But that the sea, mounting to the welkin's cheek, Dashes the fire out. O, I have suffer'd With those that I saw suffer ! a brave vessel, Who had no doubt some noble creatures in her, Dash'd all to pieces. 0, the cry did knock Against my very heart! Poor souls! they perish'd. Had I been any god of power, I would Have sunk the sea within the earth, or e'er It should the good ship so have swallow'd, and The freighting souls within her.

Pro. Be collected;

No more amazement: tell your piteous heart, There's no harm done.

Mira. O, wo the day !

Pro. No harm.

1 have done nothing but in care of thee, (Of thee, my dear one! thee my daughter!) who Art ignorant of what thou art, nought knowing Of whence I am ; nor that I am more better Then Prospero, master of a full poor cell, Knd thy no greater father.

Mira. More to know

Did never meddle with my thoughts.

Pro. 'Tis time

I should inform thee further. Lend thy hand, And pluck my magic garment from me. — So ;

[Lays down his mantle.

Lie there my art. — Wipe thou thine eves; have

comfort.

The direful spectacle of the wreck, which touch'd The very virtue of compassion in thee, I have with such provision in mine art So safely order'd, that there is no soul — No, not so much perdition as a hair, Betid to any creature in the vessel

• Incontinent. * Absolutely.

Which thou heard'st cry, which thou saw'st sink

Sit down; For thou must now know further.

Mira. /ou have often

Begun to tell me what I am ; but stopp'd And left me to a bootless inquisition ; Concluding, Slay, not yet. —

Pro. The hour's now come

The very minute bids thee ope 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 wast not Out 5 three years old.

Mira. Certainty, sir, I can.

Pro. By what] by any other bouse, or personl Of any thing the image tell me, that Hatli kept with thy remembrance.

Mira. '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?

Pro. 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.

Mira. But that I do not

Pro. Twelve years since, Miranda, twelve years since, thy father was The duke of Milan, and a prince of power.

Mira. Sir, are not you my father?

Pro. 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.

Mira. 0, the heavens!

What foul play had we, that we came from thence? Or blessed was't we did?

Pro. Both, both, my girl.

By foul play, as thou say'st, were we heav'd thence, But blessedly holp hither.

Mira. 0, my heart bleeds

To think o' the teen s that I have turn'd you to, Which is from my remembrance ! Please you further.

Pro. My brother, and thy uncle, cail'd Antonio,— I pray thee, mark me, — that a brother should Be so perfidious ! — he whom, next thyself, Of all the world I lov'd, and to him put The manage of my state ; as, at that time, Through all the signiories it was the first, And Prospero the prime duke; being so reputed In dignity, and, for the liberal arts, Without a parallel ; those being all my study, The government I cast upon my brother, And to my state grew stranger, being transported. And wrapt in secret studies. Thy false uncle — Dost thou attend me?

Mira. Sir, most needfully.

Pro. Being once perfected how to grant suite, How to deny them ; whom to advance, and whom To trash 1 for over-topping; new-created The creatures that were mine; I say, or chang'd

them, Or else new-form'd them : having both the key Of officer and office, set all hearts To what tune pleas'd his ear; that now he was The ivy, which had hid my princely trunk, And suck'd my verdure out on't. — Thou attend'st

not: I pray thee mark me.

• Quite. • Sorrow. ' Cut away

Scene II.

TEMPEST.

Mire. O good su I do.

Pro. I thus neglecting wordlr ends, all dedicate To closenr^s, and the bettering of my mind With that, which, but by being so rctir'd, O'er-priz' I all popular rate, in my false brother Awak'd an evil nature: and my trust, Like a good parent, did beget of him A falsehood, in its contrary as great As my trust was; which had, indeed, no limit, A confidence sans bound. He being thus lorded, Not only with what my revenue yielded, But what my power might else exact, — like one Who, having unto truth, by telling of it, Made such a sinner of his memory, To credit his own lie, — he did believe He was the duke ; out of the substitution, And executing the outward face of royalty, With all prerogative: — Hence his ambition Growing, — Dost hear?

Mira. Your tale, sir, would cure deafness.

Pro. To have no screen between this part he play'd And him he play'd it for, he needs will be Absolute Milan : Me, poor man ! — my library Was dukedom large enough ; of temporal royalties He thinks me now incapable : confederates (So dry he was for sway) with the king of Naples, To give him annual tribute, do him homage; Subject his coronet to his crown, and bend The dukedom, yet unbow'd (alas, poor Milan !) To most ignoble stooping.

Mira. the heavens!

Pro. Mark his condition, and the event; then tell me, If this might be a brother.

Mira. I should sin

To think but nobly of my grandmother : Good wombs have borne bad sons.

Pro. ' Now the condition.

This king of Naples, being an enemy To me inveterate, hearkens my brother's suit; Which was, that he in lieu o' the premises, — Of homage, and I know not how much tribute, — Should presently extirpate me and mine Out of the dukedom ; and confer fair Milan, With all the honors, on my brother: Whereon, A treacherous army levied, one midnight Fated to the purpose, did Antonio open The gates of Milan; and i' the dead of darkness, The ministers for the purpose hurried thence Me, and thy crying self.

Mira. Alack, for pity !

I, not rememb'ring how I cried out then, Will cry it o'er again, it is a hint, That wrings mine eyes.

Pro. Hear a little further,

And then I'll bring thee to the present business Which now's upon us; without the which, this

story Were most impertinent.

Mira. Wherefore did they not

That hour destroy us?

Pro. Well demanded, wench;

My tale provokes that question. Dear, they durst

not; (So dear the love my people bore me) nor set A mark so bloody on the business ; but With colors fairer painted their foul ends. In few, they hurried us abroad a bark ; Bore us some leagues to sea; where they prepar'd A. rotten carcass of a boat, not rigg'd, Nor tackle, sail, nor mast; the very rats

Instinctively had quit it : there they hi ik-' us, To cry to the sea that roar'd to us; to sigh To the winds, whose pity, sighing lack again, Did us but loving wrong.

Mira. Alack ! what trouble

Was I then to you !

Pro. ! a cherubim

Thou wast, that did preserve me! Thou didst

smile, Infused with a fortitude from heaven, When I have deck'd the sea with drops full sail; Under my burden groan 'd; which rais'd in me An undergoing stomach", to bear up Against what shouH ensue.

Mira. How came we ashore'

Pro. By Providence divine.

Some food we had, an-t some fresh water, that A noble Neapolitan, Gonzalo, Out of his charity (who being then appointed Master of this design,) did give us ; with Rich garments, linens, stuffs, and necessaries, Which since have steaded much; so, of his gentleness, Knowing I lov'd my books, he furnish'd me, From my own library, with volumes that I prize above my dukedom.

Mira. 'Would I might

But ever see that man !

Pro. Now I arise : —

Sit still, and hear the last of our sea-sorrow. Here in this island we arriv'd ; and here Have I, thy schoolmaster, made thee more profit Than other princes can, that have more time For vainer hours, and tutors not so careful.

Mira. Heavens thank you for't! And now I pray you, sir, (For still 'tis beating in my mind,) your reason For raising this sea-storm?

Pro. Know thus far forth. —

By accident most strange, bountiful fortune, Now my dear lady, hath mine enemies Brought to this shore : and by my prescience I find my zenith doth depend upon A most auspicious star; whose influence If now I court not, but omit, my fortunes Will ever after droop. — Here cease more ques«

tions ; Thou art inclin'd to sleep; 'tis a good dulness, And give it way ; — I know thou canst not choose. — [Mirajjda sleeps.

Come away, servant, come: I am ready now: Approach, my Ariel; come.

Enter Ariel.

Ari. All hail, great master ! grave sir, hail ! I come To answer thy best pleasure ; be't to fly, To swim, to dive into the fire, to ride On the curl'd clouds ; to thy strong bidding, task Ariel, and all his quality.

Pro. Hast thou, spirit,

Perform'd to point 9 the tempest that I bade thee?

Ari. To every article.

I boarded the king's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement: Sometimes, I'd divide, And burn in many places; on the top-mast, The yards, and bowsprit, would I (lame distinctly Then meet, and join : Jove's lightnings, the precur

sors 0' the dreadful thunder-claps, more momentary

• Stubborn resolution. • The minutest article.

TEMPEST.

*hd sight-outrunning were not: The fire, and

cracks Of sulphurous roaring, the most mighty Neptune Seem' d to besiege, and make his bold waves tremble. Yea, his dread trident shake.

Pro. My brave spirit!

Who was so firm, so constant, that this coil' Would not infect his reason?

Ari. Not a soul

But felt a fever of the mad, and play'd Some tricks of desperation : All, but mariners, Plung'd in the foaming brine, and quit the vessel, Then all a-fire with me : the king's son, Ferdinand, With hair up-staring, (then like reeds, not hair,) Was the first man that leap'd : cried, Hell is empty, And all the devils are here.

Pro. Why, that's my spirit!

But was not this nigh shore?

Art. Close by, my master.

Pro. But are they, Ariel, safe?

Ari. Not a hair perish'd ;

On their sustaining garments not a blemish, But fresher than before; and, as thou bad'st me, In troops I have dispers'd them 'bout the isle: The king's son have I landed by himself; Whom I left cooling of the air with sighs, In an odd angle of the isle, and sitting, His arms in this sad knot.

Pro. Of the king's ship,

The mariners, say, how thou hast dispos'd, And all the rest o' the fleet?

Ari. Safely in harbor

Is the king's ship; in the deep nook, where once Thou call'dst me up at midnight to fetch dew From the still-vex'd Bermoothes 9 , there she's hid: The mariners all under hatches stow'd; Whom, with a charm join'd to their sufler'd labor, I have left asleep : and for the rest o' the fleet, Which I dispers'd, they all have met again; And are upon the Mediterranean flote 3 Bound sadly home for Naples; Supposing that they saw the king's ship wreck'd, And his great person perish.

Pro. Ariel, thy charge

Exactly is perform'd; but there's more work: What is the time o' the day?

Ari. Past the mid season.

Pro. At least two glasses : The time 'twixt six and now, Must by us both be spent most preciously.

Ari. Is there more toil? Since thou dost give me pains, Let me remember thee what thou hast promis'd, Which is not yet perform'd me.

Pro. How now? moody?

What is't thou canst demand?

Ari. My liberty.

Pro. Before the time be out? no more.

Ari. I pray thee

Remember, I have done thee worthy service; Told thee no lies, made no mistakings, serv'd Without or grudge or grumblings: thou didst

promise Co bate me a full year.

Pro. Dost thou forget

From what a torment I did free thee?

Ari. No.

Pro. Thou dost; and think'st It much, to tread the ooze of the salt deep ; To run upon the sharp wind of the north ; T.o do me business in the veins o' the earth, When it is bak'd vrith frost

1 Bust! o, tumult

' Bermudas.

» Wave.

Ari. I do not, sir.

Pro. Thou liest, malignant thing ! Hast thou forgot The foul witch Sycorax, who, with age and envy, Was grown into a hoop? hast thou forgot her]

Ari. No, sir.

Pro. Thou hast: where was she born?

speak; tell me.

Ari. Sir, in Argier. 4

Pro. 0, was she so? I must,

Once in a month, recount what thou hast been, Which thou forget'st. This damn'd witch, Sycorax, For mischiefs manifold, and sorceries terrible To enter human hearing, from Argier, Thou know'st, was banish'd ; for one thing she did, They would not take her life : Is not this true?

Ari. Ay, sir.

Pro. This blue-ey 'd hag was hither brought with child, And here was left by the sailors: Thou, my slave, As thou report'st thyself, was then her servant: And, for thou wast a spirit too delicate To act her earthly and abhorr'd commands, Refusing her grand hests s , she did confine thee, By help of her more potent ministers, And in her most unmitigable rage, Into a cloven pine; within which rift Imprison'd, thou didst painfully remain A dozen years ; within which space she died, And left thee there; where thou didst vent thy

groans, As fast as mill-wheels strike : Then was this island (Save for the son that she did litter here, A freckled whelp, hag-born,) not honor'd with A human shape.

Ari. Yes; Caliban her son.

Pro. Dull tiling, I say so; he, that Caliban, Whom now I keep in service. Thou best know'st What torment I did find thee in: thy groans Did make wolves howl, and penetrate the breasts Of ever-angry bears : it was a torment To lay upon the damn'd, which Sycorax Could not again undo; it was mine art, When I arriv'd, and heard thee, that made gape The pine, and let thee out.

Ari. I thank thee, master.

Pro. If thou more murmur'st, I will rend an oak, And peg thee in his knotty entrails, till Thou hast howl'd away twelve winters.

Ari. Pardon, master.

I will be correspondent to command, And do my spriting gently.

Pro. Do so ; and after two days

I will discharge thee.

Ari. That's my noble master !

What shall I do? say, what? what shall I do?

Pro. Go make thyself like to a nymph o' the sea Be subject to no sight but mine ; invisible To every eye-ball else. Go take this shape, And hither come in't : hence, with diligence.

[Exit Ariki.

Awake, dear heart, awake ! thou hast slept well ; Awake !

Mira. The strangeness of your story put Heaviness in me.

Pro. Shake it off: Come on,

We'll visit Caliban, my slave, who never Yields us kind answer.

Mira. 'Tis a villain, sir,

I do not love to look on.

Pro. But, as 'tis,

We cannot miss him : he does make our fire, « Algiers. » Command*.

Scene II.

TEMPEST.

Fetch in our wood ; and se res in offices That profit us. What ho . slave ! Caliban, Thou earth, thou ! speak.

Cal. [ Within'.'] There's wood enough within.

Pro. Come forth, I say : there's other business for thee : Comt forth, thoa tortoise ! when 1

Re-enter Am el like a luater-nympfo

Fine apparition ! My quaint Ariel, Hark in thine ear.

Ari. My lord, it shall be done. [Exit.

Pro. Thou poisonous slave, got by the devil himself Upon thy wicked dam, come forth !

Enter Caliban.

Cal. As wicked dew as e'er my mother brush'd With raven's feather from unwholesome fen, Drop on you both ! a south-west blow on ye, And blister you all o'er !

Pro. For this, be sure, to-night thou shalt have cramps, Side-stitches that shall pen thy breath up ; urchins 6 Shall, for that vast of night that they may work, All exercise on thee : thou shalt be pinch'd As thick as honey-combs, each pinch more stinging Than bees that made them.

Cal. I must eat my dinner.

This island's mine, by Sycorax, my mother, Which thou tak'st from me. When thou earnest

first, Thou strok'dst me, and mad'st much of me;

wouldst give me Water with hemes in't; and teach me how To name the bigger light, and how the less, That burn by day and night ; and then I loved thee, And show'd thee all the qualities o' the isle, The fresh springs, brine pits, barren place, and fertile; Cursed be I that did so; — all the charms Of Sycorax, toads, beetles, bats, light on you ! For I am all the subjects that you have, Which first was mine own king: and here you sty me In this hard rock, whiles you do keep from me The rest of the island.

Pro. Thou most lying slave,

Whom stripes may move, not kindness ! I have us'd

thee, Filth as thou art, with human care ; and lodg'd thee in mine own cell, till thou did'st seek to violate The honor of rny child.

Cal. Q ho, O ho ! — 'would it had been done ! Thou didst prevent me; I had peopled else This isle with Calibans.

Pro. Abhorred slave;

Which any print of goodness will not take, Being capable of all ill ! I pitied thee, Took pains to make thee speak, taught thee each

hour One thing or other: when thou didst not, savage, Know thine own meaning, but wouldst gabble like A thing most brutish, I endow'd thy purposes With words that made them known : But thy vile

race, Though thou didst learn, had that in't which good

natures Could not abide to be with ; therefore wast thou Deservedly confin'd into this rock, Who hadst deserv'd more than a prison.

Cal. You taught mc language ; and my profit on't Is, I know how to curse : the red plague rid ' you, For learning me your language !

• Fairies. ' Destroy.

Pro. Hag-seed, /.ence \

Fetch us in fuel ; and be quick, thou wert best, To answer other business. Shrug'st thou, malice 1 If thou neglect'st, or dost unwillingly What I command, I'll rack thee with old crampe Fill all thy bones with aches; make thee roar, That beasts shall tremble at thy din.

Cal. No, 'pray thee! —

I must obey: his art is of such power [Aside

It would control my dam's god, Setebos, And make a vassal of him.

Pro. So, slave ; hence !

[Exit Caliban

Re-enter Ariel, invisible, playing and singing; F erdix an d following him.

Ariel's Song.

Come unto these yellow sands

And then take hands: Courfsied ivhen you have, and kiss'd,

{The wild waves whist s ) Foot it feut/y here and there,- And, sweet sprites, the burden bear.

Hai-k, hark!

Bur. Bowgh, wowgh. [dispersedly.

The watch-dogs bark: Bur. Bowgh, wowgh. [dispersedly

Hark, hark/ I hear The strain of strutting chanticlere Cry, cock-a-doodle-do.

Fer. Where should this music be? i' the air, cr the earth 1 It sounds no more : — and sure, H waits upon Some god of the island. Sitting ">n a bank, Weeping again the king my fath. \ wreck, This music crept by me upon the v;\-*.ers; Allaying both their fury, and my passion, With its sweet air; thence I have follow'd it, Or it hath drawn me rather: — But 'tis gone. No, it begins again.

Ariel sings.

Fall fathom Jive thy father lies; Of his bones are coral made; Those are pearls, that were his eyes:

Nothing of him that doth fade, But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell: Hark! now I hear them, — ding-dong, bell. [Burden, ding-dong.

Fer. The ditty does remember my drown'd father : — This is no mortal business, nor no sound That the earth owes 9 : — I hear it now above me.

Pro. The fringed curtains of thine eye advance And say, what thou seest yond'.

Mira. What is't? a spirit?

Lord, how it looks about! Believe me, sir, It carries a brave form : — But 'tis a spirit.

Pro. No, wench; it eats and sleeps, and hath

such senses

As we have, such : This gallant which thou seest,

Was in the wreck ; and but he's something stain'c"

With grief, that's beauty's canker, thou mights'

call him A goodly person : he hath lost his fellows, And strays about to find them.

Mira. I might call hir.

A thing divine ; for ncthing natural I ever saw so noble.

• Being stilled, silenced. ?wns.

Pro. It goes on, [Aside.

As my soul prompts it: — Spirit, fine spirit! I'll

free thee Within two days for this.

Fer. Most sure the goddess

On whom these airs attend ! — Vouchsafe my prayer May know, if you remain upon this island; And that you will some good instruction give, How I may hear me here: My prime request, Wluch I do last pronounce, is, you wonder! If you be maid, or no?

Mir a. No wonder, sir ;

But, certainly a maid.

Fer. My language ; heavens ! —

I am the best of them that speak this speech, Were I but where 'tis spoken.

Pro. How ! the best !

What wert thou if the king of Naples heard thee 1

Fer. A single thing, as I am now, that wonders To hear thee speak of Naples : He does hear me ; And, that he does, I weep : myself am Naples ; Who with mine eyes, ne'er since at ebb, beheld The king my father wreck'd.

Mira. Alack, for mercy!

Fer. Yes, faith, and all his lords; the duke of Milan, And his brave son being twain.

Pro. Th& duke of Milan,

And his more braver daughter, could control ' thee, If now 'twere fit to do't : — At the first sight

[Aside.

They have chang'd eyes: — Delicate Ariel, I'll set thee free for this! — A word, good sir: I fear, you have done yourself some wrong: a word.

Mira. Why speaks my father so ungently? This Is the third man that e'er I saw ; the first That e'er I sighed for: pity move my father To be inclin'd my way!

Fer. O, if a virgin,

And your affection not gone forth, I'll make you The queen of Naples !

Pro. Soft, sir, one word more. —

They are both in either's powers ; but this swift

business I must uneasy make, lest too light winning [Aside. Make the prize light. — One word more; I charge

thee, That thou attend me: thou dost here usurp The name thou ow'st not; and hast put thyself Upon this island, as a spy to win it From me, the lord on't.

Fer. No, as I am a man.

Mira. There's nothing ill can dwell in such a temple : If the ill spirit have so fair an house, Good things will strive to dwell with't.

Pro. Follow me. — [To Ferd.

Speak not you for him , ne's a traitor. — Come. I'll manacle thy neck and feet together: Sea-water shalt thou drink, thy food shall be The fresh-brook muscles, wither'd roots, and hunks Wherein the acorn cradled: Follow.

Fer. No;

I will resist such entertainment, till Mine enemy has more power. [He draws.

Mira. O dear father,

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