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Shakespeare's dramatic works and poems, with notes, and numerous etchings on steel ...

William Shakespeare · 1843 · Scanned text

188,372 words · about 13 h 11 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 1843, author long deceased · Library of Congress, Selected Digitized Books (https://www.loc.gov/item/unk83004577); text via the Common Pile (CC BY 4.0 compilation, per-document rights preserved)

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About this book

Language
English
Published
1843
Length
188,372 words · about 13 h 11 min
Sections
76 reader sections
Text
Scanned text, read from page scans by OCR; may contain errors
Rights
Public domain

 

Contents (76)
  1. Front matter about 25 min
  2. Scene I. GYMBELINE about 11 min
  3. SCENE III. A public Place. Enter Cloten, and two Lords about 1 min
  4. SCENE IV. A Room in Cymbeline's Palace. Enter Imogen and Pisanio about 3 min
  5. Act I about 6 min
  6. Scene VI. CYMBELINE about 11 min
  7. Scene VII. CYMBELINE about 7 min
  8. SCENE I. Court before Cymbeline's Palace.— Enter Cloten, and two Lords about 25 min
  9. Scene II. CYMBELINE about 8 min
  10. SCENE III. Wales. A mountainous Country about 3 min
  11. Scene IV about 15 min
  12. SCENE V. A Room in Cymbeline's Palace.— Enter Cymbeline, Queen, Cloten, Lucius about 6 min
  13. Scene VI. CYMBELINE about 7 min
  14. SCENE VII. Rome. Enter Two Senators and Tribunes about 1 min
  15. SCENE I. The Forest, near the Cave. Enter Cloten about 1 min
  16. SCENE II. Before the Cave. Enter, from the Cave, Belarius, Guiderius, Arviragus, and about 30 min
  17. Act V about 4 min
  18. Scene IV. CYMBELINE about 14 min
  19. SCENE V. 6 Cymbeline's Tent. Enter Cymbe about 28 min
  20. Scene. I. TITUS ANDRONICUS about 5 min
  21. Act I about 3 min
  22. SCENE II. The same. Enter a Captain, and others about 18 min
  23. Act II. 3 about 6 min
  24. Scene III. Titus andronicus about 15 min
  25. Act III Enter Marcus about 18 min
  26. SCENE I. Tlie same. Before Titus's House about 23 min
  27. Act V about 2 min
  28. Act 7 about 6 min
  29. SCENE II. Rome. Before Titus's House. Enter Tamora, Chiron, aud Demetrius, disguised about 9 min
  30. SCENE III. The same. A Pavilion, with Tables about 24 min
  31. Act I about 20 min
  32. SCENE III. Tyre. An Ante-Chamber in the Palace. Enter Thaliard about 3 min
  33. SCENE IV. Tharsus. A Room in tJie Governor's Mouse. Enter Clf.on, Dionyza, ami Attendants about 6 min
  34. ACT II. Enter Gower about 2 min
  35. SCENE I. Pentapolis. An open Place by the Sea Side. Enter Pericles, wet about 9 min
  36. SCENE II. The same. A public Way, or Platform, hading to the Lists. A Pavilion by the side about 9 min
  37. SCENE IV. Tyre. A Room in the Governor's House. Enter Hb Lie an us and Escanes about 3 min
  38. SCENE V. Pentapolis. A Room m the Palace. Enter Simonides, reading a Letter; the Knights about 4 min
  39. ACT III. Enter Gower about 3 min
  40. SCENE I. Enter Pericles, on a Slap at Sea about 12 min
  41. Act IV under 1 min
  42. SCENE III. Tharsus. A Room in Cleon's House. Enter Pericles, Cleon, Dionyza, Lychori about 3 min
  43. SCENE IV. Ephesus. A Room in Cerimon's House. Enter Cerimon and Thaisa about 5 min
  44. SCENE I. Tharsus. An open Place near the Seashore. Enter Dionyza and Leonine about 6 min
  45. SCENE III. Mitylene. A Room in a Brothel. Enter Pander, Bawd, and Boult about 8 min
  46. SCENE IV. Tharsus. A Room in Cleon's House. Enter Cleox and Dionyza about 7 min
  47. SCENE V. Mitylene. A Street before the Brothel. Enter, from the Brothel, Two Gentlemen about 11 min
  48. ACT V. Enter Gower about 30 min
  49. Scene I. KING LEAR about 5 min
  50. Act I about 17 min
  51. Scene II. KING LEAR about 37 min
  52. Act II about 20 min
  53. SCENE III. A Part of the Heath. Enter Edgar about 1 min
  54. SCENE IV. Before Gloster's Castle. 1 Enter Lear, Fool, and Gentleman about 22 min
  55. SCENE I. A Heath. A Storm is heard, with about 3 min
  56. SCENE II. Another Part of the Heath. Storm about 7 min
  57. Scene IV. KING LEAR about 12 min
  58. Scene VI. KING LEAR about 12 min
  59. Scene VII. KING LEAR about 9 min
  60. SCENE I. The Heath. Enter Edgar about 2 min
  61. Scene II. KING LEAR about 11 min
  62. Scene IV. KING LEAR about 6 min
  63. SCENE V. A Room in Gloster's Castle. Enter Regan and Steward about 2 min
  64. SCENE VI. 10 The Country near Dover. Enter Gloster, and Edgar, dressed like a Peasant about 25 min
  65. Scene VII. KING LEAR about 1 min
  66. Act V about 42 min
  67. Prologue about 1 min
  68. Act I about 11 min
  69. Scene II about 9 min
  70. SCENE III. ARoominCzpuhVsHcmse.s Enter L,ADy Capulet a«d Nurse about 3 min
  71. Scene IV. ROMEO AND JULIET about 12 min
  72. Scene V. ItOMEO AND JULIET about 12 min
  73. SCENE I. An open Place, adjoining Capulet's Garden. Enter Romeo about 2 min
  74. SCENE II. Capulet's Garden. Enter Romeo about 10 min
  75. Scene III. ROMEO AND JULIET about 9 min
  76. SCENE IV. A Street. Enter Benvolio and Mercutio about 14 min

Continue:

Front matter

PI?

^755

\\l THE ONLY PERFECT EDITION. (X

Scene I. GYMBELINE

PERSONS REPRESENTED.

CrMBEUBE, King of Britain.

Cloten, Son to the Queen by a former Husband.

Leonatus Posthumus, a Gentleman, Husband to

Imogen.

Belarius, a banisked Lord, disguised under the

name of Morgan.

Guiderius, (< So ™ t0 Cymbeline, disguised under Arviragus ) ^ names o/ Poly dore and Cad-

' ( wsl, supposed Sons to Belanus. Philario, Friend to Posthumus, ) T . ,- Iachimo, Friend to Philario, ( kalians.

A French Gentleman, Friend to Philario. Caius Lucius, Ge neral of the Roman Forces. A Roman Captain. Two British Captains.

Pisanio, Servant to Posthumus.

Cornelius, a Physician.

Two Gentlemen.

Two Gaolers.

Queen, Wife to Cymbeline.

Imogen, Daughter to Cymbeline by a former Queen,

Helen, Woman to Imogen.

Lords, Ladies, Roman Senators, Tribunes, Apparitions, a Soothsayer, a Dutch Gentleman, a Spanish Gentleman, Musicians, Officers, Captains, Soldiers, Messengers, and oilier Attendants.

SCENE, sometimes in Britain; sometimes in Italy.

SCENE I. Britain. The Garden behind Cymbe line's Palace, Enter Two Gentlemen. 1 Gentleman.

You do not meet a man but frowns : our bloods No more obey the heavens, than our courtiers, Still seem, as does the king's.'

2 Gent. But what's the matter ?

1 Gent His daughter, and the heir of his kingdom, whom He purpos'd to his wife's sole son, (a widow That late he married,) hath referr'd herself Unto a poor but worthy gentleman : She's wedded ; Her husband banish'd ; she imprison'd : all Is outward sorrow ; though, I think, the king Be touch'd at very heart. •2 Gent None but the king?

1 Gent. He that hath lost her, too: so is the queen, ihat most desir'd the match : But not a courtier, Although they wear their faces to the bent Of the king's looks, hath a heart that is not Glad at the thtRg they scowl at.

f £ ea< - TI , , And why so ?

1 GenL He that hath miss'd the princess, is a

thing Too bad for bad report : and he that hath her, (1 mean, that married her,— -alack, good mani— /.nd therefore banish'd,) is a creature such As, to seek through the regions of the earth For one kis like, there would be something failing Jn him that should compare. I do not think, »o fair an outward, and such stuff within Endows a man but he.

2 Gent. You speak him far.*

1 Cent. I ao extend him, sir, within himself: Crush him together, rather than unfold

His measure duly. 3

2 Gent. What's his name, and birth? 1 Cent I cannot delve him to the root: His

father Was call'd Sicilius, who did join his honour* Against the Romans, with Cassibelan • But had his titles by Tenantius, 6 whom He serv'd with glory and admir'd success: Sso gam d the sw-additiovi, Leonatus :

1 Our bloods [i. e. our dispositions or temperaments] are not more regulated by the heavens, b v n-ery skuen influence, lha.n our courtiers are by the 'disposition of the king: : when he frowns, every man frowns.' Blood is used in old phraseology for disposition or temperamsnt. So in King Lear:— *

' Were it my fitnesG

To let these hands obey my blood '

2 i.e. you praise him extensively.

3 'My eulogium, however extended it may seem, is short ot his real excellence ; it is rather abbreviated than expanded.' Perhaps this passage will be best illustrafeu by the following lines in Troilus and Cressida, Act

ill. OC 3 • - '

' no man is the lord of any thin",

Till he communicate his pans to others • Nor doth he of himself know them fur alight, Till he behold them form'd in the applause Where they are extended.' .[i. e. displayed at length ]

And had, besides this gentleman in question, Two other sons, who, in the wars o' the time, Died with their swords in hand; for which their

father, (Then old and fond of issue,) took such sorrosv, That he quit being ; and his gentle lady, Big of this gentleman, our theme, deceas'd As he was born. The king, he takes the babe To his protection ; calls him Posthumus ; Breeds him, and makes him of his bedchamber: Puts him to all the learnings that his time Could make him the receiver of; which he took, As we do air, fast as 'twas minister'd ; and In his spring became a harvest : Liv'd in court (Which rare it is to do) most prais'd, most lov'd : A sample to the youngest ; to the more mature A glass that feated* them ; and to the graver, A child that guided dotards ; to his mistress, 8 From whom he now is banish'd, — her own price Proclaims how she esteem'd him and his virtue; By her election may -be truly read, What kind of man he is.

2 Gent. f honour him

Even out of your report. But, 'pray you, tell me, Is she sole child to the king ?

1 Gent. His only child.

He had two sons (if this be worth your hearing Mark it,) the eldest of them at three years old'

P the swathing clothes the other, from their nursery Were stolen : and to this hour, no guess in know

ledge Which way they went.

2 Gent. How long is this ago ?

1 Gent. Some twenty years.

2 Gent. That a king's children should be so con-

vey'd !

So slackly guarded ! And the search so slow, That could not trace them !

1 Gent. Howsoe'er 'tis strange, Or that the negligence may well be iaudi'd at, Yet is it true, sir.

2 Gent. I do well believe you.

1 Gent. We must forbear: Here comes the queem and princess. [Exeunt.

SCENE IL The same. Enter the Queen, Posthumus, and Imogen.

Queen. No, be assur'd, you shall not had me, daughter, After the slander of most step-mothers,

4 I do not (says Steevens) understand what can be meant by 'joining his honour against, &c. with, &c Perhaps Shakspeare wrote : —

' did join his banner.''

In the last scene of the play Cymbeline proposes that 'a Roman and a British ensign should wave icether '

The father of Cymbeline.

6 'This encomium (says Johnson) is highly artful To be at once in any great degree loved and praised is truly rare.'

1 Feale is well-fashioned, proper, trim, handsome well compact. Concinnus. Thus in Horman's Vul»ana, lol9 .— ' He would see himself in a glasse, that = ah thinge were feet.' Feature was also used for fashio?. or proportion. The verb to feat was probably formed by Shakspeare himself.

3 ' To his mistress,' means as to his mistresu.

CYMBELLNE

Act !•

Evil-eyed unto you : you are my prisoner, but Your gaoler shall deliver you the keys That loclf up your restraint. For you, Posthumus, So soon as I can win the offended king, I will be known your advocate : marry, yet The fire of rage is in him ; and 'twere good, You lean'd unto his sentence, with what patience Your wisdom may inform you.

Post. Please your highness,

I will from hence to-day.

Queen. You know the peril : —

I'll fetch a turn about the garden, pitying The pangs of barr'd affections : though the king Hath charg'd you should not speak together.

[Exit Queen.

Imo. • O,

Dissembling courtesy ! How fine this tyrant Can tickle where she wounds! — My dearest husband, I something fear my father's wrath ; but nothing (Always reserv'd my holy duty,) 1 what His rage can do on me : You must be gone ; And I shall here abide the hourly shot Of angry eyes : not comforted to live, But that there is this jewel in the world, That I may see again.

Post. My queen ! my mistress !

O, lady, weep no more ; lest I give cause To be suspected of more tenderness Than doth become a man ! I will remain The loyal'st husband that did e'er plight troth. My residence in Rome at one Philario's ; Who to my father was a friend, to me Known but by letter : thither write, my queen, And with mine eyes I'll drink the words ^rou send, Though ink be made of gall.

Re-enter Queen.

Queen. Be brief, I pray you :

If the king come, I shall incur I know not How much of his displeasure : — Yet I'll move him

[Aside.

To walk this way : I never do him wrong, But he does buy my injuries, to be friends : Pays dear for my offences. 2 [Exit.

Post. Should we he taking leave

As long a term as yet we have to live, The loathness to depart would grow : Adieu!

Imo. Nay, stay a little : Were you but riding forth to air yourself, Such parting were too petty. Look here, love ; This diamond was my mother's : take it, heart ; But keep it till you woo another wife, When Imogen is dead.

Post. How ! how ! another ?

You gentle gods, give me but this I have, And sear up 3 my embraccments from a next With bonds of death! — Remain, remain thou here

[Putting on the Ring.

While sense* can keep it on ! And sweetest, fairest, As I my poor self did exchange for you,

To your so infinite loss ; so, in our trifles I still win of you : For my sake, wear this ; It is a manacle of love ; I'll place it Upon this fairest prisoner.

[Putting a Bracelet on her Arm.

Imo. O, the gods !

When shall we see again ?

Enter Cymbeljne and Lords.

Post. Alack, the king!

Cym. Thou basest thing, avoid I hence, from my sight!

If, after this command, thou fraught the court With thy unworthiness, thou diest : Away ! Thou art poison to my blood.

Post. The gods protect you !

And bless the good remainders of the court ! I am gone. [Exit

Imo. There cannot be a pinch in death

More sharp than this is.

Cym. O, disloyal thing,

That should'st repair 5 my youth ; thou heapest A year's age on me ! 6

Imo. I beseech you, sir,

Harm not yourself with your vexation : I Am senseless of your wrath ; a touch more rare Subdues all pangs, all fears.

Cym. Past grace ? obedience ?

Imo. Past hope, and in despair ; that way, past

grace.

Cym. That might'st have had the sole son of my

queen !

Imo. O, bless'd, that I might not ! I chose an eagle, And did avoid a puttock. 8

Cym. Thou took'st a beggar; would'st have made my throne A seat for baseness.

Imo. No ; I rather added

A lustre to it.

Cym. O, thou vile one !

Imo. Sir,

It is your fault that I have lov'd Posthumus : You bred him as my playfellow ; and he is A man, worth anv woman : overbuys me Almost the sum he pays. 9

Cym. What ! — art thou mad ?

Imo. Almost, sir : Heaven restore me ! — 'Would I were A neat-herd's daughter ! and my Leonatus Our neighbour shepherd's son !

Re-enter Queen.

Cym. Thou foolish thing !— •

They were again together : you have done

[To the Queen Not after our command. Away with her, And pen her up.

Queen. 'Beseech your patience : — Peace.

Dear lady daughter, peace ; Sweet sovereign,

1 ' I say I do not fear my father, so far as I may say it without breach of duty.'

2 ' He gives me a valuable consideration in new kindness, (purchasing, as it were, the wrong I have done him), in order to renew our amity, and make us friends again.'

3 Shakspeare poetically calls the cere-cloths, in which the dead are wrapped, the bonds of death. There was no distinction in ancient orthography between seare, to dry, to wither ; and seare, to dress or cover with wax. Cere-cloth is most frequently spelled seare-cloth. In Kamlet we have : —

' Why, thy canonized bones hearsed in death Have burst their cerements.''

4 l. e. while I have sensation to retain it. There can be no doubt that it refers to the ring, and it is equally obvious that thee would have been more proper. Whether tins error is to be laid to the poet's charge or to that of careless printing, it would not be easy to decide. Malone, however, has shown that there are many passages in these plays of equally loose construction.

5 i. e. renovate my youth, make me young again

' To repaire (according to Baret) is to restore to the first state, to renew.' So in All's Well that Enda Well :—

• it much repairs me

To talk of your good father.'

6 Sir Thomas Hammer reads : —

' thou heapest many

A year's age on me f Some such emendation seems necessary.

7 ' A touch more rare' is ' a more exquisite feeling, a superior sensation.' So in The Tempest : —

' Hast thou, which art but air, a touch, a feeling Of their afflictions.' And in Antony and Cleopatra : —

'The death of Fulvia, with more urgent touches, Do stronely speak to us.' A passage in King Lear will illustrate Imogen's mean* ing: —

« where the greater malady is fix'd,

The lesser is scarce felt.' 9 A puttock is a mean degenerate species of hawk too worthless to deserve training. 9 ' My worth is not half equal to bis '

Scene IV.

CYMBELINE.

Sll

Leave us to ourselves ; and make yourself some

comfort Out of your best advice. 1

Cym. Nay, let her languish

A drop of blood a day ; and, being aged, Die of this folly ! 2 ' [Exit.

Enter Pisanio.

Queen. Fie ! — you must give way :

Here is your servant. — How now, sir ? What news ?

Pis. My lord, your son drew on my master.

Queen. Ha !

No harm, I trust, is done ?

Pis. There might have been,

But that my master rather play'd than fought, And had no help of anger : they were parted By gentlemen at hand.

Queen. I am very glad on't.

Imo. Your son's my father's friend : he takes his part. — To draw upon an exile ! — O brave sir ! — I would they were in Afric both together ; Myself by with a needle, that I might prick The goer back. — Why came you from your master ?

Pis. On his command : He would not suffer mc To bring him to the haven : left these notes Of what oommands I should be subject to, When it pleas'd you to employ me.

Queen. This hath been

Your faithful servant : I dare lay mine honour, He will remain so.

Pis. I humbly thank your highness.

Queen. Pray, walk a while.

Imo. About some half hour hence,

I pray you, speak with me : you shall, at least, Go see my lord aboard : for this time, leave me.

[Exeunt.

SCENE III. A public Place. Enter Cloten, and two Lords

1 Lord. Sir, I would advise you to take a shirt ; the violence of action hath made you reek as a sacrifice : Where air comes out, air comes in : there's none abroad so wholesome as that you vent.

Clo. If my shirt were bloody, then to shift it — Have I hurt him ?

2 Lord. No, faith ; not so much as his patience.

[Aside.

1 Lord. Hurt him ? his body's a passable carcass, if he be not hurt: it is a thoroughfare for steel if it be not hurt.

2 Lord. His steel was in debt ; it went o' the backside the town. [Aside.

Clo. The villain would not stand me. 2 Lord. No ; but he fled forward still, toward your face. [Aside.

1 Lord. Stand you ! you have land enough of your own : but he added to your having ; gave you some ground.

2 Lord. As many inches as you have oceans : Puppies ! [Aside.

Clo. I would, they had not come between us.

2 Iyyrd. So would I, till you had measured how tons a fool you were upon the ground. [Aside.

Clo. And that she should love this fellow, and refuse me !

2 Lord. If it be a sin to make a true election, she is damned. [Aside.

1 Lord. Sir, as I told you always, her beauty and her brain go not together : She's a good sign, but I have seen small reflection of her wit. 3

2 Lord. She shines not upon fools, lest the reflection should hurt her. [Aside.

Clo. Come, I'll to my chamber : 'Would there had been some hurt done !

2 Lord. I wish not so ; unless it had been the fall of an ass, which is no great hurt. [Aside.

Clo. You'll go with us ?

1 Lord. I'll attend your lordship. Clo. Nay, come, let's go together.

2 Lord. Well, my lord. [Exeunt.

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