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Act IV, Scene VII — Another room in the Castle…

Part 13 of 60 · William Shakespeare · Public domain text

About this edition

Source: Project Gutenberg e-text #100, public domain in the United States · text not rewritten or summarized · How RedLectern is built

 

Contents (798)
  1. Opening about 1 h 16 min
  2. Act I, Scene I — Rossillon. A room in the Countess’s palace about 8 min
  3. Act I, Scene II — Paris. A room in the King’s palace about 3 min
  4. Act I, Scene III — Rossillon. A Room in the Palace about 9 min
  5. Act II, Scene I — Paris. A room in the King’s palace about 7 min
  6. Act II, Scene II — Rossillon. A room in the Countess’s palace about 2 min
  7. Act II, Scene III — Paris. The King’s palace about 11 min
  8. Act II, Scene IV — Paris. The King’s palace about 2 min
  9. Act II, Scene V — Another room in the same about 3 min
  10. Act III, Scene I — Florence. A room in the Duke’s palace about 1 min
  11. Act III, Scene II — Rossillon. A room in the Countess’s palace about 5 min
  12. Act III, Scene III — Florence. Before the Duke’s palace under 1 min
  13. Act III, Scene IV — Rossillon. A room in the Countess’s palace about 1 min
  14. Act III, Scene V — Without the walls of Florence about 4 min
  15. Act III, Scene VI — Camp before Florence about 4 min
  16. Act III, Scene VII — Florence. A room in the Widow’s house about 2 min
  17. Act IV, Scene I — Without the Florentine camp about 3 min
  18. Act IV, Scene II — Florence. A room in the Widow’s house about 3 min
  19. Act IV, Scene III — The Florentine camp about 12 min
  20. Act IV, Scene IV — Florence. A room in the Widow’s house about 1 min
  21. Act IV, Scene V — Rossillon. A room in the Countess’s palace about 4 min
  22. Act V, Scene I — Marseilles. A street about 1 min
  23. Act V, Scene II — Rossillon. The inner court of the Countess’s palace about 2 min
  24. Act V, Scene III — The same. A room in the Countess’s palace about 13 min
  25. Act I, Scene I — Alexandria. A Room in Cleopatra’s palace about 2 min
  26. Act I, Scene II — Alexandria. Another Room in Cleopatra’s palace about 7 min
  27. Act I, Scene III — Alexandria. A Room in Cleopatra’s palace about 4 min
  28. Act I, Scene IV — Rome. An Apartment in Caesar’s House about 3 min
  29. Act I, Scene V — Alexandria. A Room in the Palace about 3 min
  30. Act II, Scene I — Messina. A Room in Pompey’s house about 2 min
  31. Act II, Scene II — Rome. A Room in the House of Lepidus about 8 min
  32. Act II, Scene III — Rome. A Room in Caesar’s House about 2 min
  33. Act II, Scene IV — Rome. A street under 1 min
  34. Act II, Scene V — Alexandria. A Room in the Palace about 5 min
  35. Act II, Scene VI — Near Misenum about 5 min
  36. Act II, Scene VII — On board Pompey’s Galley, lying near Misenum about 5 min
  37. Act III, Scene I — A plain in Syria about 1 min
  38. Act III, Scene II — Rome. An Ante-chamber in Caesar’s house about 3 min
  39. Act III, Scene III — Alexandria. A Room in the Palace about 2 min
  40. Act III, Scene IV — Athens. A Room in Antony’s House about 1 min
  41. Act III, Scene V — Athens. Another Room in Antony’s House about 1 min
  42. Act III, Scene VI — Rome. A Room in Caesar’s House about 3 min
  43. Act III, Scene VII — Antony’s Camp near the Promontory of Actium about 3 min
  44. Act III, Scene VIII — A plain near Actium under 1 min
  45. Act III, Scene IX — Another part of the Plain under 1 min
  46. Act III, Scene X — Another part of the Plain about 1 min
  47. Act III, Scene XI — Alexandria. A Room in the Palace about 3 min
  48. Act III, Scene XII — Caesar’s camp in Egypt about 1 min
  49. Act III, Scene XIII — Alexandria. A Room in the Palace about 7 min
  50. Act IV, Scene I — Caesar’s Camp at Alexandria about 1 min
  51. Act IV, Scene II — Alexandria. A Room in the Palace about 2 min
  52. Act IV, Scene III — Alexandria. Before the Palace about 1 min
  53. Act IV, Scene IV — Alexandria. A Room in the Palace about 1 min
  54. Act IV, Scene V — Antony’s camp near Alexandria about 1 min
  55. Act IV, Scene VI — Alexandria. Caesar’s camp about 1 min
  56. Act IV, Scene VII — Field of battle between the Camps about 1 min
  57. Act IV, Scene VIII — Under the Walls of Alexandria about 1 min
  58. Act IV, Scene IX — Caesar’s camp about 1 min
  59. Act IV, Scene X — Ground between the two Camps under 1 min
  60. Act IV, Scene XI — Another part of the Ground under 1 min
  61. Act IV, Scene XII — Another part of the Ground about 2 min
  62. Act IV, Scene XIII — Alexandria. A Room in the Palace under 1 min
  63. Act IV, Scene XIV — Alexandria. Another Room about 5 min
  64. Act IV, Scene XV — Alexandria. A monument about 3 min
  65. Act V, Scene I — Caesar’s Camp before Alexandria about 3 min
  66. Act V, Scene II — Alexandria. A Room in the Monument about 14 min
  67. Act I, Scene I — An Orchard near Oliver’s house about 6 min
  68. Act I, Scene II — A Lawn before the Duke’s Palace about 10 min
  69. Act I, Scene III — A Room in the Palace about 5 min
  70. Act II, Scene I — The Forest of Arden about 2 min
  71. Act II, Scene II — A Room in the Palace about 1 min
  72. Act II, Scene III — Before Oliver’s House about 3 min
  73. Act II, Scene IV — The Forest of Arden about 4 min
  74. Act II, Scene V — Another part of the Forest about 2 min
  75. Act II, Scene VI — Another part of the Forest about 1 min
  76. Act II, Scene VII — Another part of the Forest about 7 min
  77. Act III, Scene I — A Room in the Palace about 1 min
  78. Act III, Scene II — The Forest of Arden about 14 min
  79. Act III, Scene III — Another part of the Forest about 4 min
  80. Act III, Scene IV — Another part of the Forest. Before a Cottage about 2 min
  81. Act III, Scene V — Another part of the Forest about 5 min
  82. Act IV, Scene I — The Forest of Arden about 7 min
  83. Act IV, Scene II — Another part of the Forest about 1 min
  84. Act IV, Scene III — Another part of the Forest about 6 min
  85. Act V, Scene I — The Forest of Arden about 2 min
  86. Act V, Scene II — Another part of the Forest about 4 min
  87. Act V, Scene III — Another part of the Forest about 2 min
  88. Act V, Scene IV — Another part of the Forest about 7 min
  89. Epilogue about 1 min
  90. Act I, Scene I — A hall in the Duke’s palace about 5 min
  91. Act I, Scene II — A public place about 4 min
  92. Act II, Scene I — A public place about 4 min
  93. Act II, Scene II — The same about 8 min
  94. Act III, Scene I — The same about 6 min
  95. Act III, Scene II — The same about 7 min
  96. Act IV, Scene I — The same about 5 min
  97. Act IV, Scene II — The same about 3 min
  98. Act IV, Scene III — The same about 4 min
  99. Act IV, Scene IV — The same about 7 min
  100. Act V, Scene I — The same about 16 min
  101. Act I, Scene I — Rome. A street about 10 min
  102. Act I, Scene II — Corioles. The Senate House about 1 min
  103. Act I, Scene III — Rome. An apartment in Martius’ house about 4 min
  104. Act I, Scene IV — Before Corioles about 3 min
  105. Act I, Scene V — Within Corioles. A street about 1 min
  106. Act I, Scene VI — Near the camp of Cominius about 3 min
  107. Act I, Scene VII — The gates of Corioles under 1 min
  108. Act I, Scene VIII — A field of battle between the Roman and the Volscian camps about 1 min
  109. Act I, Scene IX — The Roman camp about 3 min
  110. Act I, Scene X — The camp of the Volsces about 1 min
  111. Act II, Scene I — Rome. A public place about 10 min
  112. Act II, Scene II — Rome. The Capitol about 6 min
  113. Act II, Scene III — Rome. The Forum about 9 min
  114. Act III, Scene I — Rome. A street about 12 min
  115. Act III, Scene II — Rome. A room in Coriolanus’s house about 5 min
  116. Act III, Scene III — Rome. The Forum about 5 min
  117. Act IV, Scene I — Rome. Before a gate of the city about 2 min
  118. Act IV, Scene II — Rome. A street near the gate about 2 min
  119. Act IV, Scene III — A highway between Rome and Antium about 2 min
  120. Act IV, Scene IV — Antium. Before Aufidius’s house about 1 min
  121. Act IV, Scene V — Antium. A hall in Aufidius’s house about 8 min
  122. Act IV, Scene VI — Rome. A public place about 6 min
  123. Act IV, Scene VII — A camp at a short distance from Rome about 2 min
  124. Act V, Scene I — Rome. A public place about 3 min
  125. Act V, Scene II — An Advanced post of the Volscian camp before Rome about 4 min
  126. Act V, Scene III — The tent of Coriolanus about 7 min
  127. Act V, Scene IV — Rome. A public place about 2 min
  128. Act V, Scene V — Rome. A street near the gate under 1 min
  129. Act V, Scene VI — Antium. A public place about 6 min
  130. Act I, Scene I — Britain. The garden of Cymbeline’s palace about 3 min
  131. Act I, Scene II — The same about 4 min
  132. Act I, Scene III — Britain. A public place about 1 min
  133. Act I, Scene IV — Britain. Cymbeline’s palace about 2 min
  134. Act I, Scene V — Rome. Philario’s house about 6 min
  135. Act I, Scene VI — Britain. Cymbeline’s palace about 3 min
  136. Act I, Scene VII — Britain. The palace about 7 min
  137. Act II, Scene I — Britain. Before Cymbeline’s palace about 2 min
  138. Act II, Scene II — Britain. Imogen’s bedchamber in Cymbeline’s palace; a trunk in one corner about 2 min
  139. Act II, Scene III — Cymbeline’s palace. An ante-chamber adjoining Imogen’s apartments about 6 min
  140. Act II, Scene IV — Rome. Philario’s house about 6 min
  141. Act II, Scene V — Rome. Another room in Philario’s house about 1 min
  142. Act III, Scene I — Britain. A hall in Cymbeline’s palace about 3 min
  143. Act III, Scene II — Britain. Another room in Cymbeline’s palace about 3 min
  144. Act III, Scene III — Wales. A mountainous country with a cave about 4 min
  145. Act III, Scene IV — Wales, near Milford Haven about 7 min
  146. Act III, Scene V — Britain. Cymbeline’s palace about 6 min
  147. Act III, Scene VI — Wales. Before the cave of Belarius about 1 min
  148. Act III, Scene VII — The same about 3 min
  149. Act III, Scene VIII — Rome. A public place about 1 min
  150. Act IV, Scene I — Wales. Near the cave of Belarius about 1 min
  151. Act IV, Scene II — Wales. Before the cave of Belarius about 15 min
  152. Act IV, Scene III — Britain. Cymbeline’s palace about 2 min
  153. Act IV, Scene IV — Wales. Before the cave of Belarius about 2 min
  154. Act V, Scene I — Britain. The Roman camp about 1 min
  155. Act V, Scene II — Britain. A field of battle between the British and Roman camps about 1 min
  156. Act V, Scene III — Another part of the field about 4 min
  157. Act V, Scene IV — Britain. A prison about 7 min
  158. Act V, Scene V — Britain. Cymbeline’s tent about 18 min
  159. Act I, Scene I — Elsinore. A platform before the Castle about 6 min
  160. Act I, Scene II — Elsinore. A room of state in the Castle about 9 min
  161. Act I, Scene III — A room in Polonius’s house about 5 min
  162. Act I, Scene IV — The platform about 3 min
  163. Act I, Scene V — A more remote part of the Castle about 6 min
  164. Act II, Scene I — A room in Polonius’s house about 4 min
  165. Act II, Scene II — A room in the Castle about 21 min
  166. Act III, Scene I — A room in the Castle about 7 min
  167. Act III, Scene II — A hall in the Castle about 14 min
  168. Act III, Scene III — A room in the Castle about 3 min
  169. Act III, Scene IV — Another room in the Castle about 8 min
  170. Act IV, Scene I — A room in the Castle about 2 min
  171. Act IV, Scene II — Another room in the Castle about 1 min
  172. Act IV, Scene III — Another room in the Castle about 2 min
  173. Act IV, Scene IV — A plain in Denmark about 2 min
  174. Act IV, Scene V — Elsinore. A room in the Castle about 7 min
  175. Act IV, Scene VI — Another room in the Castle about 1 min
  176. Act IV, Scene VII — Another room in the Castle about 7 min
  177. Act V, Scene I — A churchyard about 10 min
  178. Act V, Scene II — A hall in the Castle about 15 min
  179. Act I, Scene I — London. A Room in the Palace about 3 min
  180. Act I, Scene II — The same. An Apartment of Prince Henry’s about 8 min
  181. Act I, Scene III — The Same. A Room in the Palace about 10 min
  182. Act II, Scene I — Rochester. An Inn-Yard about 4 min
  183. Act II, Scene II — The Road by Gads-hill about 4 min
  184. Act II, Scene III — Warkworth. A Room in the Castle about 4 min
  185. Act II, Scene IV — Eastcheap. A Room in the Boar’s Head Tavern about 20 min
  186. Act III, Scene I — Bangor. A Room in the Archdeacon’s House about 9 min
  187. Act III, Scene II — London. A Room in the Palace about 6 min
  188. Act III, Scene III — Eastcheap. A Room in the Boar’s Head Tavern about 8 min
  189. Act IV, Scene I — The Rebel Camp near Shrewsbury about 5 min
  190. Act IV, Scene II — A public Road near Coventry about 3 min
  191. Act IV, Scene III — The Rebel Camp near Shrewsbury about 4 min
  192. Act IV, Scene IV — York. A Room in the Archbishop’s Palace about 1 min
  193. Act V, Scene I — The King’s Camp near Shrewsbury about 5 min
  194. Act V, Scene II — The Rebel Camp about 3 min
  195. Act V, Scene III — Plain between the Camps about 2 min
  196. Act V, Scene IV — Another Part of the Field about 6 min
  197. Act V, Scene V — Another Part of the Field about 2 min
  198. Induction about 1 min
  199. Act I, Scene I — The same about 8 min
  200. Act I, Scene II — London. A street about 10 min
  201. Act I, Scene III — York. The Archbishop’s palace about 4 min
  202. Act II, Scene I — London. A street about 7 min
  203. Act II, Scene II — London. Another street about 6 min
  204. Act II, Scene III — Warkworth. Before the castle about 2 min
  205. Act II, Scene IV — London. The Boar’s head Tavern in Eastcheap about 13 min
  206. Act III, Scene I — Westminster. The palace about 4 min
  207. Act III, Scene II — Gloucestershire. Before Justice Shallow’s house about 12 min
  208. Act IV, Scene I — Yorkshire. Gaultree Forest about 8 min
  209. Act IV, Scene II — Another part of the forest about 4 min
  210. Act IV, Scene III — Another part of the forest about 5 min
  211. Act IV, Scene IV — Westminster. The Jerusalem Chamber about 5 min
  212. Act IV, Scene V — Another chamber about 8 min
  213. Act V, Scene I — Gloucestershire. Shallow’s house about 3 min
  214. Act V, Scene II — Westminster. The palace about 5 min
  215. Act V, Scene III — Gloucestershire. Shallow’s orchard about 4 min
  216. Act V, Scene IV — London. A street about 1 min
  217. Act V, Scene V — A public place near Westminster Abbey about 4 min
  218. Epilogue about 2 min
  219. Prologue about 1 min
  220. Act I, Scene I — London. An ante-chamber in the King’s palace about 3 min
  221. Act I, Scene II — The same. The presence chamber about 10 min
  222. Act II about 1 min
  223. Act II, Scene I — London. A street about 4 min
  224. Act II, Scene II — Southampton. A council-chamber about 6 min
  225. Act II, Scene III — London. Before a tavern about 2 min
  226. Act II, Scene IV — France. The King’s palace about 5 min
  227. Act III about 1 min
  228. Act III, Scene I — France. Before Harfleur about 1 min
  229. Act III, Scene II — The same about 5 min
  230. Act III, Scene III — Before the gates about 2 min
  231. Act III, Scene IV — The French King’s palace about 2 min
  232. Act III, Scene V — The same about 2 min
  233. Act III, Scene VI — The English camp in Picardy about 6 min
  234. Act III, Scene VII — The French camp, near Agincourt about 5 min
  235. Act IV about 2 min
  236. Act IV, Scene I — The English camp at Agincourt about 11 min
  237. Act IV, Scene II — The French camp about 2 min
  238. Act IV, Scene III — The English camp about 5 min
  239. Act IV, Scene IV — The field of battle about 2 min
  240. Act IV, Scene V — Another part of the field about 1 min
  241. Act IV, Scene VI — Another part of the field about 1 min
  242. Act IV, Scene VII — Another part of the field about 7 min
  243. Act IV, Scene VIII — Before King Henry’s pavilion about 4 min
  244. Act V about 1 min
  245. Act V, Scene I — France. The English camp about 3 min
  246. Act V, Scene II — France. A royal palace about 14 min
  247. Epilogue about 1 min
  248. Act I, Scene I — Westminster Abbey about 6 min
  249. Act I, Scene II — France. Before Orleans about 5 min
  250. Act I, Scene III — London. Before the Tower about 3 min
  251. Act I, Scene IV — Orleans about 4 min
  252. Act I, Scene V — Before Orleans about 2 min
  253. Act I, Scene VI — Orleans about 1 min
  254. Act II, Scene I — Before Orleans about 3 min
  255. Act II, Scene II — Orleans. Within the town about 2 min
  256. Act II, Scene III — Auvergne. The Countess’s castle about 3 min
  257. Act II, Scene IV — London. The Temple Garden about 5 min
  258. Act II, Scene V — The Tower of London about 4 min
  259. Act III, Scene I — London. The Parliament House about 7 min
  260. Act III, Scene II — France. Before Rouen about 5 min
  261. Act III, Scene III — The plains near Rouen about 3 min
  262. Act III, Scene IV — Paris. The Palace about 2 min
  263. Act IV, Scene I — Paris. The Palace about 7 min
  264. Act IV, Scene II — Before Bordeaux about 2 min
  265. Act IV, Scene III — Plains in Gascony about 2 min
  266. Act IV, Scene IV — Other plains in Gascony about 2 min
  267. Act IV, Scene V — The English camp near Bordeaux about 2 min
  268. Act IV, Scene VI — A field of battle about 2 min
  269. Act IV, Scene VII — Another part of the field about 3 min
  270. Act V, Scene I — London. The Palace about 2 min
  271. Act V, Scene II — France. Plains in Anjou about 1 min
  272. Act V, Scene III — Before Angiers about 7 min
  273. Act V, Scene IV — Camp of the Duke of York in Anjou about 6 min
  274. Act V, Scene V — London. The royal palace about 4 min
  275. Act I, Scene I — London. The palace about 9 min
  276. Act I, Scene II — The Duke of Gloucester’s House about 4 min
  277. Act I, Scene III — London. The palace about 8 min
  278. Act I, Scene IV — Gloucester’s Garden about 3 min
  279. Act II, Scene I — Saint Albans about 7 min
  280. Act II, Scene II — London. The Duke of York’s Garden about 3 min
  281. Act II, Scene III — A Hall of Justice about 4 min
  282. Act II, Scene IV — A Street about 4 min
  283. Act III, Scene I — The Abbey at Bury St. Edmund’s about 13 min
  284. Act III, Scene II — Bury St. Edmund’s. A Room of State about 15 min
  285. Act III, Scene III — A Bedchamber about 1 min
  286. Act IV, Scene I — The Coast of Kent about 5 min
  287. Act IV, Scene II — Blackheath about 6 min
  288. Act IV, Scene III — Another part of Blackheath about 1 min
  289. Act IV, Scene IV — London. The Palace about 2 min
  290. Act IV, Scene V — London. The Tower about 1 min
  291. Act IV, Scene VI — London. Cannon Street about 1 min
  292. Act IV, Scene VII — London. Smithfield about 5 min
  293. Act IV, Scene VIII — Southwark about 3 min
  294. Act IV, Scene IX — Kenilworth Castle about 2 min
  295. Act IV, Scene X — Kent. Iden’s Garden about 3 min
  296. Act V, Scene I — Fields between Dartford and Blackheath about 8 min
  297. Act V, Scene II — Saint Albans about 3 min
  298. Act V, Scene III — Fields near Saint Albans about 2 min
  299. Act I, Scene I — London. The Parliament House about 10 min
  300. Act I, Scene II — Sandal Castle about 3 min
  301. Act I, Scene III — Plains near Sandal Castle about 2 min
  302. Act I, Scene IV — The Same about 7 min
  303. Act II, Scene I — A plain near Mortimer’s Cross in Herefordshire about 7 min
  304. Act II, Scene II — Before York about 6 min
  305. Act II, Scene III — A field of battle between Towton and Saxton, in Yorkshire about 2 min
  306. Act II, Scene IV — Another Part of the Field under 1 min
  307. Act II, Scene V — Another Part of the Field about 5 min
  308. Act II, Scene VI — Another Part of the Field about 4 min
  309. Act III, Scene I — A Forest in the North of England about 4 min
  310. Act III, Scene II — The Palace about 8 min
  311. Act III, Scene III — France. The King’s Palace about 10 min
  312. Act IV, Scene I — London. The Palace about 5 min
  313. Act IV, Scene II — A Plain in Warwickshire about 1 min
  314. Act IV, Scene III — Edward’s Camp near Warwick about 3 min
  315. Act IV, Scene IV — London. The Palace about 1 min
  316. Act IV, Scene V — A park near Middleham Castle in Yorkshire about 1 min
  317. Act IV, Scene VI — London. The Tower about 4 min
  318. Act IV, Scene VII — Before York about 3 min
  319. Act IV, Scene VIII — London. The Palace about 2 min
  320. Act V, Scene I — Coventry about 4 min
  321. Act V, Scene II — A Field of Battle near Barnet about 2 min
  322. Act V, Scene III — Another Part of the Field about 1 min
  323. Act V, Scene IV — Plains near Tewkesbury about 3 min
  324. Act V, Scene V — Another part of the Field about 3 min
  325. Act V, Scene VI — London. The Tower about 3 min
  326. Act V, Scene VII — London. The Palace about 4 min
  327. Act I, Scene I — London. An ante-chamber in the palace about 8 min
  328. Act I, Scene II — The same. The council-chamber about 8 min
  329. Act I, Scene III — An ante-chamber in the palace about 3 min
  330. Act I, Scene IV — A Hall in York Place about 5 min
  331. Act II, Scene I — Westminster. A street about 7 min
  332. Act II, Scene II — An ante-chamber in the palace about 6 min
  333. Act II, Scene III — An ante-chamber of the Queen’s apartments about 4 min
  334. Act II, Scene IV — A hall in Blackfriars about 9 min
  335. Act III, Scene I — London. The Queen’s apartments about 7 min
  336. Act III, Scene II — Ante-chamber to the King’s apartment about 17 min
  337. Act IV, Scene I — A street in Westminster about 5 min
  338. Act IV, Scene II — Kimbolton about 7 min
  339. Act V, Scene I — A gallery in the palace about 7 min
  340. Act V, Scene II — Lobby before the council-chamber about 8 min
  341. Act V, Scene III — The palace yard about 3 min
  342. Act V, Scene IV — The palace about 3 min
  343. Epilogue about 1 min
  344. Act I, Scene I — Northampton. A Room of State in the Palace about 10 min
  345. Act II, Scene I — France. Before the walls of Angiers about 21 min
  346. Act III, Scene I — France. The French King’s tent about 12 min
  347. Act III, Scene II — The same. Plains near Angiers under 1 min
  348. Act III, Scene III — The same about 3 min
  349. Act III, Scene IV — The same. The French King’s tent about 6 min
  350. Act IV, Scene I — Northampton. A Room in the Castle about 5 min
  351. Act IV, Scene II — The same. A Room of State in the Palace about 9 min
  352. Act IV, Scene III — The same. Before the castle about 6 min
  353. Act V, Scene I — Northampton. A Room in the Palace about 3 min
  354. Act V, Scene II — Near Saint Edmundsbury. The French Camp about 6 min
  355. Act V, Scene III — The same. The Field of Battle about 1 min
  356. Act V, Scene IV — The same. Another part of the same about 2 min
  357. Act V, Scene V — The same. The French camp about 1 min
  358. Act V, Scene VI — An open place in the neighborhood of Swinstead Abbey about 2 min
  359. Act V, Scene VII — The orchard of Swinstead Abbey about 5 min
  360. Act I, Scene I — Rome. A street about 3 min
  361. Act I, Scene II — The same. A public place about 11 min
  362. Act I, Scene III — The same. A street about 6 min
  363. Act II, Scene I — Rome. Brutus’ orchard about 12 min
  364. Act II, Scene II — A room in Caesar’s palace about 5 min
  365. Act II, Scene III — A street near the Capitol about 1 min
  366. Act II, Scene IV — Another part of the same street, before the house of Brutus about 2 min
  367. Act III, Scene I — Rome. Before the Capitol; the Senate sitting about 11 min
  368. Act III, Scene II — The same. The Forum about 10 min
  369. Act III, Scene III — The same. A street about 1 min
  370. Act IV, Scene I — Rome. A room in Antony’s house about 2 min
  371. Act IV, Scene II — Before Brutus’ tent, in the camp near Sardis about 2 min
  372. Act IV, Scene III — Within the tent of Brutus about 11 min
  373. Act V, Scene I — The plains of Philippi about 4 min
  374. Act V, Scene II — The same. The field of battle under 1 min
  375. Act V, Scene III — Another part of the field about 4 min
  376. Act V, Scene IV — Another part of the field about 1 min
  377. Act V, Scene V — Another part of the field about 3 min
  378. Act I, Scene I — A Room of State in King Lear’s Palace about 11 min
  379. Act I, Scene II — A Hall in the Earl of Gloucester’s Castle about 6 min
  380. Act I, Scene III — A Room in the Duke of Albany’s Palace about 1 min
  381. Act I, Scene IV — A Hall in Albany’s Palace about 11 min
  382. Act I, Scene V — Court before the Duke of Albany’s Palace about 2 min
  383. Act II, Scene I — A court within the Castle of the Earl of Gloucester about 5 min
  384. Act II, Scene II — Before Gloucester’s Castle about 6 min
  385. Act II, Scene III — The open Country about 1 min
  386. Act II, Scene IV — Before Gloucester’s Castle; Kent in the stocks about 11 min
  387. Act III, Scene I — A Heath about 2 min
  388. Act III, Scene II — Another part of the heath about 3 min
  389. Act III, Scene III — A Room in Gloucester’s Castle about 1 min
  390. Act III, Scene IV — A part of the Heath with a Hovel about 6 min
  391. Act III, Scene V — A Room in Gloucester’s Castle about 1 min
  392. Act III, Scene VI — A Chamber in a Farmhouse adjoining the Castle about 4 min
  393. Act III, Scene VII — A Room in Gloucester’s Castle about 4 min
  394. Act IV, Scene I — The heath about 3 min
  395. Act IV, Scene II — Before the Duke of Albany’s Palace about 3 min
  396. Act IV, Scene III — The French camp near Dover about 2 min
  397. Act IV, Scene IV — The French camp. A Tent about 1 min
  398. Act IV, Scene V — A Room in Gloucester’s Castle about 1 min
  399. Act IV, Scene VI — The country near Dover about 10 min
  400. Act IV, Scene VII — A Tent in the French Camp about 4 min
  401. Act V, Scene I — The Camp of the British Forces near Dover about 3 min
  402. Act V, Scene II — A field between the two Camps about 1 min
  403. Act V, Scene III — The British Camp near Dover about 13 min
  404. Act I, Scene I — The King of Navarre’s park about 10 min
  405. Act I, Scene II — The park about 6 min
  406. Act II, Scene I — The King of Navarre’s park. A pavilion and tents at a distance about 9 min
  407. Act III, Scene I — The King of Navarre’s park about 7 min
  408. Act IV, Scene I — The King of Navarre’s park about 6 min
  409. Act IV, Scene II — The same about 6 min
  410. Act IV, Scene III — The same about 13 min
  411. Act V, Scene I — The King of Navarre’s park about 5 min
  412. Act V, Scene II — The same. Before the Princess’s pavilion about 33 min
  413. Act I, Scene I — An open Place under 1 min
  414. Act I, Scene II — A Camp near Forres about 2 min
  415. Act I, Scene III — A heath about 5 min
  416. Act I, Scene IV — Forres. A Room in the Palace about 2 min
  417. Act I, Scene V — Inverness. A Room in Macbeth’s Castle about 3 min
  418. Act I, Scene VI — The same. Before the Castle about 1 min
  419. Act I, Scene VII — The same. A Lobby in the Castle about 3 min
  420. Act II, Scene I — Inverness. Court within the Castle about 2 min
  421. Act II, Scene II — The same about 3 min
  422. Act II, Scene III — The same about 5 min
  423. Act II, Scene IV — The same. Without the Castle about 2 min
  424. Act III, Scene I — Forres. A Room in the Palace about 5 min
  425. Act III, Scene II — The same. Another Room in the Palace about 2 min
  426. Act III, Scene III — The same. A Park or Lawn, with a gate leading to the Palace about 1 min
  427. Act III, Scene IV — The same. A Room of state in the Palace about 5 min
  428. Act III, Scene V — The heath about 1 min
  429. Act III, Scene VI — Forres. A Room in the Palace about 2 min
  430. Act IV, Scene I — A dark Cave. In the middle, a Cauldron Boiling about 5 min
  431. Act IV, Scene II — Fife. A Room in Macduff’s Castle about 3 min
  432. Act IV, Scene III — England. Before the King’s Palace about 8 min
  433. Act V, Scene I — Dunsinane. A Room in the Castle about 3 min
  434. Act V, Scene II — The Country near Dunsinane about 1 min
  435. Act V, Scene III — Dunsinane. A Room in the Castle about 2 min
  436. Act V, Scene IV — Country near Dunsinane: a Wood in view about 1 min
  437. Act V, Scene V — Dunsinane. Within the castle about 2 min
  438. Act V, Scene VI — The same. A Plain before the Castle under 1 min
  439. Act V, Scene VII — The same. Another part of the Plain about 1 min
  440. Act V, Scene VIII — The same. Another part of the field about 3 min
  441. Act I, Scene I — An apartment in the Duke’s palace about 3 min
  442. Act I, Scene II — A street about 6 min
  443. Act I, Scene III — A monastery about 2 min
  444. Act I, Scene IV — A nunnery about 3 min
  445. Act II, Scene I — A hall in Angelo’s house about 10 min
  446. Act II, Scene II — Another room in the same about 7 min
  447. Act II, Scene III — A room in a prison about 2 min
  448. Act II, Scene IV — A room in Angelo’s house about 6 min
  449. Act III, Scene I — A room in the prison about 10 min
  450. Act III, Scene II — The street before the prison about 10 min
  451. Act IV, Scene I — A room in Mariana’s house about 3 min
  452. Act IV, Scene II — A room in the prison about 7 min
  453. Act IV, Scene III — Another room in the same about 6 min
  454. Act IV, Scene IV — A room in Angelo’s house about 1 min
  455. Act IV, Scene V — Fields without the town about 1 min
  456. Act IV, Scene VI — Street near the city gate about 1 min
  457. Act V, Scene I — A public place near the city gate about 19 min
  458. Act I, Scene I — Venice. A street about 6 min
  459. Act I, Scene II — Belmont. A room in Portia’s house about 5 min
  460. Act I, Scene III — Venice. A public place about 6 min
  461. Act II, Scene I — Belmont. A room in Portia’s house about 2 min
  462. Act II, Scene II — Venice. A street about 7 min
  463. Act II, Scene III — The same. A room in Shylock’s house about 1 min
  464. Act II, Scene IV — The same. A street about 1 min
  465. Act II, Scene V — The same. Before Shylock’s house about 2 min
  466. Act II, Scene VI — The same about 2 min
  467. Act II, Scene VII — Belmont. A room in Portia’s house about 3 min
  468. Act II, Scene VIII — Venice. A street about 2 min
  469. Act II, Scene IX — Belmont. A room in Portia’s house about 3 min
  470. Act III, Scene I — Venice. A street about 5 min
  471. Act III, Scene II — Belmont. A room in Portia’s house about 11 min
  472. Act III, Scene III — Venice. A street about 1 min
  473. Act III, Scene IV — Belmont. A room in Portia’s house about 3 min
  474. Act III, Scene V — The same. A garden about 3 min
  475. Act IV, Scene I — Venice. A court of justice about 16 min
  476. Act IV, Scene II — The same. A street about 1 min
  477. Act V, Scene I — Belmont. The avenue to Portia’s house about 12 min
  478. Act I, Scene I — Windsor. Before Page’s house about 10 min
  479. Act I, Scene II — The same under 1 min
  480. Act I, Scene III — A room in the Garter Inn about 3 min
  481. Act I, Scene IV — A room in Doctor Caius’s house about 6 min
  482. Act II, Scene I — Before Page’s house about 8 min
  483. Act II, Scene II — A room in the Garter Inn about 11 min
  484. Act II, Scene III — A field near Windsor about 3 min
  485. Act III, Scene I — A field near Frogmore about 4 min
  486. Act III, Scene II — A street in Windsor about 3 min
  487. Act III, Scene III — A room in Ford’s house about 8 min
  488. Act III, Scene IV — A room in Page’s house about 4 min
  489. Act III, Scene V — A room in the Garter Inn about 5 min
  490. Act IV, Scene I — The street about 2 min
  491. Act IV, Scene II — A room in Ford’s house about 7 min
  492. Act IV, Scene III — A room in the Garter Inn under 1 min
  493. Act IV, Scene IV — A room in Ford’s house about 3 min
  494. Act IV, Scene V — A room in the Garter Inn about 4 min
  495. Act IV, Scene VI — Another room in the Garter Inn about 2 min
  496. Act V, Scene I — A room in the Garter Inn about 1 min
  497. Act V, Scene II — Windsor Park about 1 min
  498. Act V, Scene III — The street in Windsor about 1 min
  499. Act V, Scene IV — Windsor Park under 1 min
  500. Act V, Scene V — Another part of the Park about 10 min
  501. Act I, Scene I — Athens. A room in the Palace of Theseus about 8 min
  502. Act I, Scene II — The Same. A Room in a Cottage about 3 min
  503. Act II, Scene I — A wood near Athens about 9 min
  504. Act II, Scene II — Another part of the wood about 5 min
  505. Act III, Scene I — The Wood about 7 min
  506. Act III, Scene II — Another part of the wood about 16 min
  507. Act IV, Scene I — The Wood about 8 min
  508. Act IV, Scene II — Athens. A Room in Quince’s House about 2 min
  509. Act V, Scene I — Athens. An Apartment in the Palace of Theseus about 14 min
  510. Act I, Scene I — Before Leonato’s House about 11 min
  511. Act I, Scene II — A room in Leonato’s house about 1 min
  512. Act I, Scene III — Another room in Leonato’s house about 3 min
  513. Act II, Scene I — A hall in Leonato’s house about 13 min
  514. Act II, Scene II — Another room in Leonato’s house about 2 min
  515. Act II, Scene III — Leonato’s Garden about 10 min
  516. Act III, Scene I — Leonato’s Garden about 4 min
  517. Act III, Scene II — A Room in Leonato’s House about 4 min
  518. Act III, Scene III — A Street about 6 min
  519. Act III, Scene IV — A Room in Leonato’s House about 3 min
  520. Act III, Scene V — Another Room in Leonato’s House about 2 min
  521. Act IV, Scene I — The Inside of a Church about 11 min
  522. Act IV, Scene II — A Prison about 3 min
  523. Act V, Scene I — Before Leonato’s House about 12 min
  524. Act V, Scene II — Leonato’s Garden about 3 min
  525. Act V, Scene III — The Inside of a Church about 1 min
  526. Act V, Scene IV — A Room in Leonato’s House about 5 min
  527. Act I, Scene I — Venice. A street about 6 min
  528. Act I, Scene II — Venice. Another street about 4 min
  529. Act I, Scene III — Venice. A council chamber about 14 min
  530. Act II, Scene I — A seaport in Cyprus. A Platform about 11 min
  531. Act II, Scene II — A street under 1 min
  532. Act II, Scene III — A Hall in the Castle about 13 min
  533. Act III, Scene I — Cyprus. Before the Castle about 2 min
  534. Act III, Scene II — Cyprus. A Room in the Castle under 1 min
  535. Act III, Scene III — Cyprus. The Garden of the Castle about 17 min
  536. Act III, Scene IV — Cyprus. Before the Castle about 7 min
  537. Act IV, Scene I — Cyprus. Before the Castle about 10 min
  538. Act IV, Scene II — Cyprus. A Room in the Castle about 9 min
  539. Act IV, Scene III — Cyprus. Another Room in the Castle about 4 min
  540. Act V, Scene I — Cyprus. A Street about 5 min
  541. Act V, Scene II — Cyprus. A Bedchamber in the castle about 14 min
  542. Act I about 1 min
  543. Act I, Scene I — Antioch. A room in the palace about 6 min
  544. Act I, Scene II — Tyre. A room in the palace about 4 min
  545. Act I, Scene III — Tyre. An ante-chamber in the Palace about 1 min
  546. Act I, Scene IV — Tarsus. A room in the Governor’s house about 4 min
  547. Act II about 1 min
  548. Act II, Scene I — Pentapolis. An open place by the seaside about 8 min
  549. Act II, Scene III — The same. A hall of state: a banquet prepared about 4 min
  550. Act II, Scene IV — Tyre. A room in the Governor’s house about 2 min
  551. Act II, Scene V — Pentapolis. A room in the palace about 3 min
  552. Act III about 2 min
  553. Act III, Scene I about 3 min
  554. Act III, Scene II — Ephesus. A room in Cerimon’s house about 4 min
  555. Act III, Scene III — Tarsus. A room in Cleon’s house about 2 min
  556. Act III, Scene IV — Ephesus. A room in Cerimon’s house about 1 min
  557. Act IV about 1 min
  558. Act IV, Scene I — Tarsus. An open place near the seashore about 4 min
  559. Act IV, Scene II — Mytilene. A room in a brothel about 5 min
  560. Act IV, Scene III — Tarsus. A room in Cleon’s house about 2 min
  561. Act IV, Scene IV about 2 min
  562. Act IV, Scene V — Mytilene. A street before the brothel under 1 min
  563. Act IV, Scene VI — The same. A room in the brothel about 7 min
  564. Act V about 10 min
  565. Act V, Scene II about 5 min
  566. Act I, Scene I — London. A Room in the palace about 7 min
  567. Act I, Scene II — The same. A room in the Duke of Lancaster’s palace about 3 min
  568. Act I, Scene III — Open Space, near Coventry. Lists set out, and a Throne. Heralds, &c., attending about 11 min
  569. Act I, Scene IV — London. A Room in the King’s Castle about 2 min
  570. Act II, Scene I — London. An Apartment in Ely House about 10 min
  571. Act II, Scene II — The Same. A Room in the Castle about 5 min
  572. Act II, Scene III — The Wolds in Gloucestershire about 6 min
  573. Act II, Scene IV — A camp in Wales about 1 min
  574. Act III, Scene I — Bristol. Bolingbroke’s camp about 2 min
  575. Act III, Scene II — The coast of Wales. A castle in view about 8 min
  576. Act III, Scene III — Wales. Before Flint Castle about 7 min
  577. Act III, Scene IV — Langley. The Duke of York’s garden about 4 min
  578. Act IV, Scene I — Westminster Hall about 12 min
  579. Act V, Scene I — London. A street leading to the Tower about 4 min
  580. Act V, Scene II — The same. A room in the Duke of York’s palace about 4 min
  581. Act V, Scene III — Windsor. A room in the Castle about 5 min
  582. Act V, Scene IV — Another room in the Castle under 1 min
  583. Act V, Scene V — Pomfret. The dungeon of the Castle about 4 min
  584. Act V, Scene VI — Windsor. An Apartment in the Castle about 3 min
  585. Act I, Scene I — London. A street about 5 min
  586. Act I, Scene II — London. Another street about 9 min
  587. Act I, Scene III — London. A Room in the Palace about 13 min
  588. Act I, Scene IV — London. A Room in the Tower about 10 min
  589. Act II, Scene I — London. A Room in the palace about 5 min
  590. Act II, Scene II — Another Room in the palace about 5 min
  591. Act II, Scene III — London. A street about 2 min
  592. Act II, Scene IV — London. A Room in the Palace about 3 min
  593. Act III, Scene I — London. A street about 7 min
  594. Act III, Scene II — Before Lord Hastings’ house about 5 min
  595. Act III, Scene III — Pomfret. Before the Castle about 1 min
  596. Act III, Scene IV — London. A Room in the Tower about 4 min
  597. Act III, Scene V — London. The Tower Walls about 4 min
  598. Act III, Scene VI — London. A street about 1 min
  599. Act III, Scene VII — London. Court of Baynard’s Castle about 8 min
  600. Act IV, Scene I — London. Before the Tower about 4 min
  601. Act IV, Scene II — London. A Room of State in the Palace about 4 min
  602. Act IV, Scene III — London. Another Room in the Palace about 2 min
  603. Act IV, Scene IV — London. Before the Palace about 20 min
  604. Act IV, Scene V — A Room in Lord Stanley’s house about 1 min
  605. Act V, Scene I — Salisbury. An open place about 1 min
  606. Act V, Scene II — Plain near Tamworth about 1 min
  607. Act V, Scene III — Bosworth Field about 13 min
  608. Act V, Scene IV — Another part of the Field about 1 min
  609. Act V, Scene V — Another part of the Field about 2 min
  610. The Prologue under 1 min
  611. Act I, Scene I — A public place about 8 min
  612. Act I, Scene II — A Street about 4 min
  613. Act I, Scene III — Room in Capulet’s House about 4 min
  614. Act I, Scene IV — A Street about 4 min
  615. Act I, Scene V — A Hall in Capulet’s House about 5 min
  616. Act II under 1 min
  617. Act II, Scene I — An open place adjoining Capulet’s Garden about 2 min
  618. Act II, Scene II — Capulet’s Garden about 7 min
  619. Act II, Scene III — Friar Lawrence’s Cell about 3 min
  620. Act II, Scene IV — A Street about 7 min
  621. Act II, Scene V — Capulet’s Garden about 3 min
  622. Act II, Scene VI — Friar Lawrence’s Cell about 1 min
  623. Act III, Scene I — A public Place about 7 min
  624. Act III, Scene II — A Room in Capulet’s House about 5 min
  625. Act III, Scene III — Friar Lawrence’s cell about 6 min
  626. Act III, Scene IV — A Room in Capulet’s House about 1 min
  627. Act III, Scene V — An open Gallery to Juliet’s Chamber, overlooking the Garden about 9 min
  628. Act IV, Scene I — Friar Lawrence’s Cell about 5 min
  629. Act IV, Scene II — Hall in Capulet’s House about 2 min
  630. Act IV, Scene III — Juliet’s Chamber about 2 min
  631. Act IV, Scene IV — Hall in Capulet’s House about 1 min
  632. Act IV, Scene V — Juliet’s Chamber; Juliet on the bed about 5 min
  633. Act V, Scene I — Mantua. A Street about 3 min
  634. Act V, Scene II — Friar Lawrence’s Cell about 1 min
  635. Act V, Scene III — A churchyard; in it a Monument belonging to the Capulets about 12 min
  636. Induction, Scene I — Before an alehouse on a heath about 5 min
  637. Induction, Scene II — A bedchamber in the Lord’s house about 5 min
  638. Act I, Scene I — Padua. A public place about 9 min
  639. Act I, Scene II — Padua. Before Hortensio’s house about 10 min
  640. Act II, Scene I — Padua. A room in Baptista’s house about 15 min
  641. Act III, Scene I — Padua. A room in Baptista’s house about 3 min
  642. Act III, Scene II — The same. Before Baptista’s house about 9 min
  643. Act IV, Scene I — A hall in Petruchio’s country house about 7 min
  644. Act IV, Scene II — Padua. Before Baptista’s house about 4 min
  645. Act IV, Scene III — A room in Petruchio’s house about 7 min
  646. Act IV, Scene IV — Padua. Before Baptista’s house about 4 min
  647. Act IV, Scene V — A public road about 3 min
  648. Act V, Scene I — Padua. Before Lucentio’s house about 5 min
  649. Act V, Scene II — A room in Lucentio’s house about 7 min
  650. Act I, Scene I — On a ship at sea; a tempestuous noise of thunder and lightning heard about 2 min
  651. Act I, Scene II — The Island. Before the cell of Prospero about 18 min
  652. Act II, Scene I — Another part of the island about 11 min
  653. Act II, Scene II — Another part of the island about 7 min
  654. Act III, Scene I — Before Prospero’s cell about 4 min
  655. Act III, Scene II — Another part of the island about 5 min
  656. Act III, Scene III — Another part of the island about 4 min
  657. Act IV, Scene I — Before Prospero’s cell about 9 min
  658. Act V, Scene I — Before the cell of Prospero about 12 min
  659. Epilogue about 1 min
  660. Act I, Scene I — Athens. A hall in Timon’s house about 10 min
  661. Act I, Scene II — The Same. A room of state in Timon’s house about 9 min
  662. Act II, Scene I — Athens. A room in a senator’s house about 1 min
  663. Act II, Scene II — The same. A hall in Timon’s house about 8 min
  664. Act III, Scene I — Athens. A room in Lucullus’ house about 2 min
  665. Act III, Scene II — A public place about 3 min
  666. Act III, Scene III — The same. A room in Sempronius’ house about 2 min
  667. Act III, Scene IV — A hall in Timon’s house about 4 min
  668. Act III, Scene V — The same. The senate house about 4 min
  669. Act III, Scene VI — A room of state in Timon’s house about 4 min
  670. Act IV, Scene I — Without the walls of Athens about 1 min
  671. Act IV, Scene II — Athens. A room in Timon’s house about 2 min
  672. Act IV, Scene III — Woods and caves near the sea-shore about 19 min
  673. Act V, Scene I — The woods. Before Timon’s cave about 4 min
  674. Act V, Scene II — The same about 4 min
  675. Act V, Scene III — Before the walls of Athens about 1 min
  676. Act V, Scene IV — The woods. Timon’s cave, and a rude tomb seen under 1 min
  677. Act V, Scene V — Before the walls of Athens about 4 min
  678. Act I, Scene I — Rome. Before the Capitol about 17 min
  679. Act II, Scene I — Rome. Before the palace about 5 min
  680. Act II, Scene II — A Forest near Rome; a Lodge seen at a distance. Horns and cry of hounds heard about 1 min
  681. Act II, Scene III — A lonely part of the Forest about 11 min
  682. Act II, Scene IV — Another part of the Forest about 2 min
  683. Act III, Scene I — Rome. A street about 11 min
  684. Act III, Scene II — Rome. A Room in Titus’s House. A banquet set out about 3 min
  685. Act IV, Scene I — Rome. Before Titus’s House about 5 min
  686. Act IV, Scene II — Rome. A Room in the Palace about 7 min
  687. Act IV, Scene III — Rome. A public Place about 4 min
  688. Act IV, Scene IV — Rome. Before the Palace about 4 min
  689. Act V, Scene I — Plains near Rome about 6 min
  690. Act V, Scene II — Rome. Before Titus’s House about 7 min
  691. Act V, Scene III — Rome. A Pavilion in Titus’s Gardens, with tables, &c about 8 min
  692. Prologue about 1 min
  693. Act I, Scene I — Troy. Before Priam’s palace about 4 min
  694. Act I, Scene II — Troy. A street about 10 min
  695. Act I, Scene III — The Grecian camp. Before Agamemnon’s tent about 13 min
  696. Act II, Scene I — The Grecian camp about 4 min
  697. Act II, Scene II — Troy. Priam’s palace about 7 min
  698. Act II, Scene III — The Grecian camp. Before the tent of Achilles about 9 min
  699. Act III, Scene I — Troy. Priam’s palace about 5 min
  700. Act III, Scene II — Troy. Pandarus’ orchard about 7 min
  701. Act III, Scene III — The Greek camp about 10 min
  702. Act IV, Scene I — Troy. A street about 3 min
  703. Act IV, Scene II — Troy. The court of Pandarus’ house about 4 min
  704. Act IV, Scene III — Troy. A street before Pandarus’ house under 1 min
  705. Act IV, Scene IV — Troy. Pandarus’ house about 5 min
  706. Act IV, Scene V — The Grecian camp. Lists set out about 10 min
  707. Act V, Scene I — The Grecian camp. Before the tent of Achilles about 4 min
  708. Act V, Scene II — The Grecian camp. Before Calchas’ tent about 7 min
  709. Act V, Scene III — Troy. Before Priam’s palace about 4 min
  710. Act V, Scene IV — The plain between Troy and the Grecian camp about 1 min
  711. Act V, Scene V — Another part of the plain about 2 min
  712. Act V, Scene VI — Another part of the plain about 1 min
  713. Act V, Scene VII — Another part of the plain about 1 min
  714. Act V, Scene VIII — Another part of the plain about 1 min
  715. Act V, Scene IX — Another part of the plain under 1 min
  716. Act V, Scene X — Another part of the plain about 2 min
  717. Act I, Scene I — An Apartment in the Duke’s Palace about 1 min
  718. Act I, Scene II — The sea-coast about 2 min
  719. Act I, Scene III — A Room in Olivia’s House about 5 min
  720. Act I, Scene IV — A Room in the Duke’s Palace about 1 min
  721. Act I, Scene V — A Room in Olivia’s House about 11 min
  722. Act II, Scene I — The sea-coast about 2 min
  723. Act II, Scene II — A street about 2 min
  724. Act II, Scene III — A Room in Olivia’s House about 7 min
  725. Act II, Scene IV — A Room in the Duke’s Palace about 4 min
  726. Act II, Scene V — Olivia’s garden about 7 min
  727. Act III, Scene I — Olivia’s garden about 6 min
  728. Act III, Scene II — A Room in Olivia’s House about 3 min
  729. Act III, Scene III — A street about 2 min
  730. Act III, Scene IV — Olivia’s garden about 14 min
  731. Act IV, Scene I — The Street before Olivia’s House about 2 min
  732. Act IV, Scene II — A Room in Olivia’s House about 4 min
  733. Act IV, Scene III — Olivia’s Garden about 1 min
  734. Act V, Scene I — The Street before Olivia’s House about 14 min
  735. Act I, Scene I — Verona. An open place about 5 min
  736. Act I, Scene II — The same. The garden of Julia’s house about 5 min
  737. Act I, Scene III — The same. A room in Antonio’s house about 3 min
  738. Act II, Scene I — Milan. A room in the Duke’s palace about 6 min
  739. Act II, Scene II — Verona. A room in Julia’s house about 1 min
  740. Act II, Scene III — The same. A street about 2 min
  741. Act II, Scene IV — Milan. A room in the Duke’s palace about 7 min
  742. Act II, Scene V — The same. A street about 2 min
  743. Act II, Scene VI — The same. The Duke’s palace about 1 min
  744. Act II, Scene VII — Verona. A room in Julia’s house about 3 min
  745. Act III, Scene I — Milan. An anteroom in the Duke’s palace about 13 min
  746. Act III, Scene II — The same. A room in the Duke’s palace about 3 min
  747. Act IV, Scene I — A forest between Milan and Verona about 3 min
  748. Act IV, Scene II — Milan. The court of the Duke’s palace about 5 min
  749. Act IV, Scene III — The same about 2 min
  750. Act IV, Scene IV — The same about 7 min
  751. Act V, Scene I — Milan. An abbey under 1 min
  752. Act V, Scene II — The same. A room in the Duke’s palace about 2 min
  753. Act V, Scene III — Frontiers of Mantua. The forest about 1 min
  754. Act V, Scene IV — Another part of the forest about 6 min
  755. Prologue about 1 min
  756. Epilogue under 1 min
  757. Prologue about 1 min
  758. Act I, Scene I — Athens. Before a temple about 8 min
  759. Act I, Scene II — Thebes. The Court of the Palace about 4 min
  760. Act I, Scene III — Before the gates of Athens about 3 min
  761. Act I, Scene IV — A field before Thebes about 2 min
  762. Act I, Scene V — Another part of the same, more remote from Thebes about 1 min
  763. Act II, Scene I — Athens. A garden, with a castle in the background about 2 min
  764. Act II, Scene II — The prison about 11 min
  765. Act II, Scene III — The country near Athens about 3 min
  766. Act II, Scene IV — Athens. A room in the prison about 1 min
  767. Act II, Scene V — An open place in Athens about 3 min
  768. Act II, Scene VI — Athens. Before the prison about 1 min
  769. Act III, Scene I — A forest near Athens about 5 min
  770. Act III, Scene II — Another Part of the forest about 1 min
  771. Act III, Scene III — The same part of the forest as in scene I about 2 min
  772. Act III, Scene IV — Another part of the forest about 1 min
  773. Act III, Scene V — Another part of the forest about 6 min
  774. Act III, Scene VI — The same part of the forest as in scene III about 12 min
  775. Act IV, Scene I — Athens. A room in the prison about 6 min
  776. Act IV, Scene II — A Room in the Palace about 6 min
  777. Act IV, Scene III — A room in the prison about 4 min
  778. Act V, Scene I — Athens. Before the Temples of Mars, Venus, and Diana about 7 min
  779. Act V, Scene II — Athens. A Room in the Prison about 5 min
  780. Act V, Scene III — A part of the Forest near Athens, and near the Place appointed for the Combat about 5 min
  781. Act V, Scene IV — The same; a Block prepared about 5 min
  782. Epilogue about 1 min
  783. Dramatis Personæ under 1 min
  784. Act I, Scene I — Sicilia. An Antechamber in Leontes’ Palace about 2 min
  785. Act I, Scene II — The same. A Room of State in the Palace about 16 min
  786. Act II, Scene I — Sicilia. A Room in the Palace about 7 min
  787. Act II, Scene II — The same. The outer Room of a Prison about 2 min
  788. Act II, Scene III — The same. A Room in the Palace about 8 min
  789. Act III, Scene I — Sicilia. A Street in some Town about 1 min
  790. Act III, Scene II — The same. A Court of Justice about 9 min
  791. Act III, Scene III — Bohemia. A desert Country near the Sea about 5 min
  792. Act IV, Scene I about 1 min
  793. Act IV, Scene II — Bohemia. A Room in the palace of Polixenes about 2 min
  794. Act IV, Scene III — The same. A Road near the Shepherd’s cottage about 4 min
  795. Act IV, Scene IV — The same. A Shepherd’s Cottage about 30 min
  796. Act V, Scene I — Sicilia. A Room in the palace of Leontes about 8 min
  797. Act V, Scene II — The same. Before the Palace about 7 min
  798. Act V, Scene III — The same. A Room in Paulina’s house about 2 h 17 min

Continue:

Act IV, Scene VII — Another room in the Castle

Enter King and Laertes.

KING. Now must your conscience my acquittance seal, And you must put me in your heart for friend, Sith you have heard, and with a knowing ear, That he which hath your noble father slain Pursu’d my life.

LAERTES. It well appears. But tell me Why you proceeded not against these feats, So crimeful and so capital in nature, As by your safety, wisdom, all things else, You mainly were stirr’d up.

KING. O, for two special reasons, Which may to you, perhaps, seem much unsinew’d, But yet to me they are strong. The Queen his mother Lives almost by his looks; and for myself,— My virtue or my plague, be it either which,— She’s so conjunctive to my life and soul, That, as the star moves not but in his sphere, I could not but by her. The other motive, Why to a public count I might not go, Is the great love the general gender bear him, Who, dipping all his faults in their affection, Would like the spring that turneth wood to stone, Convert his gyves to graces; so that my arrows, Too slightly timber’d for so loud a wind, Would have reverted to my bow again, And not where I had aim’d them.

LAERTES. And so have I a noble father lost, A sister driven into desperate terms, Whose worth, if praises may go back again, Stood challenger on mount of all the age For her perfections. But my revenge will come.

KING. Break not your sleeps for that. You must not think That we are made of stuff so flat and dull That we can let our beard be shook with danger, And think it pastime. You shortly shall hear more. I lov’d your father, and we love ourself, And that, I hope, will teach you to imagine—

Enter a Messenger.

How now? What news?

MESSENGER. Letters, my lord, from Hamlet. This to your Majesty; this to the Queen.

KING. From Hamlet! Who brought them?

MESSENGER. Sailors, my lord, they say; I saw them not. They were given me by Claudio. He receiv’d them Of him that brought them.

KING. Laertes, you shall hear them. Leave us.

[Exit Messenger.]

[Reads.] ‘High and mighty, you shall know I am set naked on your kingdom. Tomorrow shall I beg leave to see your kingly eyes. When I shall, first asking your pardon thereunto, recount the occasions of my sudden and more strange return. HAMLET.’

What should this mean? Are all the rest come back? Or is it some abuse, and no such thing?

LAERTES. Know you the hand?

KING. ’Tis Hamlet’s character. ‘Naked!’ And in a postscript here he says ‘alone.’ Can you advise me?

LAERTES. I am lost in it, my lord. But let him come, It warms the very sickness in my heart That I shall live and tell him to his teeth, ‘Thus diest thou.’

KING. If it be so, Laertes,— As how should it be so? How otherwise?— Will you be rul’d by me?

LAERTES. Ay, my lord; So you will not o’errule me to a peace.

KING. To thine own peace. If he be now return’d, As checking at his voyage, and that he means No more to undertake it, I will work him To an exploit, now ripe in my device, Under the which he shall not choose but fall; And for his death no wind shall breathe, But even his mother shall uncharge the practice And call it accident.

LAERTES. My lord, I will be rul’d; The rather if you could devise it so That I might be the organ.

KING. It falls right. You have been talk’d of since your travel much, And that in Hamlet’s hearing, for a quality Wherein they say you shine. Your sum of parts Did not together pluck such envy from him As did that one, and that, in my regard, Of the unworthiest siege.

LAERTES. What part is that, my lord?

KING. A very riband in the cap of youth, Yet needful too, for youth no less becomes The light and careless livery that it wears Than settled age his sables and his weeds, Importing health and graveness. Two months since Here was a gentleman of Normandy,— I’ve seen myself, and serv’d against, the French, And they can well on horseback, but this gallant Had witchcraft in’t. He grew unto his seat, And to such wondrous doing brought his horse, As had he been incorps’d and demi-natur’d With the brave beast. So far he topp’d my thought That I in forgery of shapes and tricks, Come short of what he did.

LAERTES. A Norman was’t?

KING. A Norman.

LAERTES. Upon my life, Lamord.

KING. The very same.

LAERTES. I know him well. He is the brooch indeed And gem of all the nation.

KING. He made confession of you, And gave you such a masterly report For art and exercise in your defence, And for your rapier most especially, That he cried out ’twould be a sight indeed If one could match you. The scrimers of their nation He swore had neither motion, guard, nor eye, If you oppos’d them. Sir, this report of his Did Hamlet so envenom with his envy That he could nothing do but wish and beg Your sudden coming o’er to play with him. Now, out of this,—

LAERTES. What out of this, my lord?

KING. Laertes, was your father dear to you? Or are you like the painting of a sorrow, A face without a heart?

LAERTES. Why ask you this?

KING. Not that I think you did not love your father, But that I know love is begun by time, And that I see, in passages of proof, Time qualifies the spark and fire of it. There lives within the very flame of love A kind of wick or snuff that will abate it; And nothing is at a like goodness still, For goodness, growing to a pleurisy, Dies in his own too much. That we would do, We should do when we would; for this ‘would’ changes, And hath abatements and delays as many As there are tongues, are hands, are accidents; And then this ‘should’ is like a spendthrift sigh That hurts by easing. But to the quick o’ th’ulcer: Hamlet comes back: what would you undertake To show yourself your father’s son in deed, More than in words?

LAERTES. To cut his throat i’ th’ church.

KING. No place, indeed, should murder sanctuarize; Revenge should have no bounds. But good Laertes, Will you do this, keep close within your chamber. Hamlet return’d shall know you are come home: We’ll put on those shall praise your excellence, And set a double varnish on the fame The Frenchman gave you, bring you in fine together And wager on your heads. He, being remiss, Most generous, and free from all contriving, Will not peruse the foils; so that with ease, Or with a little shuffling, you may choose A sword unbated, and in a pass of practice, Requite him for your father.

LAERTES. I will do’t. And for that purpose I’ll anoint my sword. I bought an unction of a mountebank So mortal that, but dip a knife in it, Where it draws blood no cataplasm so rare, Collected from all simples that have virtue Under the moon, can save the thing from death This is but scratch’d withal. I’ll touch my point With this contagion, that if I gall him slightly, It may be death.

KING. Let’s further think of this, Weigh what convenience both of time and means May fit us to our shape. If this should fail, And that our drift look through our bad performance. ’Twere better not assay’d. Therefore this project Should have a back or second, that might hold If this did blast in proof. Soft, let me see. We’ll make a solemn wager on your cunnings,— I ha’t! When in your motion you are hot and dry, As make your bouts more violent to that end, And that he calls for drink, I’ll have prepar’d him A chalice for the nonce; whereon but sipping, If he by chance escape your venom’d stuck, Our purpose may hold there.

Enter Queen.

How now, sweet Queen?

QUEEN. One woe doth tread upon another’s heel, So fast they follow. Your sister’s drown’d, Laertes.

LAERTES. Drown’d! O, where?

QUEEN. There is a willow grows aslant a brook, That shows his hoary leaves in the glassy stream. There with fantastic garlands did she make Of crow-flowers, nettles, daisies, and long purples, That liberal shepherds give a grosser name, But our cold maids do dead men’s fingers call them. There on the pendant boughs her coronet weeds Clamb’ring to hang, an envious sliver broke, When down her weedy trophies and herself Fell in the weeping brook. Her clothes spread wide, And mermaid-like, awhile they bore her up, Which time she chaunted snatches of old tunes, As one incapable of her own distress, Or like a creature native and indued Unto that element. But long it could not be Till that her garments, heavy with their drink, Pull’d the poor wretch from her melodious lay To muddy death.

LAERTES. Alas, then she is drown’d?

QUEEN. Drown’d, drown’d.

LAERTES. Too much of water hast thou, poor Ophelia, And therefore I forbid my tears. But yet It is our trick; nature her custom holds, Let shame say what it will. When these are gone, The woman will be out. Adieu, my lord, I have a speech of fire, that fain would blaze, But that this folly douts it.

[Exit.]

KING. Let’s follow, Gertrude; How much I had to do to calm his rage! Now fear I this will give it start again; Therefore let’s follow.

[Exeunt.]

Act V, Scene I — A churchyard

Enter two Clowns with spades, &c.

FIRST CLOWN. Is she to be buried in Christian burial, when she wilfully seeks her own salvation?

SECOND CLOWN. I tell thee she is, and therefore make her grave straight. The crowner hath sat on her, and finds it Christian burial.

FIRST CLOWN. How can that be, unless she drowned herself in her own defence?

SECOND CLOWN. Why, ’tis found so.

FIRST CLOWN. It must be se offendendo, it cannot be else. For here lies the point: if I drown myself wittingly, it argues an act: and an act hath three branches. It is to act, to do, and to perform: argal, she drowned herself wittingly.

SECOND CLOWN. Nay, but hear you, goodman delver,—

FIRST CLOWN. Give me leave. Here lies the water; good. Here stands the man; good. If the man go to this water and drown himself, it is, will he nill he, he goes,—mark you that. But if the water come to him and drown him, he drowns not himself. Argal, he that is not guilty of his own death shortens not his own life.

SECOND CLOWN. But is this law?

FIRST CLOWN. Ay, marry, is’t, crowner’s quest law.

SECOND CLOWN. Will you ha’ the truth on’t? If this had not been a gentlewoman, she should have been buried out o’ Christian burial.

FIRST CLOWN. Why, there thou say’st. And the more pity that great folk should have countenance in this world to drown or hang themselves more than their even Christian. Come, my spade. There is no ancient gentlemen but gardeners, ditchers, and grave-makers: they hold up Adam’s profession.

SECOND CLOWN. Was he a gentleman?

FIRST CLOWN. He was the first that ever bore arms.

SECOND CLOWN. Why, he had none.

FIRST CLOWN. What, art a heathen? How dost thou understand the Scripture? The Scripture says Adam digg’d. Could he dig without arms? I’ll put another question to thee. If thou answerest me not to the purpose, confess thyself—

SECOND CLOWN. Go to.

FIRST CLOWN. What is he that builds stronger than either the mason, the shipwright, or the carpenter?

SECOND CLOWN. The gallows-maker; for that frame outlives a thousand tenants.

FIRST CLOWN. I like thy wit well in good faith, the gallows does well. But how does it well? It does well to those that do ill. Now, thou dost ill to say the gallows is built stronger than the church; argal, the gallows may do well to thee. To’t again, come.

SECOND CLOWN. Who builds stronger than a mason, a shipwright, or a carpenter?

FIRST CLOWN. Ay, tell me that, and unyoke.

SECOND CLOWN. Marry, now I can tell.

FIRST CLOWN. To’t.

SECOND CLOWN. Mass, I cannot tell.

Enter Hamlet and Horatio, at a distance.

FIRST CLOWN. Cudgel thy brains no more about it, for your dull ass will not mend his pace with beating; and when you are asked this question next, say ‘a grave-maker’. The houses he makes last till doomsday. Go, get thee to Yaughan; fetch me a stoup of liquor.

[Exit Second Clown.]

[Digs and sings.]

In youth when I did love, did love, Methought it was very sweet; To contract, O, the time for, a, my behove, O methought there was nothing meet.

HAMLET. Has this fellow no feeling of his business, that he sings at grave-making?

HORATIO. Custom hath made it in him a property of easiness.

HAMLET. ’Tis e’en so; the hand of little employment hath the daintier sense.

FIRST CLOWN. [Sings.] But age with his stealing steps Hath claw’d me in his clutch, And hath shipp’d me into the land, As if I had never been such.

[Throws up a skull.]

HAMLET. That skull had a tongue in it, and could sing once. How the knave jowls it to th’ ground, as if ’twere Cain’s jawbone, that did the first murder! This might be the pate of a politician which this ass now o’er-offices, one that would circumvent God, might it not?

HORATIO. It might, my lord.

HAMLET. Or of a courtier, which could say ‘Good morrow, sweet lord! How dost thou, good lord?’ This might be my lord such-a-one, that praised my lord such-a-one’s horse when he meant to beg it, might it not?

HORATIO. Ay, my lord.

HAMLET. Why, e’en so: and now my Lady Worm’s; chapless, and knocked about the mazard with a sexton’s spade. Here’s fine revolution, an we had the trick to see’t. Did these bones cost no more the breeding but to play at loggets with ’em? Mine ache to think on’t.

FIRST CLOWN. [Sings.] A pickaxe and a spade, a spade, For and a shrouding-sheet; O, a pit of clay for to be made For such a guest is meet.

[Throws up another skull.]

HAMLET. There’s another. Why may not that be the skull of a lawyer? Where be his quiddits now, his quillets, his cases, his tenures, and his tricks? Why does he suffer this rude knave now to knock him about the sconce with a dirty shovel, and will not tell him of his action of battery? Hum. This fellow might be in’s time a great buyer of land, with his statutes, his recognizances, his fines, his double vouchers, his recoveries. Is this the fine of his fines, and the recovery of his recoveries, to have his fine pate full of fine dirt? Will his vouchers vouch him no more of his purchases, and double ones too, than the length and breadth of a pair of indentures? The very conveyances of his lands will scarcely lie in this box; and must the inheritor himself have no more, ha?

HORATIO. Not a jot more, my lord.

HAMLET. Is not parchment made of sheep-skins?

HORATIO. Ay, my lord, and of calf-skins too.

HAMLET. They are sheep and calves which seek out assurance in that. I will speak to this fellow.—Whose grave’s this, sir?

FIRST CLOWN. Mine, sir. [Sings.] O, a pit of clay for to be made For such a guest is meet.

HAMLET. I think it be thine indeed, for thou liest in’t.

FIRST CLOWN. You lie out on’t, sir, and therefore ’tis not yours. For my part, I do not lie in’t, yet it is mine.

HAMLET. Thou dost lie in’t, to be in’t and say it is thine. ’Tis for the dead, not for the quick; therefore thou liest.

FIRST CLOWN. ’Tis a quick lie, sir; ’t will away again from me to you.

HAMLET. What man dost thou dig it for?

FIRST CLOWN. For no man, sir.

HAMLET. What woman then?

FIRST CLOWN. For none neither.

HAMLET. Who is to be buried in’t?

FIRST CLOWN. One that was a woman, sir; but, rest her soul, she’s dead.

HAMLET. How absolute the knave is! We must speak by the card, or equivocation will undo us. By the Lord, Horatio, these three years I have taken note of it, the age is grown so picked that the toe of the peasant comes so near the heel of the courtier he galls his kibe.—How long hast thou been a grave-maker?

FIRST CLOWN. Of all the days i’ th’ year, I came to’t that day that our last King Hamlet o’ercame Fortinbras.

HAMLET. How long is that since?

FIRST CLOWN. Cannot you tell that? Every fool can tell that. It was the very day that young Hamlet was born,—he that is mad, and sent into England.

HAMLET. Ay, marry, why was he sent into England?

FIRST CLOWN. Why, because he was mad; he shall recover his wits there; or if he do not, it’s no great matter there.

HAMLET. Why?

FIRST CLOWN. ’Twill not be seen in him there; there the men are as mad as he.

HAMLET. How came he mad?

FIRST CLOWN. Very strangely, they say.

HAMLET. How strangely?

FIRST CLOWN. Faith, e’en with losing his wits.

HAMLET. Upon what ground?

FIRST CLOWN. Why, here in Denmark. I have been sexton here, man and boy, thirty years.

HAMLET. How long will a man lie i’ th’earth ere he rot?

FIRST CLOWN. Faith, if he be not rotten before he die,—as we have many pocky corses nowadays that will scarce hold the laying in,—he will last you some eight year or nine year. A tanner will last you nine year.

HAMLET. Why he more than another?

FIRST CLOWN. Why, sir, his hide is so tann’d with his trade that he will keep out water a great while. And your water is a sore decayer of your whoreson dead body. Here’s a skull now; this skull hath lain in the earth three-and-twenty years.

HAMLET. Whose was it?

FIRST CLOWN. A whoreson, mad fellow’s it was. Whose do you think it was?

HAMLET. Nay, I know not.

FIRST CLOWN. A pestilence on him for a mad rogue! A pour’d a flagon of Rhenish on my head once. This same skull, sir, was Yorick’s skull, the King’s jester.

HAMLET. This?

FIRST CLOWN. E’en that.

HAMLET. Let me see. [Takes the skull.] Alas, poor Yorick. I knew him, Horatio, a fellow of infinite jest, of most excellent fancy. He hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! My gorge rises at it. Here hung those lips that I have kiss’d I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar? Not one now, to mock your own grinning? Quite chop-fallen? Now get you to my lady’s chamber, and tell her, let her paint an inch thick, to this favour she must come. Make her laugh at that.—Prithee, Horatio, tell me one thing.

HORATIO. What’s that, my lord?

HAMLET. Dost thou think Alexander looked o’ this fashion i’ th’earth?

HORATIO. E’en so.

HAMLET. And smelt so? Pah!

[Throws down the skull.]

HORATIO. E’en so, my lord.

HAMLET. To what base uses we may return, Horatio! Why may not imagination trace the noble dust of Alexander till he find it stopping a bung-hole?

HORATIO. ’Twere to consider too curiously to consider so.

HAMLET. No, faith, not a jot. But to follow him thither with modesty enough, and likelihood to lead it; as thus. Alexander died, Alexander was buried, Alexander returneth into dust; the dust is earth; of earth we make loam; and why of that loam whereto he was converted might they not stop a beer-barrel? Imperious Caesar, dead and turn’d to clay, Might stop a hole to keep the wind away. O, that that earth which kept the world in awe Should patch a wall t’expel the winter’s flaw. But soft! but soft! aside! Here comes the King.

Enter priests, &c, in procession; the corpse of Ophelia, Laertes and Mourners following; King, Queen, their Trains, &c.

The Queen, the courtiers. Who is that they follow? And with such maimed rites? This doth betoken The corse they follow did with desperate hand Fordo it own life. ’Twas of some estate. Couch we awhile and mark.

[Retiring with Horatio.]

LAERTES. What ceremony else?

HAMLET. That is Laertes, a very noble youth. Mark.

LAERTES. What ceremony else?

PRIEST. Her obsequies have been as far enlarg’d As we have warranties. Her death was doubtful; And but that great command o’ersways the order, She should in ground unsanctified have lodg’d Till the last trumpet. For charitable prayers, Shards, flints, and pebbles should be thrown on her. Yet here she is allowed her virgin rites, Her maiden strewments, and the bringing home Of bell and burial.

LAERTES. Must there no more be done?

PRIEST. No more be done. We should profane the service of the dead To sing sage requiem and such rest to her As to peace-parted souls.

LAERTES. Lay her i’ th’earth, And from her fair and unpolluted flesh May violets spring. I tell thee, churlish priest, A minist’ring angel shall my sister be When thou liest howling.

HAMLET. What, the fair Ophelia?

QUEEN. [Scattering flowers.] Sweets to the sweet. Farewell. I hop’d thou shouldst have been my Hamlet’s wife; I thought thy bride-bed to have deck’d, sweet maid, And not have strew’d thy grave.

LAERTES. O, treble woe Fall ten times treble on that cursed head Whose wicked deed thy most ingenious sense Depriv’d thee of. Hold off the earth a while, Till I have caught her once more in mine arms. [Leaps into the grave.] Now pile your dust upon the quick and dead, Till of this flat a mountain you have made, To o’ertop old Pelion or the skyish head Of blue Olympus.

HAMLET. [Advancing.] What is he whose grief Bears such an emphasis? whose phrase of sorrow Conjures the wand’ring stars, and makes them stand Like wonder-wounded hearers? This is I, Hamlet the Dane. [Leaps into the grave.]

LAERTES. [Grappling with him.] The devil take thy soul!

HAMLET. Thou pray’st not well. I prithee take thy fingers from my throat; For though I am not splenative and rash, Yet have I in me something dangerous, Which let thy wiseness fear. Away thy hand!

KING. Pluck them asunder.

QUEEN. Hamlet! Hamlet!

All. Gentlemen!

HORATIO. Good my lord, be quiet.

[The Attendants part them, and they come out of the grave.]

HAMLET. Why, I will fight with him upon this theme Until my eyelids will no longer wag.

QUEEN. O my son, what theme?

HAMLET. I lov’d Ophelia; forty thousand brothers Could not, with all their quantity of love, Make up my sum. What wilt thou do for her?

KING. O, he is mad, Laertes.

QUEEN. For love of God forbear him!

HAMLET. ’Swounds, show me what thou’lt do: Woul’t weep? woul’t fight? woul’t fast? woul’t tear thyself? Woul’t drink up eisel? eat a crocodile? I’ll do’t. Dost thou come here to whine? To outface me with leaping in her grave? Be buried quick with her, and so will I. And if thou prate of mountains, let them throw Millions of acres on us, till our ground, Singeing his pate against the burning zone, Make Ossa like a wart. Nay, an thou’lt mouth, I’ll rant as well as thou.

QUEEN. This is mere madness: And thus awhile the fit will work on him; Anon, as patient as the female dove, When that her golden couplets are disclos’d, His silence will sit drooping.

HAMLET. Hear you, sir; What is the reason that you use me thus? I lov’d you ever. But it is no matter. Let Hercules himself do what he may, The cat will mew, and dog will have his day.

[Exit.]

KING. I pray thee, good Horatio, wait upon him.

[Exit Horatio.]

[To Laertes] Strengthen your patience in our last night’s speech; We’ll put the matter to the present push.— Good Gertrude, set some watch over your son. This grave shall have a living monument. An hour of quiet shortly shall we see; Till then in patience our proceeding be.

[Exeunt.]

Act V, Scene II — A hall in the Castle

Enter Hamlet and Horatio.

HAMLET. So much for this, sir. Now let me see the other; You do remember all the circumstance?

HORATIO. Remember it, my lord!

HAMLET. Sir, in my heart there was a kind of fighting That would not let me sleep. Methought I lay Worse than the mutinies in the bilboes. Rashly, And prais’d be rashness for it,—let us know, Our indiscretion sometime serves us well, When our deep plots do pall; and that should teach us There’s a divinity that shapes our ends, Rough-hew them how we will.

HORATIO. That is most certain.

HAMLET. Up from my cabin, My sea-gown scarf’d about me, in the dark Grop’d I to find out them; had my desire, Finger’d their packet, and in fine, withdrew To mine own room again, making so bold, My fears forgetting manners, to unseal Their grand commission; where I found, Horatio, Oh royal knavery! an exact command, Larded with many several sorts of reasons, Importing Denmark’s health, and England’s too, With ho! such bugs and goblins in my life, That on the supervise, no leisure bated, No, not to stay the grinding of the axe, My head should be struck off.

HORATIO. Is’t possible?

HAMLET. Here’s the commission, read it at more leisure. But wilt thou hear me how I did proceed?

HORATIO. I beseech you.

HAMLET. Being thus benetted round with villanies,— Or I could make a prologue to my brains, They had begun the play,—I sat me down, Devis’d a new commission, wrote it fair: I once did hold it, as our statists do, A baseness to write fair, and labour’d much How to forget that learning; but, sir, now It did me yeoman’s service. Wilt thou know The effect of what I wrote?

HORATIO. Ay, good my lord.

HAMLET. An earnest conjuration from the King, As England was his faithful tributary, As love between them like the palm might flourish, As peace should still her wheaten garland wear And stand a comma ’tween their amities, And many such-like ‘as’es of great charge, That on the view and know of these contents, Without debatement further, more or less, He should the bearers put to sudden death, Not shriving-time allow’d.

HORATIO. How was this seal’d?

HAMLET. Why, even in that was heaven ordinant. I had my father’s signet in my purse, Which was the model of that Danish seal: Folded the writ up in the form of the other, Subscrib’d it: gave’t th’impression; plac’d it safely, The changeling never known. Now, the next day Was our sea-fight, and what to this was sequent Thou know’st already.

HORATIO. So Guildenstern and Rosencrantz go to’t.

HAMLET. Why, man, they did make love to this employment. They are not near my conscience; their defeat Does by their own insinuation grow. ’Tis dangerous when the baser nature comes Between the pass and fell incensed points Of mighty opposites.

HORATIO. Why, what a king is this!

HAMLET. Does it not, thinks’t thee, stand me now upon,— He that hath kill’d my king, and whor’d my mother, Popp’d in between th’election and my hopes, Thrown out his angle for my proper life, And with such cozenage—is’t not perfect conscience To quit him with this arm? And is’t not to be damn’d To let this canker of our nature come In further evil?

HORATIO. It must be shortly known to him from England What is the issue of the business there.

HAMLET. It will be short. The interim is mine; And a man’s life’s no more than to say ‘One’. But I am very sorry, good Horatio, That to Laertes I forgot myself; For by the image of my cause I see The portraiture of his. I’ll court his favours. But sure the bravery of his grief did put me Into a tow’ring passion.

HORATIO. Peace, who comes here?

Enter Osric.

OSRIC. Your lordship is right welcome back to Denmark.

HAMLET. I humbly thank you, sir. Dost know this waterfly?

HORATIO. No, my good lord.

HAMLET. Thy state is the more gracious; for ’tis a vice to know him. He hath much land, and fertile; let a beast be lord of beasts, and his crib shall stand at the king’s mess; ’tis a chough; but, as I say, spacious in the possession of dirt.

OSRIC. Sweet lord, if your lordship were at leisure, I should impart a thing to you from his Majesty.

HAMLET. I will receive it with all diligence of spirit. Put your bonnet to his right use; ’tis for the head.

OSRIC. I thank your lordship, ’tis very hot.

HAMLET. No, believe me, ’tis very cold, the wind is northerly.

OSRIC. It is indifferent cold, my lord, indeed.

HAMLET. Methinks it is very sultry and hot for my complexion.

OSRIC. Exceedingly, my lord; it is very sultry,—as ’twere—I cannot tell how. But, my lord, his Majesty bade me signify to you that he has laid a great wager on your head. Sir, this is the matter,—

HAMLET. I beseech you, remember,—

[Hamlet moves him to put on his hat.]

OSRIC. Nay, in good faith; for mine ease, in good faith. Sir, here is newly come to court Laertes; believe me, an absolute gentleman, full of most excellent differences, of very soft society and great showing. Indeed, to speak feelingly of him, he is the card or calendar of gentry; for you shall find in him the continent of what part a gentleman would see.

HAMLET. Sir, his definement suffers no perdition in you, though I know, to divide him inventorially would dizzy th’arithmetic of memory, and yet but yaw neither, in respect of his quick sail. But, in the verity of extolment, I take him to be a soul of great article and his infusion of such dearth and rareness as, to make true diction of him, his semblable is his mirror and who else would trace him his umbrage, nothing more.

OSRIC. Your lordship speaks most infallibly of him.

HAMLET. The concernancy, sir? Why do we wrap the gentleman in our more rawer breath?

OSRIC. Sir?

HORATIO. Is’t not possible to understand in another tongue? You will do’t, sir, really.

HAMLET. What imports the nomination of this gentleman?

OSRIC. Of Laertes?

HORATIO. His purse is empty already, all’s golden words are spent.

HAMLET. Of him, sir.

OSRIC. I know you are not ignorant,—

HAMLET. I would you did, sir; yet in faith if you did, it would not much approve me. Well, sir?

OSRIC. You are not ignorant of what excellence Laertes is,—

HAMLET. I dare not confess that, lest I should compare with him in excellence; but to know a man well were to know himself.

OSRIC. I mean, sir, for his weapon; but in the imputation laid on him, by them in his meed he’s unfellowed.

HAMLET. What’s his weapon?

OSRIC. Rapier and dagger.

HAMLET. That’s two of his weapons. But well.

OSRIC. The King, sir, hath wager’d with him six Barbary horses, against the which he has imponed, as I take it, six French rapiers and poniards, with their assigns, as girdle, hangers, and so. Three of the carriages, in faith, are very dear to fancy, very responsive to the hilts, most delicate carriages, and of very liberal conceit.

HAMLET. What call you the carriages?

HORATIO. I knew you must be edified by the margin ere you had done.

OSRIC. The carriages, sir, are the hangers.

HAMLET. The phrase would be more german to the matter if we could carry cannon by our sides. I would it might be hangers till then. But on. Six Barbary horses against six French swords, their assigns, and three liberal conceited carriages: that’s the French bet against the Danish. Why is this all imponed, as you call it?

OSRIC. The King, sir, hath laid that in a dozen passes between you and him, he shall not exceed you three hits. He hath laid on twelve for nine. And it would come to immediate trial if your lordship would vouchsafe the answer.

HAMLET. How if I answer no?

OSRIC. I mean, my lord, the opposition of your person in trial.

HAMLET. Sir, I will walk here in the hall. If it please his Majesty, it is the breathing time of day with me. Let the foils be brought, the gentleman willing, and the King hold his purpose, I will win for him if I can; if not, I will gain nothing but my shame and the odd hits.

OSRIC. Shall I re-deliver you e’en so?

HAMLET. To this effect, sir; after what flourish your nature will.

OSRIC. I commend my duty to your lordship.

HAMLET. Yours, yours.

[Exit Osric.]

He does well to commend it himself, there are no tongues else for’s turn.

HORATIO. This lapwing runs away with the shell on his head.

HAMLET. He did comply with his dug before he suck’d it. Thus has he,—and many more of the same bevy that I know the drossy age dotes on,— only got the tune of the time and outward habit of encounter; a kind of yeasty collection, which carries them through and through the most fanned and winnowed opinions; and do but blow them to their trial, the bubbles are out.

Enter a Lord.

LORD. My lord, his Majesty commended him to you by young Osric, who brings back to him that you attend him in the hall. He sends to know if your pleasure hold to play with Laertes or that you will take longer time.

HAMLET. I am constant to my purposes, they follow the King’s pleasure. If his fitness speaks, mine is ready. Now or whensoever, provided I be so able as now.

LORD. The King and Queen and all are coming down.

HAMLET. In happy time.

LORD. The Queen desires you to use some gentle entertainment to Laertes before you fall to play.

HAMLET. She well instructs me.

[Exit Lord.]

HORATIO. You will lose this wager, my lord.

HAMLET. I do not think so. Since he went into France, I have been in continual practice. I shall win at the odds. But thou wouldst not think how ill all’s here about my heart: but it is no matter.

HORATIO. Nay, good my lord.

HAMLET. It is but foolery; but it is such a kind of gain-giving as would perhaps trouble a woman.

HORATIO. If your mind dislike anything, obey it. I will forestall their repair hither, and say you are not fit.

HAMLET. Not a whit, we defy augury. There’s a special providence in the fall of a sparrow. If it be now, ’tis not to come; if it be not to come, it will be now; if it be not now, yet it will come. The readiness is all. Since no man has aught of what he leaves, what is’t to leave betimes?

Enter King, Queen, Laertes, Lords, Osric and Attendants with foils &c.

KING. Come, Hamlet, come, and take this hand from me.

[The King puts Laertes’s hand into Hamlet’s.]

HAMLET. Give me your pardon, sir. I have done you wrong; But pardon’t as you are a gentleman. This presence knows, and you must needs have heard, How I am punish’d with sore distraction. What I have done That might your nature, honour, and exception Roughly awake, I here proclaim was madness. Was’t Hamlet wrong’d Laertes? Never Hamlet. If Hamlet from himself be ta’en away, And when he’s not himself does wrong Laertes, Then Hamlet does it not, Hamlet denies it. Who does it, then? His madness. If’t be so, Hamlet is of the faction that is wrong’d; His madness is poor Hamlet’s enemy. Sir, in this audience, Let my disclaiming from a purpos’d evil Free me so far in your most generous thoughts That I have shot my arrow o’er the house And hurt my brother.

LAERTES. I am satisfied in nature, Whose motive in this case should stir me most To my revenge. But in my terms of honour I stand aloof, and will no reconcilement Till by some elder masters of known honour I have a voice and precedent of peace To keep my name ungor’d. But till that time I do receive your offer’d love like love, And will not wrong it.

HAMLET. I embrace it freely, And will this brother’s wager frankly play.— Give us the foils; come on.

LAERTES. Come, one for me.

HAMLET. I’ll be your foil, Laertes; in mine ignorance Your skill shall like a star i’ th’ darkest night, Stick fiery off indeed.

LAERTES. You mock me, sir.

HAMLET. No, by this hand.

KING. Give them the foils, young Osric. Cousin Hamlet, You know the wager?

HAMLET. Very well, my lord. Your Grace has laid the odds o’ the weaker side.

KING. I do not fear it. I have seen you both; But since he is better’d, we have therefore odds.

LAERTES. This is too heavy. Let me see another.

HAMLET. This likes me well. These foils have all a length?

[They prepare to play.]

OSRIC. Ay, my good lord.

KING. Set me the stoups of wine upon that table. If Hamlet give the first or second hit, Or quit in answer of the third exchange, Let all the battlements their ordnance fire; The King shall drink to Hamlet’s better breath, And in the cup an union shall he throw Richer than that which four successive kings In Denmark’s crown have worn. Give me the cups; And let the kettle to the trumpet speak, The trumpet to the cannoneer without, The cannons to the heavens, the heavens to earth, ‘Now the King drinks to Hamlet.’ Come, begin. And you, the judges, bear a wary eye.

HAMLET. Come on, sir.

LAERTES. Come, my lord.

[They play.]

HAMLET. One.

LAERTES. No.

HAMLET. Judgement.

OSRIC. A hit, a very palpable hit.

LAERTES. Well; again.

KING. Stay, give me drink. Hamlet, this pearl is thine; Here’s to thy health.

[Trumpets sound, and cannon shot off within.]

Give him the cup.

HAMLET. I’ll play this bout first; set it by awhile.

[They play.]

Come. Another hit; what say you?

LAERTES. A touch, a touch, I do confess.

KING. Our son shall win.

QUEEN. He’s fat, and scant of breath. Here, Hamlet, take my napkin, rub thy brows. The Queen carouses to thy fortune, Hamlet.

HAMLET. Good madam.

KING. Gertrude, do not drink.

QUEEN. I will, my lord; I pray you pardon me.

KING. [Aside.] It is the poison’d cup; it is too late.

HAMLET. I dare not drink yet, madam. By and by.

QUEEN. Come, let me wipe thy face.

LAERTES. My lord, I’ll hit him now.

KING. I do not think’t.

LAERTES. [Aside.] And yet ’tis almost ’gainst my conscience.

HAMLET. Come for the third, Laertes. You do but dally. I pray you pass with your best violence. I am afeard you make a wanton of me.

LAERTES. Say you so? Come on.

[They play.]

OSRIC. Nothing neither way.

LAERTES. Have at you now.

[Laertes wounds Hamlet; then, in scuffling, they change rapiers, and Hamlet wounds Laertes.]

KING. Part them; they are incens’d.

HAMLET. Nay, come again!

[The Queen falls.]

OSRIC. Look to the Queen there, ho!

HORATIO. They bleed on both sides. How is it, my lord?

OSRIC. How is’t, Laertes?

LAERTES. Why, as a woodcock to my own springe, Osric. I am justly kill’d with mine own treachery.

HAMLET. How does the Queen?

KING. She swoons to see them bleed.

QUEEN. No, no, the drink, the drink! O my dear Hamlet! The drink, the drink! I am poison’d.

[Dies.]

HAMLET. O villany! Ho! Let the door be lock’d: Treachery! Seek it out.

[Laertes falls.]

LAERTES. It is here, Hamlet. Hamlet, thou art slain. No medicine in the world can do thee good. In thee there is not half an hour of life; The treacherous instrument is in thy hand, Unbated and envenom’d. The foul practice Hath turn’d itself on me. Lo, here I lie, Never to rise again. Thy mother’s poison’d. I can no more. The King, the King’s to blame.

HAMLET. The point envenom’d too! Then, venom, to thy work.

[Stabs the King.]

OSRIC and LORDS. Treason! treason!

KING. O yet defend me, friends. I am but hurt.

HAMLET. Here, thou incestuous, murderous, damned Dane, Drink off this potion. Is thy union here? Follow my mother.

[King dies.]

LAERTES. He is justly serv’d. It is a poison temper’d by himself. Exchange forgiveness with me, noble Hamlet. Mine and my father’s death come not upon thee, Nor thine on me.

[Dies.]

HAMLET. Heaven make thee free of it! I follow thee. I am dead, Horatio. Wretched Queen, adieu. You that look pale and tremble at this chance, That are but mutes or audience to this act, Had I but time,—as this fell sergeant, death, Is strict in his arrest,—O, I could tell you,— But let it be. Horatio, I am dead, Thou liv’st; report me and my cause aright To the unsatisfied.

HORATIO. Never believe it. I am more an antique Roman than a Dane. Here’s yet some liquor left.

HAMLET. As th’art a man, Give me the cup. Let go; by Heaven, I’ll have’t. O good Horatio, what a wounded name, Things standing thus unknown, shall live behind me. If thou didst ever hold me in thy heart, Absent thee from felicity awhile, And in this harsh world draw thy breath in pain, To tell my story.

[March afar off, and shot within.]

What warlike noise is this?

OSRIC. Young Fortinbras, with conquest come from Poland, To the ambassadors of England gives This warlike volley.

HAMLET. O, I die, Horatio. The potent poison quite o’er-crows my spirit: I cannot live to hear the news from England, But I do prophesy th’election lights On Fortinbras. He has my dying voice. So tell him, with the occurrents more and less, Which have solicited. The rest is silence.

[Dies.]

HORATIO. Now cracks a noble heart. Good night, sweet prince, And flights of angels sing thee to thy rest. Why does the drum come hither?

[March within.]

Enter Fortinbras, the English Ambassadors and others.

FORTINBRAS. Where is this sight?

HORATIO. What is it you would see? If aught of woe or wonder, cease your search.

FORTINBRAS. This quarry cries on havoc. O proud death, What feast is toward in thine eternal cell, That thou so many princes at a shot So bloodily hast struck?

FIRST AMBASSADOR. The sight is dismal; And our affairs from England come too late. The ears are senseless that should give us hearing, To tell him his commandment is fulfill’d, That Rosencrantz and Guildenstern are dead. Where should we have our thanks?

HORATIO. Not from his mouth, Had it th’ability of life to thank you. He never gave commandment for their death. But since, so jump upon this bloody question, You from the Polack wars, and you from England Are here arriv’d, give order that these bodies High on a stage be placed to the view, And let me speak to th’ yet unknowing world How these things came about. So shall you hear Of carnal, bloody and unnatural acts, Of accidental judgements, casual slaughters, Of deaths put on by cunning and forc’d cause, And, in this upshot, purposes mistook Fall’n on the inventors’ heads. All this can I Truly deliver.

FORTINBRAS. Let us haste to hear it, And call the noblest to the audience. For me, with sorrow I embrace my fortune. I have some rights of memory in this kingdom, Which now to claim my vantage doth invite me.

HORATIO. Of that I shall have also cause to speak, And from his mouth whose voice will draw on more. But let this same be presently perform’d, Even while men’s minds are wild, lest more mischance On plots and errors happen.

FORTINBRAS. Let four captains Bear Hamlet like a soldier to the stage, For he was likely, had he been put on, To have prov’d most royally; and for his passage, The soldiers’ music and the rites of war Speak loudly for him. Take up the bodies. Such a sight as this Becomes the field, but here shows much amiss. Go, bid the soldiers shoot.

[A dead march.]

[Exeunt, bearing off the bodies, after which a peal of ordnance is shot off.]

THE FIRST PART OF KING HENRY THE FOURTH

Dramatis Personæ

KING HENRY the Fourth. HENRY, PRINCE of Wales, son to the King. Prince John of LANCASTER, son to the King. Earl of WESTMORELAND. Sir Walter BLUNT. Thomas Percy, Earl of WORCESTER. Henry Percy, Earl of NORTHUMBERLAND. Henry Percy, surnamed HOTSPUR, his son. Edmund MORTIMER, Earl of March. Scroop, ARCHBISHOP of York. SIR MICHAEL, a friend to the archbishop of York. Archibald, Earl of DOUGLAS. Owen GLENDOWER. Sir Richard VERNON. Sir John FALSTAFF. POINS. GADSHILL. PETO. BARDOLPH. LADY PERCY, Wife to Hotspur. Lady Mortimer, Daughter to Glendower. Mrs. Quickly, Hostess in Eastcheap. Lords, Officers, Sheriff, Vintner, Chamberlain, Drawers, Carriers, Ostler, Messengers, Servant, Travellers and Attendants.

SCENE. England and Wales.

Act I, Scene I — London. A Room in the Palace

Enter the King, Lord John of Lancaster, Earl of Westmoreland with others.

KING. So shaken as we are, so wan with care, Find we a time for frighted peace to pant, And breathe short-winded accents of new broils To be commenced in strands afar remote. No more the thirsty entrance of this soil Shall daub her lips with her own children’s blood, No more shall trenching war channel her fields, Nor bruise her flow’rets with the armed hoofs Of hostile paces: those opposed eyes, Which, like the meteors of a troubled heaven, All of one nature, of one substance bred, Did lately meet in the intestine shock And furious close of civil butchery, Shall now, in mutual well-beseeming ranks, March all one way, and be no more opposed Against acquaintance, kindred, and allies. The edge of war, like an ill-sheathed knife, No more shall cut his master. Therefore, friends, As far as to the sepulchre of Christ— Whose soldier now, under whose blessed cross We are impressed and engaged to fight— Forthwith a power of English shall we levy, Whose arms were molded in their mothers’ womb To chase these pagans in those holy fields Over whose acres walked those blessed feet Which fourteen hundred years ago were nailed For our advantage on the bitter cross. But this our purpose now is twelve month old, And bootless ’tis to tell you we will go; Therefore we meet not now. Then let me hear Of you, my gentle cousin Westmoreland, What yesternight our Council did decree In forwarding this dear expedience.

WESTMORELAND. My liege, this haste was hot in question, And many limits of the charge set down But yesternight, when all athwart there came A post from Wales loaden with heavy news, Whose worst was that the noble Mortimer, Leading the men of Herefordshire to fight Against the irregular and wild Glendower, Was by the rude hands of that Welshman taken, A thousand of his people butchered, Upon whose dead corpse there was such misuse, Such beastly shameless transformation, By those Welshwomen done, as may not be Without much shame retold or spoken of.

KING. It seems then that the tidings of this broil Brake off our business for the Holy Land.

WESTMORELAND. This, matched with other did, my gracious lord, For more uneven and unwelcome news Came from the North, and thus it did import: On Holy-rood day the gallant Hotspur there, Young Harry Percy, and brave Archibald, That ever-valiant and approved Scot, At Holmedon met, where they did spend A sad and bloody hour; As by discharge of their artillery, And shape of likelihood, the news was told; For he that brought them, in the very heat And pride of their contention did take horse, Uncertain of the issue any way.

KING. Here is a dear and true-industrious friend, Sir Walter Blunt, new lighted from his horse, Stained with the variation of each soil Betwixt that Holmedon and this seat of ours; And he hath brought us smooth and welcome news. The Earl of Douglas is discomfited; Ten thousand bold Scots, two-and-twenty knights, Balked in their own blood, did Sir Walter see On Holmedon’s plains; of prisoners Hotspur took Mordake, Earl of Fife and eldest son To beaten Douglas, and the Earl of Athol, Of Murray, Angus, and Menteith. And is not this an honourable spoil, A gallant prize? Ha, cousin, is it not?

WESTMORELAND. In faith, it is a conquest for a prince to boast of.

KING. Yea, there thou mak’st me sad, and mak’st me sin In envy that my Lord Northumberland Should be the father to so blest a son, A son who is the theme of honour’s tongue, Amongst a grove the very straightest plant, Who is sweet Fortune’s minion and her pride; Whilst I, by looking on the praise of him, See riot and dishonour stain the brow Of my young Harry. O, that it could be proved That some night-tripping fairy had exchanged In cradle-clothes our children where they lay, And called mine Percy, his Plantagenet! Then would I have his Harry, and he mine: But let him from my thoughts. What think you, coz, Of this young Percy’s pride? The prisoners, Which he in this adventure hath surprised To his own use he keeps, and sends me word I shall have none but Mordake, Earl of Fife.

WESTMORELAND. This is his uncle’s teaching, this is Worcester, Malevolent to you in all aspects, Which makes him prune himself, and bristle up The crest of youth against your dignity.

KING. But I have sent for him to answer this; And for this cause awhile we must neglect Our holy purpose to Jerusalem. Cousin, on Wednesday next our Council we Will hold at Windsor, so inform the lords: But come yourself with speed to us again, For more is to be said and to be done Than out of anger can be uttered.

WESTMORELAND. I will, my liege.

[Exeunt.]

Act I, Scene II — The same. An Apartment of Prince Henry’s

Enter Prince Henry and Sir John Falstaff.

FALSTAFF. Now, Hal, what time of day is it, lad?

PRINCE. Thou art so fat-witted, with drinking of old sack, and unbuttoning thee after supper, and sleeping upon benches after noon, that thou hast forgotten to demand that truly which thou wouldst truly know. What a devil hast thou to do with the time of the day? Unless hours were cups of sack, and minutes capons, and clocks the tongues of bawds, and dials the signs of leaping-houses, and the blessed sun himself a fair hot wench in flame-coloured taffeta, I see no reason why thou shouldst be so superfluous to demand the time of the day.

FALSTAFF. Indeed, you come near me now, Hal, for we that take purses go by the moon and the seven stars, and not by Phœbus, he, that wand’ring knight so fair. And I prithee, sweet wag, when thou art king, as God save thy Grace—Majesty I should say, for grace thou wilt have none—

PRINCE. What, none?

FALSTAFF. No, by my troth, not so much as will serve to be prologue to an egg and butter.

PRINCE. Well, how then? Come, roundly, roundly.

FALSTAFF. Marry then, sweet wag, when thou art king, let not us that are squires of the night’s body be called thieves of the day’s beauty: let us be Diana’s foresters, gentlemen of the shade, minions of the moon; and let men say we be men of good government, being governed, as the sea is, by our noble and chaste mistress the moon, under whose countenance we steal.

PRINCE. Thou sayest well, and it holds well too, for the fortune of us that are the moon’s men doth ebb and flow like the sea, being governed, as the sea is, by the moon. As for proof now: a purse of gold most resolutely snatched on Monday night, and most dissolutely spent on Tuesday morning, got with swearing “Lay by” and spent with crying “Bring in”; now in as low an ebb as the foot of the ladder, and by and by in as high a flow as the ridge of the gallows.

FALSTAFF. By the Lord, thou say’st true, lad. And is not my hostess of the tavern a most sweet wench?

PRINCE. As the honey of Hybla, my old lad of the castle. And is not a buff jerkin a most sweet robe of durance?

FALSTAFF. How now, how now, mad wag? What, in thy quips and thy quiddities? What a plague have I to do with a buff jerkin?

PRINCE. Why, what a pox have I to do with my hostess of the tavern?

FALSTAFF. Well, thou hast called her to a reckoning many a time and oft.

PRINCE. Did I ever call for thee to pay thy part?

FALSTAFF. No, I’ll give thee thy due, thou hast paid all there.

PRINCE. Yea, and elsewhere, so far as my coin would stretch, and where it would not, I have used my credit.

FALSTAFF. Yea, and so used it that were it not here apparent that thou art heir apparent—But I prithee sweet wag, shall there be gallows standing in England when thou art king? And resolution thus fubbed as it is with the rusty curb of old father Antic the law? Do not thou, when thou art king, hang a thief.

PRINCE. No, thou shalt.

FALSTAFF. Shall I? O rare! By the Lord, I’ll be a brave judge.

PRINCE. Thou judgest false already, I mean thou shalt have the hanging of the thieves, and so become a rare hangman.

FALSTAFF. Well, Hal, well; and in some sort it jumps with my humour, as well as waiting in the court, I can tell you.

PRINCE. For obtaining of suits?

FALSTAFF. Yea, for obtaining of suits, whereof the hangman hath no lean wardrobe. ’Sblood, I am as melancholy as a gib cat or a lugged bear.

PRINCE. Or an old lion, or a lover’s lute.

FALSTAFF. Yea, or the drone of a Lincolnshire bagpipe.

PRINCE. What sayest thou to a hare, or the melancholy of Moor-ditch?

FALSTAFF. Thou hast the most unsavoury similes, and art indeed the most comparative, rascalliest, sweet young prince. But, Hal, I prithee trouble me no more with vanity. I would to God thou and I knew where a commodity of good names were to be bought. An old lord of the Council rated me the other day in the street about you, sir, but I marked him not, and yet he talked very wisely, but I regarded him not, and yet he talked wisely, and in the street too.

PRINCE. Thou didst well, for wisdom cries out in the streets and no man regards it.

FALSTAFF. O, thou hast damnable iteration, and art indeed able to corrupt a saint. Thou hast done much harm upon me, Hal, God forgive thee for it. Before I knew thee, Hal, I knew nothing, and now am I, if a man should speak truly, little better than one of the wicked. I must give over this life, and I will give it over. By the Lord, an I do not, I am a villain. I’ll be damned for never a king’s son in Christendom.

PRINCE. Where shall we take a purse tomorrow, Jack?

FALSTAFF. Zounds, where thou wilt, lad, I’ll make one. An I do not, call me villain and baffle me.

PRINCE. I see a good amendment of life in thee, from praying to purse-taking.

FALSTAFF. Why, Hal, ’tis my vocation, Hal, ’tis no sin for a man to labour in his vocation.

Enter Poins.

Poins!—Now shall we know if Gadshill have set a match. O, if men were to be saved by merit, what hole in hell were hot enough for him? This is the most omnipotent villain that ever cried “Stand!” to a true man.

PRINCE. Good morrow, Ned.

POINS. Good morrow, sweet Hal.—What says Monsieur Remorse? What says Sir John Sack-and-sugar? Jack, how agrees the devil and thee about thy soul, that thou soldest him on Good Friday last for a cup of Madeira and a cold capon’s leg?

PRINCE. Sir John stands to his word, the devil shall have his bargain, for he was never yet a breaker of proverbs. He will give the devil his due.

POINS. Then art thou damned for keeping thy word with the devil.

PRINCE. Else he had been damned for cozening the devil.

POINS. But, my lads, my lads, tomorrow morning, by four o’clock early at Gad’s Hill, there are pilgrims going to Canterbury with rich offerings, and traders riding to London with fat purses. I have visards for you all; you have horses for yourselves. Gadshill lies tonight in Rochester. I have bespoke supper tomorrow night in Eastcheap. We may do it as secure as sleep. If you will go, I will stuff your purses full of crowns. If you will not, tarry at home and be hanged.

FALSTAFF. Hear ye, Yedward, if I tarry at home and go not, I’ll hang you for going.

POINS. You will, chops?

FALSTAFF. Hal, wilt thou make one?

PRINCE. Who, I rob? I a thief? Not I, by my faith.

FALSTAFF. There’s neither honesty, manhood, nor good fellowship in thee, nor thou cam’st not of the blood royal, if thou darest not stand for ten shillings.

PRINCE. Well then, once in my days I’ll be a madcap.

FALSTAFF. Why, that’s well said.

PRINCE. Well, come what will, I’ll tarry at home.

FALSTAFF. By the Lord, I’ll be a traitor then, when thou art king.

PRINCE. I care not.

POINS. Sir John, I prithee, leave the Prince and me alone. I will lay him down such reasons for this adventure, that he shall go.

FALSTAFF. Well, God give thee the spirit of persuasion, and him the ears of profiting, that what thou speakest may move, and what he hears may be believed, that the true prince may, for recreation sake, prove a false thief, for the poor abuses of the time want countenance. Farewell, you shall find me in Eastcheap.

PRINCE. Farewell, thou latter spring! Farewell, All-hallown summer!

[Exit Falstaff.]

POINS. Now, my good sweet honey lord, ride with us tomorrow. I have a jest to execute that I cannot manage alone. Falstaff, Bardolph, Peto, and Gadshill shall rob those men that we have already waylaid. Yourself and I will not be there. And when they have the booty, if you and I do not rob them, cut this head off from my shoulders.

PRINCE. But how shall we part with them in setting forth?

POINS. Why, we will set forth before or after them, and appoint them a place of meeting, wherein it is at our pleasure to fail; and then will they adventure upon the exploit themselves, which they shall have no sooner achieved but we’ll set upon them.

PRINCE. Yea, but ’tis like that they will know us by our horses, by our habits, and by every other appointment, to be ourselves.

POINS. Tut, our horses they shall not see, I’ll tie them in the wood; our visards we will change after we leave them; and, sirrah, I have cases of buckram for the nonce, to immask our noted outward garments.

PRINCE. Yea, but I doubt they will be too hard for us.

POINS. Well, for two of them, I know them to be as true-bred cowards as ever turned back; and for the third, if he fight longer than he sees reason, I’ll forswear arms. The virtue of this jest will be the incomprehensible lies that this same fat rogue will tell us when we meet at supper: how thirty at least he fought with, what wards, what blows, what extremities he endured; and in the reproof of this lives the jest.

PRINCE. Well, I’ll go with thee. Provide us all things necessary and meet me tomorrow night in Eastcheap; there I’ll sup. Farewell.

POINS. Farewell, my lord.

[Exit.]

PRINCE. I know you all, and will awhile uphold The unyok’d humour of your idleness. Yet herein will I imitate the sun, Who doth permit the base contagious clouds To smother up his beauty from the world, That, when he please again to be himself, Being wanted, he may be more wonder’d at, By breaking through the foul and ugly mists Of vapours that did seem to strangle him. If all the year were playing holidays, To sport would be as tedious as to work; But, when they seldom come, they wish’d-for come, And nothing pleaseth but rare accidents. So when this loose behaviour I throw off, And pay the debt I never promised, By how much better than my word I am, By so much shall I falsify men’s hopes; And, like bright metal on a sullen ground, My reformation, glitt’ring o’er my fault, Shall show more goodly and attract more eyes Than that which hath no foil to set it off. I’ll so offend, to make offence a skill, Redeeming time, when men think least I will.

[Exit.]

Act I, Scene III — The Same. A Room in the Palace

Enter King Henry, Northumberland, Worcester, Hotspur, Sir Walter Blunt and others.

KING. My blood hath been too cold and temperate, Unapt to stir at these indignities, And you have found me, for accordingly You tread upon my patience: but be sure I will from henceforth rather be myself, Mighty and to be fear’d, than my condition, Which hath been smooth as oil, soft as young down, And therefore lost that title of respect Which the proud soul ne’er pays but to the proud.

WORCESTER. Our house, my sovereign liege, little deserves The scourge of greatness to be used on it, And that same greatness too which our own hands Have holp to make so portly.

NORTHUMBERLAND. My lord,—

KING. Worcester, get thee gone, for I do see Danger and disobedience in thine eye: O, sir, your presence is too bold and peremptory, And majesty might never yet endure The moody frontier of a servant brow. You have good leave to leave us. When we need Your use and counsel, we shall send for you.

[Exit Worcester.]

[To Northumberland.]

You were about to speak.

NORTHUMBERLAND. Yea, my good lord. Those prisoners in your Highness’ name demanded, Which Harry Percy here at Holmedon took, Were, as he says, not with such strength denied As is deliver’d to your Majesty. Either envy, therefore, or misprision Is guilty of this fault, and not my son.

HOTSPUR. My liege, I did deny no prisoners. But I remember, when the fight was done, When I was dry with rage and extreme toil, Breathless and faint, leaning upon my sword, Came there a certain lord, neat and trimly dress’d, Fresh as a bridegroom, and his chin new reap’d Show’d like a stubble-land at harvest-home. He was perfumed like a milliner, And ’twixt his finger and his thumb he held A pouncet-box, which ever and anon He gave his nose, and took’t away again, Who therewith angry, when it next came there, Took it in snuff; and still he smiled and talk’d. And as the soldiers bore dead bodies by, He call’d them untaught knaves, unmannerly, To bring a slovenly unhandsome corse Betwixt the wind and his nobility. With many holiday and lady terms He question’d me, amongst the rest demanded My prisoners in your Majesty’s behalf. I then, all smarting with my wounds being cold, Out of my grief and my impatience To be so pester’d with a popinjay, Answer’d neglectingly, I know not what, He should, or he should not; for he made me mad To see him shine so brisk and smell so sweet, And talk so like a waiting-gentlewoman Of guns and drums and wounds, God save the mark! And telling me the sovereignest thing on Earth Was parmacety for an inward bruise, And that it was great pity, so it was, This villainous saltpetre should be digg’d Out of the bowels of the harmless earth, Which many a good tall fellow had destroy’d So cowardly, and but for these vile guns, He would himself have been a soldier. This bald unjointed chat of his, my lord, I answered indirectly, as I said, And I beseech you, let not his report Come current for an accusation Betwixt my love and your high Majesty.

BLUNT. The circumstance consider’d, good my lord, Whatever Harry Percy then had said To such a person, and in such a place, At such a time, with all the rest retold, May reasonably die, and never rise To do him wrong, or any way impeach What then he said, so he unsay it now.

KING. Why, yet he doth deny his prisoners, But with proviso and exception, That we at our own charge shall ransom straight His brother-in-law, the foolish Mortimer, Who, on my soul, hath wilfully betray’d The lives of those that he did lead to fight Against that great magician, damn’d Glendower, Whose daughter, as we hear, the Earl of March Hath lately married. Shall our coffers then Be emptied to redeem a traitor home? Shall we buy treason and indent with fears When they have lost and forfeited themselves? No, on the barren mountains let him starve; For I shall never hold that man my friend Whose tongue shall ask me for one penny cost To ransom home revolted Mortimer.

HOTSPUR. Revolted Mortimer! He never did fall off, my sovereign liege, But by the chance of war. To prove that true Needs no more but one tongue for all those wounds, Those mouthed wounds, which valiantly he took, When on the gentle Severn’s sedgy bank, In single opposition hand to hand, He did confound the best part of an hour In changing hardiment with great Glendower. Three times they breathed, and three times did they drink, Upon agreement, of swift Severn’s flood, Who then, affrighted with their bloody looks, Ran fearfully among the trembling reeds, And hid his crisp head in the hollow bank Blood-stained with these valiant combatants. Never did bare and rotten policy Colour her working with such deadly wounds, Nor never could the noble Mortimer Receive so many, and all willingly. Then let not him be slander’d with revolt.

KING. Thou dost belie him, Percy, thou dost belie him, He never did encounter with Glendower. I tell thee, he durst as well have met the devil alone As Owen Glendower for an enemy. Art not ashamed? But, sirrah, henceforth Let me not hear you speak of Mortimer. Send me your prisoners with the speediest means, Or you shall hear in such a kind from me As will displease you.—My Lord Northumberland, We license your departure with your son.— Send us your prisoners, or you’ll hear of it.

[Exit King Henry, Blunt and train.]

HOTSPUR. An if the devil come and roar for them, I will not send them. I will after straight And tell him so, for I will ease my heart, Albeit I make a hazard of my head.

NORTHUMBERLAND. What, drunk with choler? Stay, and pause awhile. Here comes your uncle.

Enter Worcester.

HOTSPUR. Speak of Mortimer? Zounds, I will speak of him, and let my soul Want mercy if I do not join with him. Yea, on his part I’ll empty all these veins, And shed my dear blood drop by drop in the dust, But I will lift the down-trod Mortimer As high in the air as this unthankful King, As this ingrate and canker’d Bolingbroke.

NORTHUMBERLAND. [To Worcester.] Brother, the King hath made your nephew mad.

WORCESTER. Who struck this heat up after I was gone?

HOTSPUR. He will forsooth have all my prisoners, And when I urged the ransom once again Of my wife’s brother, then his cheek look’d pale, And on my face he turn’d an eye of death, Trembling even at the name of Mortimer.

WORCESTER. I cannot blame him. Was not he proclaim’d By Richard that dead is, the next of blood?

NORTHUMBERLAND. He was; I heard the proclamation. And then it was when the unhappy King— Whose wrongs in us God pardon!—did set forth Upon his Irish expedition; From whence he, intercepted, did return To be deposed, and shortly murdered.

WORCESTER. And for whose death we in the world’s wide mouth Live scandalized and foully spoken of.

HOTSPUR. But soft, I pray you, did King Richard then Proclaim my brother Edmund Mortimer Heir to the crown?

NORTHUMBERLAND. He did; myself did hear it.

HOTSPUR. Nay, then I cannot blame his cousin King, That wish’d him on the barren mountains starve. But shall it be that you that set the crown Upon the head of this forgetful man, And for his sake wear the detested blot Of murderous subornation—shall it be, That you a world of curses undergo, Being the agents, or base second means, The cords, the ladder, or the hangman rather? O, pardon me, that I descend so low, To show the line and the predicament Wherein you range under this subtle King. Shall it for shame be spoken in these days, Or fill up chronicles in time to come, That men of your nobility and power Did gage them both in an unjust behalf (As both of you, God pardon it, have done) To put down Richard, that sweet lovely rose, And plant this thorn, this canker, Bolingbroke? And shall it in more shame be further spoken, That you are fool’d, discarded, and shook off By him for whom these shames ye underwent? No, yet time serves wherein you may redeem Your banish’d honours, and restore yourselves Into the good thoughts of the world again: Revenge the jeering and disdain’d contempt Of this proud King, who studies day and night To answer all the debt he owes to you Even with the bloody payment of your deaths. Therefore, I say—

WORCESTER. Peace, cousin, say no more. And now I will unclasp a secret book, And to your quick-conceiving discontents I’ll read you matter deep and dangerous, As full of peril and adventurous spirit As to o’er-walk a current roaring loud On the unsteadfast footing of a spear.

HOTSPUR. If we fall in, good night, or sink or swim! Send danger from the east unto the west, So honour cross it from the north to south, And let them grapple. O, the blood more stirs To rouse a lion than to start a hare!

NORTHUMBERLAND. Imagination of some great exploit Drives him beyond the bounds of patience.

HOTSPUR. By Heaven, methinks it were an easy leap To pluck bright honour from the pale-faced moon, Or dive into the bottom of the deep, Where fathom-line could never touch the ground, And pluck up drowned honour by the locks, So he that doth redeem her thence might wear Without corrival all her dignities. But out upon this half-faced fellowship!

WORCESTER. He apprehends a world of figures here, But not the form of what he should attend.— Good cousin, give me audience for a while.

HOTSPUR. I cry you mercy.

WORCESTER. Those same noble Scots That are your prisoners—

HOTSPUR. I’ll keep them all; By God, he shall not have a Scot of them, No, if a Scot would save his soul, he shall not. I’ll keep them, by this hand!

WORCESTER. You start away, And lend no ear unto my purposes: Those prisoners you shall keep—

HOTSPUR. Nay, I will: that’s flat. He said he would not ransom Mortimer, Forbade my tongue to speak of Mortimer, But I will find him when he lies asleep, And in his ear I’ll holla “Mortimer!” Nay, I’ll have a starling shall be taught to speak Nothing but “Mortimer”, and give it him, To keep his anger still in motion.

WORCESTER. Hear you, cousin, a word.

HOTSPUR. All studies here I solemnly defy, Save how to gall and pinch this Bolingbroke: And that same sword-and-buckler Prince of Wales, But that I think his father loves him not, And would be glad he met with some mischance— I would have him poison’d with a pot of ale.

WORCESTER. Farewell, kinsman. I will talk to you When you are better temper’d to attend.

NORTHUMBERLAND. Why, what a wasp-stung and impatient fool Art thou to break into this woman’s mood, Tying thine ear to no tongue but thine own!

HOTSPUR. Why, look you, I am whipp’d and scourged with rods, Nettled, and stung with pismires, when I hear Of this vile politician, Bolingbroke. In Richard’s time—what do you call the place? A plague upon’t! It is in Gloucestershire. ’Twas where the madcap Duke his uncle kept, His uncle York, where I first bow’d my knee Unto this king of smiles, this Bolingbroke, ’Sblood, when you and he came back from Ravenspurgh.

NORTHUMBERLAND. At Berkeley castle.

HOTSPUR. You say true. Why, what a candy deal of courtesy This fawning greyhound then did proffer me! “Look, when his infant fortune came to age,” And, “Gentle Harry Percy,” and “kind cousin.” O, the devil take such cozeners!—God forgive me! Good uncle, tell your tale. I have done.

WORCESTER. Nay, if you have not, to it again, We will stay your leisure.

HOTSPUR. I have done, i’faith.

WORCESTER. Then once more to your Scottish prisoners; Deliver them up without their ransom straight, And make the Douglas’ son your only mean For powers in Scotland, which, for divers reasons Which I shall send you written, be assured Will easily be granted.—[To Northumberland.] You, my lord, Your son in Scotland being thus employ’d, Shall secretly into the bosom creep Of that same noble prelate well beloved, The Archbishop.

HOTSPUR. Of York, is it not?

WORCESTER. True, who bears hard His brother’s death at Bristol, the Lord Scroop. I speak not this in estimation, As what I think might be, but what I know Is ruminated, plotted, and set down, And only stays but to behold the face Of that occasion that shall bring it on.

HOTSPUR. I smell it. Upon my life it will do well.

NORTHUMBERLAND. Before the game is afoot thou still let’st slip.

HOTSPUR. Why, it cannot choose but be a noble plot; And then the power of Scotland and of York To join with Mortimer, ha?

WORCESTER. And so they shall.

HOTSPUR. In faith, it is exceedingly well aim’d.

WORCESTER. And ’tis no little reason bids us speed, To save our heads by raising of a head; For, bear ourselves as even as we can, The King will always think him in our debt, And think we think ourselves unsatisfied, Till he hath found a time to pay us home: And see already how he doth begin To make us strangers to his looks of love.

HOTSPUR. He does, he does, we’ll be revenged on him.

WORCESTER. Cousin, farewell. No further go in this Than I by letters shall direct your course. When time is ripe, which will be suddenly, I’ll steal to Glendower and Lord Mortimer, Where you and Douglas, and our powers at once, As I will fashion it, shall happily meet, To bear our fortunes in our own strong arms, Which now we hold at much uncertainty.

NORTHUMBERLAND. Farewell, good brother; we shall thrive, I trust.

HOTSPUR. Uncle, adieu. O, let the hours be short, Till fields and blows and groans applaud our sport!

[Exeunt.]

Act II, Scene I — Rochester. An Inn-Yard

Enter a Carrier with a lantern in his hand.

FIRST CARRIER. Heigh-ho! an it be not four by the day, I’ll be hang’d. Charles’ wain is over the new chimney, and yet our horse not pack’d.—What, ostler!

OSTLER. [within.] Anon, anon.

FIRST CARRIER. I prithee, Tom, beat Cut’s saddle, put a few flocks in the point; poor jade is wrung in the withers out of all cess.

Enter another Carrier.

SECOND CARRIER. Peas and beans are as dank here as a dog, and that is the next way to give poor jades the bots. This house is turned upside down since Robin ostler died.

FIRST CARRIER. Poor fellow never joyed since the price of oats rose, it was the death of him.

SECOND CARRIER. I think this be the most villainous house in all London road for fleas. I am stung like a tench.

FIRST CARRIER. Like a tench! By the Mass, there is ne’er a king christen could be better bit than I have been since the first cock.

SECOND CARRIER. Why, they will allow us ne’er a jordan, and then we leak in your chimney, and your chamber-lye breeds fleas like a loach.

FIRST CARRIER. What, ostler! Come away and be hanged, come away.

SECOND CARRIER. I have a gammon of bacon and two razes of ginger, to be delivered as far as Charing Cross.

FIRST CARRIER. God’s body! The turkeys in my pannier are quite starved.—What, ostler! A plague on thee! Hast thou never an eye in thy head? Canst not hear? An ’twere not as good deed as drink to break the pate on thee, I am a very villain. Come, and be hanged. Hast no faith in thee?

Enter Gadshill.

GADSHILL. Good morrow, carriers. What’s o’clock?

FIRST CARRIER. I think it be two o’clock.

GADSHILL. I prithee, lend me thy lantern, to see my gelding in the stable.

FIRST CARRIER. Nay, by God, soft! I know a trick worth two of that, i’faith.

GADSHILL. I pray thee, lend me thine.

SECOND CARRIER. Ay, when? Canst tell? “Lend me thy lantern,” quoth he! Marry, I’ll see thee hanged first.

GADSHILL. Sirrah carrier, what time do you mean to come to London?

SECOND CARRIER. Time enough to go to bed with a candle, I warrant thee. Come, neighbour Mugs, we’ll call up the gentlemen. They will along with company, for they have great charge.

[Exeunt Carriers.]

GADSHILL. What, ho! Chamberlain!

Enter Chamberlain.

CHAMBERLAIN. At hand, quoth pick-purse.

GADSHILL. That’s even as fair as “at hand, quoth the chamberlain,” for thou variest no more from picking of purses than giving direction doth from labouring; thou layest the plot how.

CHAMBERLAIN. Good morrow, Master Gadshill. It holds current that I told you yesternight: there’s a franklin in the Wild of Kent hath brought three hundred marks with him in gold. I heard him tell it to one of his company last night at supper; a kind of auditor, one that hath abundance of charge too, God knows what. They are up already, and call for eggs and butter. They will away presently.

GADSHILL. Sirrah, if they meet not with Saint Nicholas’ clerks, I’ll give thee this neck.

CHAMBERLAIN. No, I’ll none of it. I pray thee, keep that for the hangman, for I know thou worshippest Saint Nicholas as truly as a man of falsehood may.

GADSHILL. What talkest thou to me of the hangman? If I hang, I’ll make a fat pair of gallows; for, if I hang, old Sir John hangs with me, and thou knowest he is no starveling. Tut, there are other Troyans that thou dream’st not of, the which for sport sake are content to do the profession some grace, that would, if matters should be looked into, for their own credit sake make all whole. I am joined with no foot-land-rakers, no long-staff sixpenny strikers, none of these mad mustachio purple-hued malt-worms, but with nobility and tranquillity, burgomasters and great oneyers, such as can hold in, such as will strike sooner than speak, and speak sooner than drink, and drink sooner than pray: and yet, zounds, I lie, for they pray continually to their saint the commonwealth, or rather not pray to her, but prey on her, for they ride up and down on her, and make her their boots.

CHAMBERLAIN. What, the commonwealth their boots? Will she hold out water in foul way?

GADSHILL. She will, she will; justice hath liquored her. We steal as in a castle, cock-sure; we have the receipt of fern-seed, we walk invisible.

CHAMBERLAIN. Nay, by my faith, I think you are more beholding to the night than to fern-seed for your walking invisible.

GADSHILL. Give me thy hand. Thou shalt have a share in our purchase, as I am a true man.

CHAMBERLAIN. Nay, rather let me have it, as you are a false thief.

GADSHILL. Go to; homo is a common name to all men. Bid the ostler bring my gelding out of the stable. Farewell, you muddy knave.

[Exeunt.]

Act II, Scene II — The Road by Gads-hill

Enter Prince Henry and Poins; Bardolph and Peto at some distance.

POINS. Come, shelter, shelter! I have removed Falstaff’s horse, and he frets like a gummed velvet.

PRINCE. Stand close.

[They retire.]

Enter Falstaff.

FALSTAFF. Poins! Poins, and be hanged! Poins!

PRINCE. [Coming forward.] Peace, ye fat-kidneyed rascal! What a brawling dost thou keep!

FALSTAFF. Where’s Poins, Hal?

PRINCE. He is walked up to the top of the hill. I’ll go seek him.

[Retires.]

FALSTAFF. I am accursed to rob in that thief’s company. The rascal hath removed my horse and tied him I know not where. If I travel but four foot by the square further afoot, I shall break my wind. Well, I doubt not but to die a fair death for all this, if I ’scape hanging for killing that rogue. I have forsworn his company hourly any time this two-and-twenty years, and yet I am bewitched with the rogue’s company. If the rascal have not given me medicines to make me love him, I’ll be hanged. It could not be else: I have drunk medicines. Poins! Hal! A plague upon you both! Bardolph! Peto! I’ll starve ere I’ll rob a foot further. An ’twere not as good a deed as drink, to turn true man, and to leave these rogues, I am the veriest varlet that ever chewed with a tooth. Eight yards of uneven ground is threescore and ten miles afoot with me, and the stony-hearted villains know it well enough. A plague upon it when thieves cannot be true one to another! [They whistle.] Whew! A plague upon you all! Give me my horse, you rogues, give me my horse and be hanged!

PRINCE. [Coming forward.] Peace, you fat guts, lie down, lay thine ear close to the ground, and list if thou canst hear the tread of travellers.

FALSTAFF. Have you any levers to lift me up again, being down? ’Sblood, I’ll not bear my own flesh so far afoot again for all the coin in thy father’s exchequer. What a plague mean ye to colt me thus?

PRINCE. Thou liest, thou art not colted, thou art uncolted.

FALSTAFF. I prithee, good Prince Hal, help me to my horse, good king’s son.

PRINCE. Out, ye rogue! Shall I be your ostler?

FALSTAFF. Hang thyself in thine own heir-apparent garters! If I be ta’en, I’ll peach for this. An I have not ballads made on you all, and sung to filthy tunes, let a cup of sack be my poison—when a jest is so forward, and afoot too! I hate it.

Enter Gadshill.

GADSHILL. Stand!

FALSTAFF. So I do, against my will.

POINS. O, ’tis our setter. I know his voice.

Comes forward with Bardolph and Peto.

BARDOLPH. What news?

GADSHILL. Case ye, case ye, on with your visards. There’s money of the King’s coming down the hill, ’tis going to the King’s exchequer.

FALSTAFF. You lie, ye rogue, ’tis going to the King’s tavern.

GADSHILL. There’s enough to make us all.

FALSTAFF. To be hanged.

PRINCE. Sirs, you four shall front them in the narrow lane. Ned Poins and I will walk lower; if they ’scape from your encounter, then they light on us.

PETO. How many be there of them?

GADSHILL. Some eight or ten.

FALSTAFF. Zounds, will they not rob us?

PRINCE. What, a coward, Sir John Paunch?

FALSTAFF. Indeed, I am not John of Gaunt, your grandfather, but yet no coward, Hal.

PRINCE. Well, we leave that to the proof.

POINS. Sirrah Jack, thy horse stands behind the hedge. When thou need’st him, there thou shalt find him. Farewell, and stand fast.

FALSTAFF. Now cannot I strike him, if I should be hanged.

PRINCE. [aside to Poins.] Ned, where are our disguises?

POINS. [aside to Prince Henry.] Here, hard by. Stand close.

[Exeunt Prince and Poins.]

FALSTAFF. Now, my masters, happy man be his dole, say I. Every man to his business.

Enter the Travellers.

FIRST TRAVELLER. Come, neighbour, the boy shall lead our horses down the hill; we’ll walk afoot awhile and ease our legs.

THIEVES. Stand!

SECOND TRAVELLER. Jesu bless us!

FALSTAFF. Strike, down with them, cut the villains’ throats! Ah, whoreson caterpillars, bacon-fed knaves, they hate us youth. Down with them, fleece them!

FIRST TRAVELLER. O, we are undone, both we and ours for ever!

FALSTAFF. Hang ye, gorbellied knaves, are ye undone? No, ye fat chuffs, I would your store were here! On, bacons, on! What, ye knaves! young men must live. You are grandjurors, are ye? We’ll jure ye, faith.

[Here they rob them and bind them. Exeunt]

Enter Prince Henry and Poins in buckram suits.

PRINCE. The thieves have bound the true men. Now could thou and I rob the thieves, and go merrily to London, it would be argument for a week, laughter for a month, and a good jest for ever.

POINS. Stand close, I hear them coming.

[They retire.]

Enter the Thieves again.

FALSTAFF. Come, my masters, let us share, and then to horse before day. An the Prince and Poins be not two arrant cowards, there’s no equity stirring. There’s no more valour in that Poins than in a wild duck.

[As they are sharing, the Prince and Poins set upon them.]

PRINCE. Your money!

POINS. Villains!

[Falstaff after a blow or two, and the others run away, leaving the booty behind them.]

PRINCE. Got with much ease. Now merrily to horse. The thieves are all scatter’d, and possess’d with fear So strongly that they dare not meet each other; Each takes his fellow for an officer. Away, good Ned. Falstaff sweats to death, And lards the lean earth as he walks along. Were’t not for laughing, I should pity him.

POINS. How the fat rogue roared!

[Exeunt.]

Act II, Scene III — Warkworth. A Room in the Castle

Enter Hotspur, reading a letter.

HOTSPUR. “But, for mine own part, my lord, I could be well contented to be there, in respect of the love I bear your house.” He could be contented; why is he not, then? In respect of the love he bears our house—he shows in this, he loves his own barn better than he loves our house. Let me see some more. “The purpose you undertake is dangerous”—Why, that’s certain. ’Tis dangerous to take a cold, to sleep, to drink; but I tell you, my lord fool, out of this nettle, danger, we pluck this flower, safety. “The purpose you undertake is dangerous, the friends you have named uncertain, the time itself unsorted, and your whole plot too light for the counterpoise of so great an opposition.” Say you so, say you so? I say unto you again, you are a shallow, cowardly hind, and you lie. What a lack-brain is this! By the Lord, our plot is a good plot as ever was laid, our friends true and constant: a good plot, good friends, and full of expectation; an excellent plot, very good friends. What a frosty-spirited rogue is this! Why, my Lord of York commends the plot and the general course of the action. Zounds, an I were now by this rascal, I could brain him with his lady’s fan. Is there not my father, my uncle, and myself? Lord Edmund Mortimer, my Lord of York, and Owen Glendower? Is there not besides the Douglas? Have I not all their letters to meet me in arms by the ninth of the next month, and are they not some of them set forward already? What a pagan rascal is this, an infidel! Ha! You shall see now, in very sincerity of fear and cold heart, will he to the King, and lay open all our proceedings. O, I could divide myself, and go to buffets, for moving such a dish of skim milk with so honourable an action! Hang him, let him tell the King, we are prepared. I will set forward tonight.—

Enter Lady Percy.

How now, Kate! I must leave you within these two hours.

LADY PERCY. O my good lord, why are you thus alone? For what offence have I this fortnight been A banish’d woman from my Harry’s bed? Tell me, sweet lord, what is’t that takes from thee Thy stomach, pleasure, and thy golden sleep? Why dost thou bend thine eyes upon the earth, And start so often when thou sit’st alone? Why hast thou lost the fresh blood in thy cheeks, And given my treasures and my rights of thee To thick-eyed musing and curst melancholy? In thy faint slumbers I by thee have watch’d, And heard thee murmur tales of iron wars, Speak terms of manage to thy bounding steed, Cry “Courage! To the field!” And thou hast talk’d Of sallies and retires, of trenches, tents, Of palisadoes, frontiers, parapets, Of basilisks, of cannon, culverin, Of prisoners’ ransom, and of soldiers slain, And all the currents of a heady fight. Thy spirit within thee hath been so at war, And thus hath so bestirr’d thee in thy sleep, That beads of sweat have stood upon thy brow Like bubbles in a late-disturbed stream, And in thy face strange motions have appear’d, Such as we see when men restrain their breath On some great sudden hest. O, what portents are these? Some heavy business hath my lord in hand, And I must know it, else he loves me not.

HOTSPUR. What, ho!

Enter a Servant.

Is Gilliams with the packet gone?

SERVANT. He is, my lord, an hour ago.

HOTSPUR. Hath Butler brought those horses from the sheriff?

SERVANT. One horse, my lord, he brought even now.

HOTSPUR. What horse? A roan, a crop-ear, is it not?

SERVANT. It is, my lord.

HOTSPUR. That roan shall be my throne. Well, I will back him straight. O Esperance! Bid Butler lead him forth into the park.

[Exit Servant.]

LADY PERCY. But hear you, my lord.

HOTSPUR. What say’st thou, my lady?

LADY PERCY. What is it carries you away?

HOTSPUR. Why, my horse, my love, my horse.

LADY PERCY. Out, you mad-headed ape! A weasel hath not such a deal of spleen As you are toss’d with. In faith, I’ll know your business, Harry, that I will. I fear my brother Mortimer doth stir About his title, and hath sent for you To line his enterprise. But if you go—

HOTSPUR. So far afoot, I shall be weary, love.

LADY PERCY. Come, come, you paraquito, answer me Directly unto this question that I ask. In faith, I’ll break thy little finger, Harry, If thou wilt not tell me all things true.

HOTSPUR. Away, Away, you trifler! Love, I love thee not, I care not for thee, Kate. This is no world To play with mammets and to tilt with lips. We must have bloody noses and crack’d crowns, And pass them current too.—Gods me, my horse!— What say’st thou, Kate? What wouldst thou have with me?

LADY PERCY. Do you not love me? Do you not indeed? Well, do not, then, for since you love me not, I will not love myself. Do you not love me? Nay, tell me if you speak in jest or no.

HOTSPUR. Come, wilt thou see me ride? And when I am a-horseback I will swear I love thee infinitely. But hark you, Kate, I must not have you henceforth question me Whither I go, nor reason whereabout. Whither I must, I must; and, to conclude, This evening must I leave you, gentle Kate. I know you wise, but yet no farther wise Than Harry Percy’s wife; constant you are, But yet a woman; and for secrecy, No lady closer, for I well believe Thou wilt not utter what thou dost not know; And so far will I trust thee, gentle Kate.

LADY PERCY. How? So far?

HOTSPUR. Not an inch further. But hark you, Kate, Whither I go, thither shall you go too. Today will I set forth, tomorrow you. Will this content you, Kate?

LADY PERCY. It must, of force.

[Exeunt.]