← The Complete Works of William Shakespeare

Act V, Scene II — Lobby before the council-chamber…

Part 24 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 V, Scene II — Lobby before the council-chamber

Enter Cranmer, Archbishop of Canterbury.

CRANMER. I hope I am not too late, and yet the gentleman That was sent to me from the Council prayed me To make great haste. All fast? What means this? Ho! Who waits there?

Enter Keeper.

Sure you know me?

KEEPER. Yes, my lord, But yet I cannot help you.

CRANMER. Why?

KEEPER. Your Grace must wait till you be called for.

Enter Doctor Butts.

CRANMER. So.

BUTTS. [Aside.] This is a piece of malice. I am glad I came this way so happily. The King Shall understand it presently.

[Exit.]

CRANMER. [Aside.] ’Tis Butts, The King’s physician. As he passed along, How earnestly he cast his eyes upon me! Pray heaven he sound not my disgrace. For certain, This is of purpose laid by some that hate me— God turn their hearts! I never sought their malice— To quench mine honour. They would shame to make me Wait else at door, a fellow councillor, ’Mong boys, grooms, and lackeys. But their pleasures Must be fulfilled, and I attend with patience.

Enter the King and Butts at a window above.

BUTTS. I’ll show your Grace the strangest sight.

KING. What’s that, Butts?

BUTTS. I think your Highness saw this many a day.

KING. Body o’ me, where is it?

BUTTS. There, my lord: The high promotion of his Grace of Canterbury, Who holds his state at door, ’mongst pursuivants, Pages, and footboys.

KING. Ha! ’Tis he, indeed. Is this the honour they do one another? ’Tis well there’s one above ’em yet. I had thought They had parted so much honesty among ’em— At least good manners—as not thus to suffer A man of his place, and so near our favour, To dance attendance on their lordships’ pleasures, And at the door too, like a post with packets. By holy Mary, Butts, there’s knavery! Let ’em alone, and draw the curtain close. We shall hear more anon.

[Exeunt.]

A council table brought in with chairs and stools and placed under the state. Enter Lord Chancellor, places himself at the upper end of the table on the left hand, a seat being left void above him, as for Canterbury’s seat. Duke of Suffolk, Duke of Norfolk, Surrey, Lord Chamberlain, Gardiner seat themselves in order on each side; Cromwell at lower end, as secretary.

CHANCELLOR. Speak to the business, master secretary. Why are we met in council?

CROMWELL. Please your honours, The chief cause concerns his Grace of Canterbury.

GARDINER. Has he had knowledge of it?

CROMWELL. Yes.

NORFOLK. Who waits there?

KEEPER. Without, my noble lords?

GARDINER. Yes.

KEEPER. My lord Archbishop, And has done half an hour, to know your pleasures.

CHANCELLOR. Let him come in.

KEEPER. Your Grace may enter now.

Cranmer approaches the council table.

CHANCELLOR. My good lord Archbishop, I’m very sorry To sit here at this present and behold That chair stand empty. But we all are men, In our own natures frail, and capable Of our flesh—few are angels—out of which frailty And want of wisdom, you that best should teach us, Have misdemeaned yourself, and not a little, Toward the King first, then his laws, in filling The whole realm, by your teaching and your chaplains’— For so we are informed—with new opinions, Divers and dangerous, which are heresies And, not reformed, may prove pernicious.

GARDINER. Which reformation must be sudden too, My noble lords; for those that tame wild horses Pace ’em not in their hands to make ’em gentle, But stop their mouth with stubborn bits and spur ’em Till they obey the manage. If we suffer, Out of our easiness and childish pity To one man’s honour, this contagious sickness, Farewell, all physic. And what follows then? Commotions, uproars, with a general taint Of the whole state, as of late days our neighbours, The upper Germany, can dearly witness, Yet freshly pitied in our memories.

CRANMER. My good lords, hitherto in all the progress Both of my life and office, I have laboured, And with no little study, that my teaching And the strong course of my authority Might go one way, and safely; and the end Was ever to do well. Nor is there living— I speak it with a single heart, my lords— A man that more detests, more stirs against, Both in his private conscience and his place, Defacers of a public peace than I do. Pray heaven the King may never find a heart With less allegiance in it! Men that make Envy and crooked malice nourishment Dare bite the best. I do beseech your lordships That, in this case of justice, my accusers, Be what they will, may stand forth face to face And freely urge against me.

SUFFOLK. Nay, my lord, That cannot be. You are a councillor, And by that virtue no man dare accuse you.

GARDINER. My lord, because we have business of more moment, We will be short with you. ’Tis his Highness’ pleasure And our consent, for better trial of you, From hence you be committed to the Tower, Where, being but a private man again, You shall know many dare accuse you boldly— More than, I fear, you are provided for.

CRANMER. Ah, my good Lord of Winchester, I thank you. You are always my good friend. If your will pass, I shall both find your lordship judge and juror, You are so merciful. I see your end: ’Tis my undoing. Love and meekness, lord, Become a churchman better than ambition. Win straying souls with modesty again; Cast none away. That I shall clear myself, Lay all the weight ye can upon my patience, I make as little doubt as you do conscience In doing daily wrongs. I could say more, But reverence to your calling makes me modest.

GARDINER. My lord, my lord, you are a sectary, That’s the plain truth. Your painted gloss discovers, To men that understand you, words and weakness.

CROMWELL. My Lord of Winchester, you are a little, By your good favour, too sharp. Men so noble, However faulty, yet should find respect For what they have been. ’Tis a cruelty To load a falling man.

GARDINER. Good master secretary, I cry your honour mercy: you may worst Of all this table say so.

CROMWELL. Why, my lord?

GARDINER. Do not I know you for a favourer Of this new sect? Ye are not sound.

CROMWELL. Not sound?

GARDINER. Not sound, I say.

CROMWELL. Would you were half so honest! Men’s prayers then would seek you, not their fears.

GARDINER. I shall remember this bold language.

CROMWELL. Do. Remember your bold life too.

CHANCELLOR. This is too much. Forbear, for shame, my lords.

GARDINER. I have done.

CROMWELL. And I.

CHANCELLOR. Then thus for you, my lord: it stands agreed, I take it, by all voices, that forthwith You be conveyed to th’ Tower a prisoner, There to remain till the King’s further pleasure Be known unto us. Are you all agreed, lords?

ALL. We are.

CRANMER. Is there no other way of mercy But I must needs to th’ Tower, my lords?

GARDINER. What other Would you expect? You are strangely troublesome. Let some o’ th’ guard be ready there.

Enter the guard.

CRANMER. For me? Must I go like a traitor thither?

GARDINER. Receive him, And see him safe i’ th’ Tower.

CRANMER. Stay, good my lords, I have a little yet to say. Look there, my lords. By virtue of that ring, I take my cause Out of the gripes of cruel men and give it To a most noble judge, the King my master.

CHAMBERLAIN. This is the King’s ring.

SURREY. ’Tis no counterfeit.

SUFFOLK. ’Tis the right ring, by heaven! I told ye all, When we first put this dangerous stone a-rolling, ’Twould fall upon ourselves.

NORFOLK. Do you think, my lords, The King will suffer but the little finger Of this man to be vexed?

CHAMBERLAIN. ’Tis now too certain. How much more is his life in value with him? Would I were fairly out on’t!

CROMWELL. My mind gave me, In seeking tales and informations Against this man, whose honesty the devil And his disciples only envy at, Ye blew the fire that burns ye. Now have at ye!

Enter King, frowning on them; takes his seat.

GARDINER. Dread sovereign, how much are we bound to heaven In daily thanks, that gave us such a prince, Not only good and wise, but most religious; One that, in all obedience, makes the Church The chief aim of his honour and, to strengthen That holy duty out of dear respect, His royal self in judgement comes to hear The cause betwixt her and this great offender.

KING. You were ever good at sudden commendations, Bishop of Winchester. But know I come not To hear such flattery now, and in my presence They are too thin and bare to hide offences. To me you cannot reach, you play the spaniel, And think with wagging of your tongue to win me; But whatsoe’er thou tak’st me for, I’m sure Thou hast a cruel nature and a bloody. [To Cranmer.] Good man, sit down. Now let me see the proudest He, that dares most, but wag his finger at thee. By all that’s holy, he had better starve Than but once think this place becomes thee not.

SURREY. May it please your Grace—

KING. No, sir, it does not please me. I had thought I had had men of some understanding And wisdom of my Council, but I find none. Was it discretion, lords, to let this man, This good man—few of you deserve that title— This honest man, wait like a lousy footboy At chamber door? And one as great as you are? Why, what a shame was this! Did my commission Bid ye so far forget yourselves? I gave ye Power as he was a councillor to try him, Not as a groom. There’s some of ye, I see, More out of malice than integrity, Would try him to the utmost, had ye mean, Which ye shall never have while I live.

CHANCELLOR. Thus far, My most dread sovereign, may it like your Grace To let my tongue excuse all. What was purposed Concerning his imprisonment was rather, If there be faith in men, meant for his trial And fair purgation to the world than malice, I’m sure, in me.

KING. Well, well, my lords, respect him. Take him, and use him well; he’s worthy of it. I will say thus much for him: if a prince May be beholding to a subject, I Am, for his love and service, so to him. Make me no more ado, but all embrace him. Be friends, for shame, my lords! My Lord of Canterbury, I have a suit which you must not deny me: That is, a fair young maid that yet wants baptism. You must be godfather and answer for her.

CRANMER. The greatest monarch now alive may glory In such an honour. How may I deserve it, That am a poor and humble subject to you?

KING. Come, come, my lord, you’d spare your spoons. You shall have two noble partners with you: the old Duchess of Norfolk and Lady Marquess Dorset. Will these please you? Once more, my Lord of Winchester, I charge you, Embrace and love this man.

GARDINER. With a true heart And brother-love I do it.

CRANMER. And let heaven Witness how dear I hold this confirmation.

KING. Good man, those joyful tears show thy true heart. The common voice, I see, is verified Of thee, which says thus: “Do my Lord of Canterbury A shrewd turn, and he is your friend for ever.” Come, lords, we trifle time away. I long To have this young one made a Christian. As I have made ye one, lords, one remain. So I grow stronger, you more honour gain.

[Exeunt.]

Act V, Scene III — The palace yard

Noise and tumult within. Enter Porter and his Man.

PORTER. You’ll leave your noise anon, ye rascals. Do you take the court for Parish Garden? Ye rude slaves, leave your gaping.

ONE. [Within.] Good master porter, I belong to th’ larder.

PORTER. Belong to th’ gallows, and be hanged, ye rogue! Is this a place to roar in? Fetch me a dozen crab-tree staves, and strong ones. These are but switches to ’em. I’ll scratch your heads. You must be seeing christenings? Do you look for ale and cakes here, you rude rascals?

PORTER’S MAN. Pray, sir, be patient. ’Tis as much impossible— Unless we sweep ’em from the door with cannons— To scatter ’em as ’tis to make ’em sleep On May-day morning, which will never be. We may as well push against Paul’s as stir ’em.

PORTER. How got they in, and be hanged?

PORTER’S MAN. Alas, I know not. How gets the tide in? As much as one sound cudgel of four foot— You see the poor remainder—could distribute, I made no spare, sir.

PORTER. You did nothing, sir.

PORTER’S MAN. I am not Samson, nor Sir Guy, nor Colbrand, To mow ’em down before me; but if I spared any That had a head to hit, either young or old, He or she, cuckold or cuckold-maker, Let me ne’er hope to see a chine again— And that I would not for a cow, God save her!

ONE. [Within.] Do you hear, master porter?

PORTER. I shall be with you presently, good master puppy.— Keep the door close, sirrah.

PORTER’S MAN. What would you have me do?

PORTER. What should you do, but knock ’em down by th’ dozens? Is this Moorfields to muster in? Or have we some strange Indian with the great tool come to court, the women so besiege us? Bless me, what a fry of fornication is at door! On my Christian conscience, this one christening will beget a thousand; here will be father, godfather, and all together.

PORTER’S MAN. The spoons will be the bigger, sir. There is a fellow somewhat near the door—he should be a brazier by his face, for, o’ my conscience, twenty of the dog-days now reign in’s nose. All that stand about him are under the line; they need no other penance. That fire-drake did I hit three times on the head, and three times was his nose discharged against me. He stands there, like a mortar-piece, to blow us. There was a haberdasher’s wife of small wit near him that railed upon me till her pinked porringer fell off her head for kindling such a combustion in the state. I missed the meteor once and hit that woman, who cried out “Clubs!” when I might see from far some forty truncheoners draw to her succour, which were the hope o’ th’ Strand, where she was quartered. They fell on; I made good my place; at length they came to th’ broomstaff to me; I defied ’em still, when suddenly a file of boys behind ’em, loose shot, delivered such a shower of pebbles that I was fain to draw mine honour in and let ’em win the work. The devil was amongst ’em, I think, surely.

PORTER. These are the youths that thunder at a playhouse and fight for bitten apples, that no audience but the tribulation of Tower Hill or the limbs of Limehouse, their dear brothers, are able to endure. I have some of ’em in Limbo Patrum, and there they are like to dance these three days, besides the running banquet of two beadles that is to come.

Enter Lord Chamberlain.

CHAMBERLAIN. Mercy o’ me, what a multitude are here! They grow still too. From all parts they are coming, As if we kept a fair here! Where are these porters, These lazy knaves? You’ve made a fine hand, fellows! There’s a trim rabble let in. Are all these Your faithful friends o’ th’ suburbs? We shall have Great store of room, no doubt, left for the ladies, When they pass back from the christening.

PORTER. An’t please your honour, We are but men; and what so many may do, Not being torn a-pieces, we have done. An army cannot rule ’em.

CHAMBERLAIN. As I live, If the King blame me for’t, I’ll lay ye all By th’ heels, and suddenly, and on your heads Clap round fines for neglect. You’re lazy knaves, And here ye lie baiting of bombards, when Ye should do service. Hark, the trumpets sound! They’re come already from the christening. Go break among the press, and find a way out To let the troops pass fairly, or I’ll find A Marshalsea shall hold ye play these two months.

PORTER. Make way there for the Princess!

PORTER’S MAN. You great fellow, Stand close up, or I’ll make your head ache.

PORTER. You i’ th’ camlet, get up o’ th’ rail! I’ll peck you o’er the pales else.

[Exeunt.]

Act V, Scene IV — The palace

Enter Trumpets, sounding; then two Aldermen, Lord Mayor, Garter, Cranmer, Duke of Norfolk with his marshal’s staff, Duke of Suffolk, two Noblemen bearing great standing bowls for the christening gifts; then four Noblemen bearing a canopy, under which the Duchess of Norfolk, godmother, bearing the child richly habited in a mantle, etc., train borne by a Lady; then follows the Marchioness Dorset, the other godmother, and Ladies. The troop pass once about the stage, and Garter speaks.

GARTER. Heaven, from thy endless goodness, send prosperous life, long and ever happy, to the high and mighty Princess of England, Elizabeth.

Flourish. Enter King and Guard.

CRANMER. [Kneeling.] And to your royal Grace and the good Queen, My noble partners and myself thus pray All comfort, joy, in this most gracious lady Heaven ever laid up to make parents happy May hourly fall upon ye!

KING. Thank you, good lord Archbishop. What is her name?

CRANMER. Elizabeth.

KING. Stand up, lord.

[The King kisses the child.]

With this kiss take my blessing: God protect thee, Into whose hand I give thy life.

CRANMER. Amen.

KING. My noble gossips, you’ve have been too prodigal. I thank ye heartily; so shall this lady, When she has so much English.

CRANMER. Let me speak, sir, For heaven now bids me; and the words I utter Let none think flattery, for they’ll find ’em truth. This royal infant—heaven still move about her!— Though in her cradle, yet now promises Upon this land a thousand thousand blessings, Which time shall bring to ripeness. She shall be— But few now living can behold that goodness— A pattern to all princes living with her And all that shall succeed. Saba was never More covetous of wisdom and fair virtue Than this pure soul shall be. All princely graces That mould up such a mighty piece as this is, With all the virtues that attend the good, Shall still be doubled on her. Truth shall nurse her; Holy and heavenly thoughts still counsel her. She shall be loved and feared. Her own shall bless her; Her foes shake like a field of beaten corn, And hang their heads with sorrow. Good grows with her. In her days every man shall eat in safety Under his own vine what he plants, and sing The merry songs of peace to all his neighbours. God shall be truly known, and those about her From her shall read the perfect ways of honour And by those claim their greatness, not by blood. Nor shall this peace sleep with her; but as when The bird of wonder dies, the maiden phoenix, Her ashes new create another heir As great in admiration as herself, So shall she leave her blessedness to one, When heaven shall call her from this cloud of darkness, Who from the sacred ashes of her honour Shall star-like rise as great in fame as she was And so stand fixed. Peace, plenty, love, truth, terror, That were the servants to this chosen infant, Shall then be his, and like a vine grow to him. Wherever the bright sun of heaven shall shine, His honour and the greatness of his name Shall be, and make new nations. He shall flourish, And, like a mountain cedar, reach his branches To all the plains about him. Our children’s children Shall see this and bless heaven.

KING. Thou speakest wonders.

CRANMER. She shall be to the happiness of England An aged princess; many days shall see her, And yet no day without a deed to crown it. Would I had known no more! But she must die, She must, the saints must have her; yet a virgin, A most unspotted lily, shall she pass to the ground, And all the world shall mourn her.

KING. O lord Archbishop, Thou hast made me now a man. Never before This happy child did I get anything. This oracle of comfort has so pleased me That when I am in heaven I shall desire To see what this child does and praise my Maker. I thank ye all. To you, my good Lord Mayor, And you, good brethren, I am much beholding. I have received much honour by your presence, And ye shall find me thankful. Lead the way, lords. Ye must all see the Queen, and she must thank ye; She will be sick else. This day, no man think ’Has business at his house, for all shall stay. This little one shall make it holiday.

[Exeunt.]

Epilogue

Enter Epilogue.

EPILOGUE. ’Tis ten to one this play can never please All that are here. Some come to take their ease, And sleep an act or two—but those, we fear, We’ve frighted with our trumpets; so, ’tis clear, They’ll say ’tis naught—others, to hear the city Abused extremely and to cry “That’s witty!”— Which we have not done neither—that I fear All the expected good we’re like to hear For this play at this time is only in The merciful construction of good women, For such a one we showed ’em. If they smile And say ’twill do, I know within a while All the best men are ours; for ’tis ill hap If they hold when their ladies bid ’em clap.

[Exit.]

THE LIFE AND DEATH OF KING JOHN

Dramatis Personæ

KING JOHN. PRINCE HENRY, son to King John; afterwards KING HENRY III. ARTHUR, Duke of Brittany, nephew to King John. EARL OF PEMBROKE. EARL OF ESSEX. EARL OF SALISBURY. ROBERT BIGOT, Earl of Norfolk. HUBERT DE BURGH, Chamberlain to the King. ROBERT FAULCONBRIDGE, son to Sir Robert Faulconbridge. The BASTARD, PHILIP FAULCONBRIDGE, his half-brother, bastard son to King Richard I. JAMES GURNEY, servant to Lady Faulconbridge. PETER OF POMFRET, a prophet

KING PHILIP II., King of France. LOUIS, the Dauphin; son to King Philip II. DUKE OF AUSTRIA, also called Limoges. MELUN, a French lord. CHATILLION, Ambassador from France to King John. CARDINAL PANDULPH, the Pope’s legate.

QUEEN ELEANOR, Mother to King John and Widow of King Henry II. CONSTANCE, Mother to Arthur. BLANCHE OF SPAIN, Daughter to Alphonso, King of Castile, and Niece to King John. LADY FAULCONBRIDGE, Mother to the Bastard and Robert Faulconbridge.

Lords, Citizens of Angiers, Sheriff, Heralds, Officers, Soldiers, Executioners, Messengers and other Attendants.

SCENE: Sometimes in England, and sometimes in France.

Act I, Scene I — Northampton. A Room of State in the Palace

Enter King John, Queen Eleanor, Pembroke, Essex, Salisbury and others with Chatillion.

KING JOHN. Now, say, Chatillion, what would France with us?

CHATILLION. Thus, after greeting, speaks the King of France In my behaviour to the majesty, The borrow’d majesty, of England here.

QUEEN ELEANOR. A strange beginning: “borrow’d majesty”!

KING JOHN. Silence, good mother; hear the embassy.

CHATILLION. Philip of France, in right and true behalf Of thy deceased brother Geoffrey’s son, Arthur Plantagenet, lays most lawful claim To this fair island and the territories, To Ireland, Poitiers, Anjou, Touraine, Maine, Desiring thee to lay aside the sword Which sways usurpingly these several titles, And put the same into young Arthur’s hand, Thy nephew and right royal sovereign.

KING JOHN. What follows if we disallow of this?

CHATILLION. The proud control of fierce and bloody war, To enforce these rights so forcibly withheld.

KING JOHN. Here have we war for war and blood for blood, Controlment for controlment: so answer France.

CHATILLION. Then take my king’s defiance from my mouth, The farthest limit of my embassy.

KING JOHN. Bear mine to him, and so depart in peace. Be thou as lightning in the eyes of France, For ere thou canst report, I will be there, The thunder of my cannon shall be heard. So, hence! Be thou the trumpet of our wrath And sullen presage of your own decay.— An honourable conduct let him have. Pembroke, look to ’t. Farewell, Chatillion.

[Exeunt Chatillion and Pembroke.]

QUEEN ELEANOR. What now, my son! Have I not ever said How that ambitious Constance would not cease Till she had kindled France and all the world Upon the right and party of her son? This might have been prevented and made whole With very easy arguments of love, Which now the manage of two kingdoms must With fearful bloody issue arbitrate.

KING JOHN. Our strong possession and our right for us.

QUEEN ELEANOR. Your strong possession much more than your right, Or else it must go wrong with you and me: So much my conscience whispers in your ear, Which none but heaven and you and I shall hear.

Enter a Sheriff, who whispers to Essex.

ESSEX. My liege, here is the strangest controversy, Come from the country to be judg’d by you, That e’er I heard. Shall I produce the men?

KING JOHN. Let them approach.

[Exit Sheriff.]

Our abbeys and our priories shall pay This expedition’s charge.

Enter Robert Faulconbridge and Philip, his Bastard brother.

What men are you?

BASTARD. Your faithful subject I, a gentleman Born in Northamptonshire, and eldest son, As I suppose, to Robert Faulconbridge, A soldier by the honour-giving hand Of Cœur-de-lion knighted in the field.

KING JOHN. What art thou?

ROBERT. The son and heir to that same Faulconbridge.

KING JOHN. Is that the elder, and art thou the heir? You came not of one mother then, it seems.

BASTARD. Most certain of one mother, mighty king; That is well known; and, as I think, one father. But for the certain knowledge of that truth I put you o’er to heaven and to my mother. Of that I doubt, as all men’s children may.

QUEEN ELEANOR. Out on thee, rude man! Thou dost shame thy mother And wound her honour with this diffidence.

BASTARD. I, madam? No, I have no reason for it; That is my brother’s plea, and none of mine; The which if he can prove, he pops me out At least from fair five hundred pound a year. Heaven guard my mother’s honour and my land!

KING JOHN. A good blunt fellow. Why, being younger born, Doth he lay claim to thine inheritance?

BASTARD. I know not why, except to get the land. But once he slander’d me with bastardy. But whe’er I be as true begot or no, That still I lay upon my mother’s head; But that I am as well begot, my liege— Fair fall the bones that took the pains for me!— Compare our faces and be judge yourself. If old Sir Robert did beget us both And were our father, and this son like him, O old Sir Robert, father, on my knee I give heaven thanks I was not like to thee!

KING JOHN. Why, what a madcap hath heaven lent us here!

QUEEN ELEANOR. He hath a trick of Cœur-de-lion’s face; The accent of his tongue affecteth him. Do you not read some tokens of my son In the large composition of this man?

KING JOHN. Mine eye hath well examined his parts And finds them perfect Richard. Sirrah, speak, What doth move you to claim your brother’s land?

BASTARD. Because he hath a half-face, like my father. With half that face would he have all my land: A half-fac’d groat five hundred pound a year!

ROBERT. My gracious liege, when that my father liv’d, Your brother did employ my father much—

BASTARD. Well, sir, by this you cannot get my land. Your tale must be how he employ’d my mother.

ROBERT. And once dispatch’d him in an embassy To Germany, there with the emperor To treat of high affairs touching that time. Th’ advantage of his absence took the King And in the meantime sojourn’d at my father’s; Where how he did prevail I shame to speak; But truth is truth: large lengths of seas and shores Between my father and my mother lay, As I have heard my father speak himself, When this same lusty gentleman was got. Upon his death-bed he by will bequeath’d His lands to me, and took it, on his death That this my mother’s son was none of his; And if he were, he came into the world Full fourteen weeks before the course of time. Then, good my liege, let me have what is mine, My father’s land, as was my father’s will.

KING JOHN. Sirrah, your brother is legitimate; Your father’s wife did after wedlock bear him, And if she did play false, the fault was hers; Which fault lies on the hazards of all husbands That marry wives. Tell me, how if my brother, Who, as you say, took pains to get this son, Had of your father claim’d this son for his? In sooth, good friend, your father might have kept This calf, bred from his cow, from all the world; In sooth, he might; then, if he were my brother’s, My brother might not claim him; nor your father, Being none of his, refuse him. This concludes; My mother’s son did get your father’s heir; Your father’s heir must have your father’s land.

ROBERT. Shall then my father’s will be of no force To dispossess that child which is not his?

BASTARD. Of no more force to dispossess me, sir, Than was his will to get me, as I think.

QUEEN ELEANOR. Whether hadst thou rather be: a Faulconbridge And like thy brother, to enjoy thy land, Or the reputed son of Cœur-de-lion, Lord of thy presence and no land besides?

BASTARD. Madam, and if my brother had my shape And I had his, Sir Robert’s his, like him; And if my legs were two such riding-rods, My arms such eel-skins stuff’d, my face so thin That in mine ear I durst not stick a rose Lest men should say “Look where three-farthings goes!” And, to his shape, were heir to all this land, Would I might never stir from off this place, I would give it every foot to have this face. I would not be Sir Nob in any case.

QUEEN ELEANOR. I like thee well. Wilt thou forsake thy fortune, Bequeath thy land to him, and follow me? I am a soldier and now bound to France.

BASTARD. Brother, take you my land, I’ll take my chance. Your face hath got five hundred pound a year, Yet sell your face for five pence and ’tis dear. Madam, I’ll follow you unto the death.

QUEEN ELEANOR. Nay, I would have you go before me thither.

BASTARD. Our country manners give our betters way.

KING JOHN. What is thy name?

BASTARD. Philip, my liege, so is my name begun; Philip, good old Sir Robert’s wife’s eldest son.

KING JOHN. From henceforth bear his name whose form thou bearest. Kneel thou down Philip, but rise more great, Arise Sir Richard and Plantagenet.

BASTARD. Brother by th’ mother’s side, give me your hand. My father gave me honour, yours gave land. Now blessed be the hour, by night or day, When I was got, Sir Robert was away!

QUEEN ELEANOR. The very spirit of Plantagenet! I am thy grandam, Richard; call me so.

BASTARD. Madam, by chance but not by truth; what though? Something about, a little from the right, In at the window, or else o’er the hatch. Who dares not stir by day must walk by night, And have is have, however men do catch. Near or far off, well won is still well shot, And I am I, howe’er I was begot.

KING JOHN. Go, Faulconbridge; now hast thou thy desire. A landless knight makes thee a landed squire. Come, madam, and come, Richard, we must speed For France, for France, for it is more than need.

BASTARD. Brother, adieu, good fortune come to thee! For thou wast got i’ th’ way of honesty.

[Exeunt all but the Bastard.]

A foot of honour better than I was, But many a many foot of land the worse. Well, now can I make any Joan a lady. “Good den, Sir Richard!” “God-a-mercy, fellow!” And if his name be George, I’ll call him Peter; For new-made honour doth forget men’s names: ’Tis too respective and too sociable For your conversion. Now your traveller, He and his toothpick at my worship’s mess, And when my knightly stomach is suffic’d, Why then I suck my teeth and catechize My picked man of countries: “My dear sir,” Thus leaning on mine elbow I begin, “I shall beseech you”—that is Question now; And then comes Answer like an absey book: “O sir,” says Answer “at your best command; At your employment; at your service, sir.” “No, sir,” says Question, “I, sweet sir, at yours.” And so, ere Answer knows what Question would, Saving in dialogue of compliment, And talking of the Alps and Apennines, The Pyrenean and the river Po, It draws toward supper in conclusion so. But this is worshipful society, And fits the mounting spirit like myself; For he is but a bastard to the time That doth not smack of observation, And so am I, whether I smack or no; And not alone in habit and device, Exterior form, outward accoutrement, But from the inward motion to deliver Sweet, sweet, sweet poison for the age’s tooth, Which, though I will not practise to deceive, Yet, to avoid deceit, I mean to learn; For it shall strew the footsteps of my rising. But who comes in such haste in riding-robes? What woman-post is this? Hath she no husband That will take pains to blow a horn before her?

Enter Lady Faulconbridge and James Gurney.

O me, ’tis my mother!—How now, good lady? What brings you here to court so hastily?

LADY FAULCONBRIDGE. Where is that slave, thy brother? Where is he That holds in chase mine honour up and down?

BASTARD. My brother Robert, old Sir Robert’s son? Colbrand the giant, that same mighty man? Is it Sir Robert’s son that you seek so?

LADY FAULCONBRIDGE. Sir Robert’s son! Ay, thou unreverend boy, Sir Robert’s son. Why scorn’st thou at Sir Robert? He is Sir Robert’s son, and so art thou.

BASTARD. James Gurney, wilt thou give us leave awhile?

GURNEY. Good leave, good Philip.

BASTARD. Philip?—sparrow!—James, There’s toys abroad. Anon I’ll tell thee more.

[Exit Gurney.]

Madam, I was not old Sir Robert’s son. Sir Robert might have eat his part in me Upon Good Friday, and ne’er broke his fast. Sir Robert could do well—marry, to confess— Could … get me. Sir Robert could not do it. We know his handiwork. Therefore, good mother, To whom am I beholding for these limbs? Sir Robert never holp to make this leg.

LADY FAULCONBRIDGE. Hast thou conspired with thy brother too, That for thine own gain shouldst defend mine honour? What means this scorn, thou most untoward knave?

BASTARD. Knight, knight, good mother, Basilisco-like. What! I am dubb’d! I have it on my shoulder. But, mother, I am not Sir Robert’s son. I have disclaim’d Sir Robert and my land; Legitimation, name, and all is gone. Then, good my mother, let me know my father— Some proper man, I hope. Who was it, mother?

LADY FAULCONBRIDGE. Hast thou denied thyself a Faulconbridge?

BASTARD. As faithfully as I deny the devil.

LADY FAULCONBRIDGE. King Richard Cœur-de-lion was thy father. By long and vehement suit I was seduc’d To make room for him in my husband’s bed. Heaven lay not my transgression to my charge! Thou art the issue of my dear offence, Which was so strongly urg’d, past my defence.

BASTARD. Now, by this light, were I to get again, Madam, I would not wish a better father. Some sins do bear their privilege on earth, And so doth yours. Your fault was not your folly. Needs must you lay your heart at his dispose, Subjected tribute to commanding love, Against whose fury and unmatched force The aweless lion could not wage the fight, Nor keep his princely heart from Richard’s hand. He that perforce robs lions of their hearts May easily win a woman’s. Ay, my mother, With all my heart I thank thee for my father! Who lives and dares but say thou didst not well When I was got, I’ll send his soul to hell. Come, lady, I will show thee to my kin; And they shall say when Richard me begot, If thou hadst said him nay, it had been sin. Who says it was, he lies. I say ’twas not.

[Exeunt.]

Act II, Scene I — France. Before the walls of Angiers

Enter, on one side, the Archduke of Austria and Forces; on the other, Philip King of France, Louis, Constance, Arthur and Forces.

LOUIS. Before Angiers well met, brave Austria. Arthur, that great forerunner of thy blood, Richard, that robb’d the lion of his heart And fought the holy wars in Palestine, By this brave duke came early to his grave. And, for amends to his posterity, At our importance hither is he come To spread his colours, boy, in thy behalf, And to rebuke the usurpation Of thy unnatural uncle, English John. Embrace him, love him, give him welcome hither.

ARTHUR. God shall forgive you Cœur-de-lion’s death The rather that you give his offspring life, Shadowing their right under your wings of war. I give you welcome with a powerless hand, But with a heart full of unstained love. Welcome before the gates of Angiers, duke.

LOUIS. A noble boy. Who would not do thee right?

AUSTRIA. Upon thy cheek lay I this zealous kiss, As seal to this indenture of my love: That to my home I will no more return, Till Angiers and the right thou hast in France, Together with that pale, that white-fac’d shore, Whose foot spurns back the ocean’s roaring tides And coops from other lands her islanders, Even till that England, hedg’d in with the main, That water-walled bulwark, still secure And confident from foreign purposes, Even till that utmost corner of the west Salute thee for her king; till then, fair boy, Will I not think of home, but follow arms.

CONSTANCE. O, take his mother’s thanks, a widow’s thanks, Till your strong hand shall help to give him strength To make a more requital to your love!

AUSTRIA. The peace of heaven is theirs that lift their swords In such a just and charitable war.

KING PHILIP. Well then, to work; our cannon shall be bent Against the brows of this resisting town. Call for our chiefest men of discipline, To cull the plots of best advantages. We’ll lay before this town our royal bones, Wade to the market-place in Frenchmen’s blood, But we will make it subject to this boy.

CONSTANCE. Stay for an answer to your embassy, Lest unadvis’d you stain your swords with blood. My Lord Chatillion may from England bring That right in peace which here we urge in war, And then we shall repent each drop of blood That hot rash haste so indirectly shed.

Enter Chatillion.

KING PHILIP. A wonder, lady! Lo, upon thy wish, Our messenger Chatillion is arriv’d. What England says, say briefly, gentle lord; We coldly pause for thee; Chatillion, speak.

CHATILLION. Then turn your forces from this paltry siege And stir them up against a mightier task. England, impatient of your just demands, Hath put himself in arms. The adverse winds, Whose leisure I have stay’d, have given him time To land his legions all as soon as I; His marches are expedient to this town, His forces strong, his soldiers confident. With him along is come the mother-queen, An Ate, stirring him to blood and strife; With her her niece, the Lady Blanche of Spain; With them a bastard of the King’s deceas’d. And all th’ unsettled humours of the land; Rash, inconsiderate, fiery voluntaries, With ladies’ faces and fierce dragons’ spleens, Have sold their fortunes at their native homes, Bearing their birthrights proudly on their backs, To make a hazard of new fortunes here. In brief, a braver choice of dauntless spirits Than now the English bottoms have waft o’er Did never float upon the swelling tide To do offence and scathe in Christendom.

[Drums beat within.]

The interruption of their churlish drums Cuts off more circumstance. They are at hand, To parley or to fight, therefore prepare.

KING PHILIP. How much unlook’d-for is this expedition!

AUSTRIA. By how much unexpected, by so much We must awake endeavour for defence, For courage mounteth with occasion. Let them be welcome, then; we are prepar’d.

Enter King John, Eleanor, Blanche, the Bastard, Pembroke, Lords and Forces.

KING JOHN. Peace be to France, if France in peace permit Our just and lineal entrance to our own; If not, bleed France, and peace ascend to heaven, Whiles we, God’s wrathful agent, do correct Their proud contempt that beats his peace to heaven.

KING PHILIP. Peace be to England, if that war return From France to England, there to live in peace. England we love; and for that England’s sake With burden of our armour here we sweat. This toil of ours should be a work of thine; But thou from loving England art so far That thou hast underwrought his lawful king, Cut off the sequence of posterity, Outfaced infant state, and done a rape Upon the maiden virtue of the crown. Look here upon thy brother Geoffrey’s face; These eyes, these brows, were moulded out of his: This little abstract doth contain that large Which died in Geoffrey, and the hand of time Shall draw this brief into as huge a volume. That Geoffrey was thy elder brother born, And this his son; England was Geoffrey’s right, And this is Geoffrey’s. In the name of God, How comes it then that thou art call’d a king, When living blood doth in these temples beat, Which owe the crown that thou o’ermasterest?

KING JOHN. From whom hast thou this great commission, France, To draw my answer from thy articles?

KING PHILIP. From that supernal judge that stirs good thoughts In any breast of strong authority, To look into the blots and stains of right. That judge hath made me guardian to this boy, Under whose warrant I impeach thy wrong And by whose help I mean to chastise it.

KING JOHN. Alack, thou dost usurp authority.

KING PHILIP. Excuse it is to beat usurping down.

QUEEN ELEANOR. Who is it thou dost call usurper, France?

CONSTANCE. Let me make answer: thy usurping son.

QUEEN ELEANOR. Out, insolent! Thy bastard shall be king, That thou mayst be a queen, and check the world!

CONSTANCE. My bed was ever to thy son as true As thine was to thy husband; and this boy Liker in feature to his father Geoffrey Than thou and John in manners; being as like As rain to water, or devil to his dam. My boy a bastard! By my soul, I think His father never was so true begot: It cannot be, and if thou wert his mother.

QUEEN ELEANOR. There’s a good mother, boy, that blots thy father.

CONSTANCE. There’s a good grandam, boy, that would blot thee.

AUSTRIA. Peace!

BASTARD. Hear the crier!

AUSTRIA. What the devil art thou?

BASTARD. One that will play the devil, sir, with you, An he may catch your hide and you alone. You are the hare of whom the proverb goes, Whose valour plucks dead lions by the beard. I’ll smoke your skin-coat an I catch you right; Sirrah, look to ’t; i’ faith I will, i’ faith.

BLANCHE. O, well did he become that lion’s robe That did disrobe the lion of that robe!

BASTARD. It lies as sightly on the back of him As great Alcides’ shows upon an ass. But, ass, I’ll take that burden from your back, Or lay on that shall make your shoulders crack.

AUSTRIA. What cracker is this same that deafs our ears With this abundance of superfluous breath?

KING PHILIP. Louis, determine what we shall do straight.

LOUIS. Women and fools, break off your conference.

KING PHILIP. King John, this is the very sum of all: England and Ireland, Anjou, Touraine, Maine, In right of Arthur do I claim of thee. Wilt thou resign them and lay down thy arms?

KING JOHN. My life as soon: I do defy thee, France. Arthur of Brittany, yield thee to my hand; And out of my dear love I’ll give thee more Than e’er the coward hand of France can win. Submit thee, boy.

QUEEN ELEANOR. Come to thy grandam, child.

CONSTANCE. Do, child, go to it grandam, child. Give grandam kingdom, and it grandam will Give it a plum, a cherry, and a fig. There’s a good grandam.

ARTHUR. Good my mother, peace! I would that I were low laid in my grave. I am not worth this coil that’s made for me.

QUEEN ELEANOR. His mother shames him so, poor boy, he weeps.

CONSTANCE. Now, shame upon you, whe’er she does or no! His grandam’s wrongs, and not his mother’s shames, Draws those heaven-moving pearls from his poor eyes, Which heaven shall take in nature of a fee. Ay, with these crystal beads heaven shall be brib’d To do him justice, and revenge on you.

QUEEN ELEANOR. Thou monstrous slanderer of heaven and earth!

CONSTANCE. Thou monstrous injurer of heaven and earth! Call not me slanderer. Thou and thine usurp The dominations, royalties, and rights Of this oppressed boy. This is thy eldest son’s son, Infortunate in nothing but in thee. Thy sins are visited in this poor child; The canon of the law is laid on him, Being but the second generation Removed from thy sin-conceiving womb.

KING JOHN. Bedlam, have done.

CONSTANCE. I have but this to say, That he is not only plagued for her sin, But God hath made her sin and her the plague On this removed issue, plagued for her And with her plague; her sin his injury Her injury the beadle to her sin, All punish’d in the person of this child, And all for her. A plague upon her!

QUEEN ELEANOR. Thou unadvised scold, I can produce A will that bars the title of thy son.

CONSTANCE. Ay, who doubts that? A will, a wicked will; A woman’s will; a cankered grandam’s will!

KING PHILIP. Peace, lady! Pause, or be more temperate. It ill beseems this presence to cry aim To these ill-tuned repetitions.— Some trumpet summon hither to the walls These men of Angiers. Let us hear them speak Whose title they admit, Arthur’s or John’s.

Trumpet sounds. Enter Citizens upon the walls.

CITIZEN. Who is it that hath warn’d us to the walls?

KING PHILIP. ’Tis France, for England.

KING JOHN. England for itself. You men of Angiers, and my loving subjects—

KING PHILIP. You loving men of Angiers, Arthur’s subjects, Our trumpet call’d you to this gentle parle—

KING JOHN. For our advantage; therefore hear us first. These flags of France, that are advanced here Before the eye and prospect of your town, Have hither march’d to your endamagement. The cannons have their bowels full of wrath, And ready mounted are they to spit forth Their iron indignation ’gainst your walls. All preparation for a bloody siege And merciless proceeding by these French Confronts your city’s eyes, your winking gates; And, but for our approach, those sleeping stones, That as a waist doth girdle you about, By the compulsion of their ordinance By this time from their fixed beds of lime Had been dishabited, and wide havoc made For bloody power to rush upon your peace. But on the sight of us your lawful king, Who painfully with much expedient march Have brought a countercheck before your gates, To save unscratch’d your city’s threatened cheeks, Behold, the French, amaz’d, vouchsafe a parle; And now, instead of bullets wrapp’d in fire, To make a shaking fever in your walls, They shoot but calm words folded up in smoke, To make a faithless error in your ears, Which trust accordingly, kind citizens, And let us in, your king, whose labour’d spirits Forwearied in this action of swift speed, Craves harbourage within your city walls.

KING PHILIP. When I have said, make answer to us both. Lo, in this right hand, whose protection Is most divinely vow’d upon the right Of him it holds, stands young Plantagenet, Son to the elder brother of this man, And king o’er him and all that he enjoys. For this down-trodden equity we tread In warlike march these greens before your town, Being no further enemy to you Than the constraint of hospitable zeal In the relief of this oppressed child Religiously provokes. Be pleased then To pay that duty which you truly owe To him that owes it, namely, this young prince, And then our arms, like to a muzzled bear, Save in aspect, hath all offence seal’d up; Our cannons’ malice vainly shall be spent Against th’ invulnerable clouds of heaven; And with a blessed and unvex’d retire, With unhack’d swords and helmets all unbruis’d, We will bear home that lusty blood again Which here we came to spout against your town, And leave your children, wives, and you, in peace. But if you fondly pass our proffer’d offer, ’Tis not the roundure of your old-fac’d walls Can hide you from our messengers of war, Though all these English, and their discipline Were harbour’d in their rude circumference. Then, tell us, shall your city call us lord In that behalf which we have challeng’d it? Or shall we give the signal to our rage And stalk in blood to our possession?

FIRST CITIZEN. In brief, we are the King of England’s subjects. For him, and in his right, we hold this town.

KING JOHN. Acknowledge then the King, and let me in.

CITIZEN. That can we not; but he that proves the King, To him will we prove loyal. Till that time Have we ramm’d up our gates against the world.

KING JOHN. Doth not the crown of England prove the King? And if not that, I bring you witnesses, Twice fifteen thousand hearts of England’s breed—

BASTARD. Bastards and else.

KING JOHN. To verify our title with their lives.

KING PHILIP. As many and as well-born bloods as those—

BASTARD. Some bastards too.

KING PHILIP. Stand in his face to contradict his claim.

FIRST CITIZEN. Till you compound whose right is worthiest, We for the worthiest hold the right from both.

KING JOHN. Then God forgive the sin of all those souls That to their everlasting residence, Before the dew of evening fall, shall fleet, In dreadful trial of our kingdom’s king!

KING PHILIP. Amen, Amen!—Mount, chevaliers! To arms!

BASTARD. Saint George, that swinged the dragon, and e’er since Sits on ’s horseback at mine hostess’ door, Teach us some fence! [To Austria.] Sirrah, were I at home, At your den, sirrah, with your lioness, I would set an ox-head to your lion’s hide, And make a monster of you.

AUSTRIA. Peace! No more.

BASTARD. O, tremble, for you hear the lion roar.

KING JOHN. Up higher to the plain; where we’ll set forth In best appointment all our regiments.

BASTARD. Speed, then, to take advantage of the field.

KING PHILIP. It shall be so; and at the other hill Command the rest to stand. God and our right!

[Exeunt severally.]

Here, after excursions, enter a Herald of France with Trumpets, to the gates.

FRENCH HERALD. You men of Angiers, open wide your gates, And let young Arthur, Duke of Brittany, in, Who by the hand of France this day hath made Much work for tears in many an English mother, Whose sons lie scatter’d on the bleeding ground. Many a widow’s husband grovelling lies, Coldly embracing the discolour’d earth; And victory, with little loss, doth play Upon the dancing banners of the French, Who are at hand, triumphantly display’d, To enter conquerors, and to proclaim Arthur of Brittany England’s king and yours.

Enter English Herald with Trumpet.

ENGLISH HERALD. Rejoice, you men of Angiers, ring your bells: King John, your king and England’s, doth approach, Commander of this hot malicious day. Their armours, that march’d hence so silver-bright, Hither return all gilt with Frenchmen’s blood; There stuck no plume in any English crest That is removed by a staff of France, Our colours do return in those same hands That did display them when we first march’d forth; And, like a jolly troop of huntsmen, come Our lusty English, all with purpled hands, Dyed in the dying slaughter of their foes: Open your gates and give the victors way.

FIRST CITIZEN. Heralds, from off our towers, we might behold, From first to last, the onset and retire Of both your armies; whose equality By our best eyes cannot be censured: Blood hath bought blood, and blows have answer’d blows; Strength match’d with strength, and power confronted power: Both are alike, and both alike we like. One must prove greatest: while they weigh so even, We hold our town for neither, yet for both.

Enter on one side King John, Eleanor, Blanche, the Bastard and Forces; on the other, King Philip, Louis, Austria and Forces.

KING JOHN. France, hast thou yet more blood to cast away? Say, shall the current of our right run on, Whose passage, vex’d with thy impediment, Shall leave his native channel, and o’erswell With course disturb’d even thy confining shores, Unless thou let his silver water keep A peaceful progress to the ocean?

KING PHILIP. England, thou hast not sav’d one drop of blood In this hot trial, more than we of France; Rather, lost more. And by this hand I swear, That sways the earth this climate overlooks, Before we will lay down our just-borne arms, We’ll put thee down, ’gainst whom these arms we bear, Or add a royal number to the dead, Gracing the scroll that tells of this war’s loss With slaughter coupled to the name of kings.

BASTARD. Ha, majesty! How high thy glory towers When the rich blood of kings is set on fire! O, now doth Death line his dead chaps with steel; The swords of soldiers are his teeth, his fangs; And now he feasts, mousing the flesh of men, In undetermin’d differences of kings. Why stand these royal fronts amazed thus? Cry havoc, kings! Back to the stained field, You equal potents, fiery-kindled spirits! Then let confusion of one part confirm The other’s peace. Till then, blows, blood, and death!

KING JOHN. Whose party do the townsmen yet admit?

KING PHILIP. Speak, citizens, for England; who’s your king?

FIRST CITIZEN. The King of England, when we know the king.

KING PHILIP. Know him in us, that here hold up his right.

KING JOHN. In us, that are our own great deputy, And bear possession of our person here, Lord of our presence, Angiers, and of you.

FIRST CITIZEN. A greater power than we denies all this; And till it be undoubted, we do lock Our former scruple in our strong-barr’d gates: Kings of our fear, until our fears, resolv’d, Be by some certain king purg’d and depos’d.

BASTARD. By heaven, these scroyles of Angiers flout you, kings, And stand securely on their battlements As in a theatre, whence they gape and point At your industrious scenes and acts of death. Your royal presences be rul’d by me: Do like the mutines of Jerusalem, Be friends awhile, and both conjointly bend Your sharpest deeds of malice on this town: By east and west let France and England mount Their battering cannon charged to the mouths, Till their soul-fearing clamours have brawl’d down The flinty ribs of this contemptuous city: I’d play incessantly upon these jades, Even till unfenced desolation Leave them as naked as the vulgar air. That done, dissever your united strengths, And part your mingled colours once again; Turn face to face, and bloody point to point; Then, in a moment, Fortune shall cull forth Out of one side her happy minion, To whom in favour she shall give the day, And kiss him with a glorious victory. How like you this wild counsel, mighty states? Smacks it not something of the policy?

KING JOHN. Now, by the sky that hangs above our heads, I like it well. France, shall we knit our powers And lay this Angiers even with the ground; Then after fight who shall be king of it?

BASTARD. An if thou hast the mettle of a king, Being wrong’d as we are by this peevish town, Turn thou the mouth of thy artillery, As we will ours, against these saucy walls; And when that we have dash’d them to the ground, Why then defy each other, and pell-mell, Make work upon ourselves, for heaven or hell.

KING PHILIP. Let it be so. Say, where will you assault?

KING JOHN. We from the west will send destruction Into this city’s bosom.

AUSTRIA. I from the north.

KING PHILIP. Our thunder from the south Shall rain their drift of bullets on this town.

BASTARD. O prudent discipline! From north to south, Austria and France shoot in each other’s mouth: I’ll stir them to it.—Come, away, away!

FIRST CITIZEN. Hear us, great kings: vouchsafe awhile to stay, And I shall show you peace and fair-fac’d league; Win you this city without stroke or wound; Rescue those breathing lives to die in beds That here come sacrifices for the field: Persever not, but hear me, mighty kings.

KING JOHN. Speak on with favour; we are bent to hear.

FIRST CITIZEN. That daughter there of Spain, the Lady Blanche, Is niece to England. Look upon the years Of Louis the Dauphin and that lovely maid. If lusty love should go in quest of beauty, Where should he find it fairer than in Blanche? If zealous love should go in search of virtue, Where should he find it purer than in Blanche? If love ambitious sought a match of birth, Whose veins bound richer blood than Lady Blanche? Such as she is, in beauty, virtue, birth, Is the young Dauphin every way complete. If not complete of, say he is not she; And she again wants nothing, to name want, If want it be not that she is not he: He is the half part of a blessed man, Left to be finished by such a she; And she a fair divided excellence, Whose fulness of perfection lies in him. O, two such silver currents, when they join Do glorify the banks that bound them in; And two such shores to two such streams made one, Two such controlling bounds shall you be, kings, To these two princes, if you marry them. This union shall do more than battery can To our fast-closed gates; for at this match, With swifter spleen than powder can enforce, The mouth of passage shall we fling wide ope, And give you entrance. But without this match, The sea enraged is not half so deaf, Lions more confident, mountains and rocks More free from motion; no, not Death himself In mortal fury half so peremptory As we to keep this city.

BASTARD. Here’s a stay That shakes the rotten carcass of old Death Out of his rags! Here’s a large mouth indeed, That spits forth death and mountains, rocks and seas; Talks as familiarly of roaring lions As maids of thirteen do of puppy-dogs! What cannoneer begot this lusty blood? He speaks plain cannon, fire, and smoke, and bounce; He gives the bastinado with his tongue; Our ears are cudgell’d; not a word of his But buffets better than a fist of France. Zounds! I was never so bethump’d with words Since I first call’d my brother’s father dad.

QUEEN ELEANOR. Son, list to this conjunction, make this match. Give with our niece a dowry large enough, For by this knot thou shalt so surely tie Thy now unsur’d assurance to the crown, That yon green boy shall have no sun to ripe The bloom that promiseth a mighty fruit. I see a yielding in the looks of France; Mark how they whisper. Urge them while their souls Are capable of this ambition, Lest zeal, now melted by the windy breath Of soft petitions, pity, and remorse, Cool and congeal again to what it was.

FIRST CITIZEN. Why answer not the double majesties This friendly treaty of our threaten’d town?

KING PHILIP. Speak England first, that hath been forward first To speak unto this city. What say you?

KING JOHN. If that the Dauphin there, thy princely son, Can in this book of beauty read “I love,” Her dowry shall weigh equal with a queen. For Anjou, and fair Touraine, Maine, Poitiers, And all that we upon this side the sea— Except this city now by us besieg’d— Find liable to our crown and dignity, Shall gild her bridal bed, and make her rich In titles, honours, and promotions, As she in beauty, education, blood, Holds hand with any princess of the world.

KING PHILIP. What say’st thou, boy? Look in the lady’s face.

LOUIS. I do, my lord, and in her eye I find A wonder, or a wondrous miracle, The shadow of myself form’d in her eye; Which, being but the shadow of your son, Becomes a sun and makes your son a shadow. I do protest I never lov’d myself Till now infixed I beheld myself Drawn in the flattering table of her eye.

[Whispers with Blanche.]

BASTARD. [Aside.] Drawn in the flattering table of her eye! Hang’d in the frowning wrinkle of her brow, And quarter’d in her heart! He doth espy Himself love’s traitor. This is pity now, That, hang’d and drawn and quarter’d, there should be In such a love so vile a lout as he.

BLANCHE. My uncle’s will in this respect is mine. If he see aught in you that makes him like, That anything he sees, which moves his liking I can with ease translate it to my will; Or if you will, to speak more properly, I will enforce it eas’ly to my love. Further I will not flatter you, my lord, That all I see in you is worthy love, Than this: that nothing do I see in you, Though churlish thoughts themselves should be your judge, That I can find should merit any hate.

KING JOHN. What say these young ones? What say you, my niece?

BLANCHE. That she is bound in honour still to do What you in wisdom still vouchsafe to say.

KING JOHN. Speak then, Prince Dauphin. Can you love this lady?

LOUIS. Nay, ask me if I can refrain from love; For I do love her most unfeignedly.

KING JOHN. Then do I give Volquessen, Touraine, Maine, Poitiers, and Anjou, these five provinces, With her to thee; and this addition more, Full thirty thousand marks of English coin.— Philip of France, if thou be pleas’d withal, Command thy son and daughter to join hands.

KING PHILIP. It likes us well.—Young princes, close your hands.

AUSTRIA. And your lips too; for I am well assur’d That I did so when I was first assur’d.

KING PHILIP. Now, citizens of Angiers, ope your gates, Let in that amity which you have made; For at Saint Mary’s chapel presently The rites of marriage shall be solemniz’d. Is not the Lady Constance in this troop? I know she is not, for this match made up Her presence would have interrupted much. Where is she and her son? Tell me, who knows.

LOUIS. She is sad and passionate at your highness’ tent.

KING PHILIP. And, by my faith, this league that we have made Will give her sadness very little cure.— Brother of England, how may we content This widow lady? In her right we came; Which we, God knows, have turn’d another way, To our own vantage.

KING JOHN. We will heal up all; For we’ll create young Arthur Duke of Brittany, And Earl of Richmond; and this rich fair town We make him lord of. Call the Lady Constance. Some speedy messenger bid her repair To our solemnity. I trust we shall, If not fill up the measure of her will, Yet in some measure satisfy her so That we shall stop her exclamation. Go we, as well as haste will suffer us, To this unlook’d-for, unprepared pomp.

[Exeunt all but the Bastard. The Citizens retire from the walls.]

BASTARD. Mad world! mad kings! mad composition! John, to stop Arthur’s title in the whole, Hath willingly departed with a part; And France, whose armour conscience buckled on, Whom zeal and charity brought to the field As God’s own soldier, rounded in the ear With that same purpose-changer, that sly devil, That broker, that still breaks the pate of faith, That daily break-vow, he that wins of all, Of kings, of beggars, old men, young men, maids, Who having no external thing to lose But the word “maid,” cheats the poor maid of that, That smooth-fac’d gentleman, tickling commodity, Commodity, the bias of the world, The world, who of itself is peised well, Made to run even upon even ground, Till this advantage, this vile-drawing bias, This sway of motion, this commodity, Makes it take head from all indifferency, From all direction, purpose, course, intent. And this same bias, this commodity, This bawd, this broker, this all-changing word, Clapp’d on the outward eye of fickle France, Hath drawn him from his own determin’d aid, From a resolv’d and honourable war, To a most base and vile-concluded peace. And why rail I on this commodity? But for because he hath not woo’d me yet. Not that I have the power to clutch my hand When his fair angels would salute my palm; But for my hand, as unattempted yet, Like a poor beggar, raileth on the rich. Well, whiles I am a beggar, I will rail And say there is no sin but to be rich; And being rich, my virtue then shall be To say there is no vice but beggary. Since kings break faith upon commodity, Gain, be my lord, for I will worship thee!

[Exit.]

Act III, Scene I — France. The French King’s tent

Enter Constance, Arthur and Salisbury.

CONSTANCE. Gone to be married? Gone to swear a peace? False blood to false blood join’d? Gone to be friends? Shall Louis have Blanche, and Blanche those provinces? It is not so; thou hast misspoke, misheard; Be well advis’d, tell o’er thy tale again. It cannot be; thou dost but say ’tis so. I trust I may not trust thee, for thy word Is but the vain breath of a common man. Believe me, I do not believe thee, man. I have a king’s oath to the contrary. Thou shalt be punish’d for thus frighting me, For I am sick and capable of fears, Oppress’d with wrongs, and therefore full of fears, A widow, husbandless, subject to fears, A woman, naturally born to fears, And though thou now confess thou didst but jest, With my vex’d spirits I cannot take a truce, But they will quake and tremble all this day. What dost thou mean by shaking of thy head? Why dost thou look so sadly on my son? What means that hand upon that breast of thine? Why holds thine eye that lamentable rheum, Like a proud river peering o’er his bounds? Be these sad signs confirmers of thy words? Then speak again—not all thy former tale, But this one word, whether thy tale be true.

SALISBURY. As true as I believe you think them false That give you cause to prove my saying true.

CONSTANCE. O, if thou teach me to believe this sorrow, Teach thou this sorrow how to make me die, And let belief and life encounter so As doth the fury of two desperate men Which in the very meeting fall and die. Louis marry Blanche? O boy, then where art thou? France friend with England? What becomes of me? Fellow, be gone. I cannot brook thy sight. This news hath made thee a most ugly man.

SALISBURY. What other harm have I, good lady, done, But spoke the harm that is by others done?

CONSTANCE. Which harm within itself so heinous is, As it makes harmful all that speak of it.

ARTHUR. I do beseech you, madam, be content.

CONSTANCE. If thou, that bid’st me be content, wert grim, Ugly, and sland’rous to thy mother’s womb, Full of unpleasing blots and sightless stains, Lame, foolish, crooked, swart, prodigious, Patch’d with foul moles and eye-offending marks, I would not care, I then would be content, For then I should not love thee; no, nor thou Become thy great birth, nor deserve a crown. But thou art fair, and at thy birth, dear boy, Nature and Fortune join’d to make thee great. Of Nature’s gifts thou mayst with lilies boast, And with the half-blown rose. But Fortune, O, She is corrupted, chang’d, and won from thee; She adulterates hourly with thine uncle John, And with her golden hand hath pluck’d on France To tread down fair respect of sovereignty, And made his majesty the bawd to theirs. France is a bawd to Fortune and King John, That strumpet Fortune, that usurping John! Tell me, thou fellow, is not France forsworn? Envenom him with words, or get thee gone, And leave those woes alone which I alone Am bound to underbear.

SALISBURY. Pardon me, madam, I may not go without you to the Kings.

CONSTANCE. Thou mayst, thou shalt; I will not go with thee. I will instruct my sorrows to be proud, For grief is proud and makes his owner stoop. To me and to the state of my great grief Let kings assemble; for my grief’s so great That no supporter but the huge firm earth Can hold it up. Here I and sorrows sit; Here is my throne, bid kings come bow to it.

[Seats herself on the ground.]

Enter King John, King Philip, Louis, Blanche, Eleanor, Bastard, Austria and attendants.

KING PHILIP. ’Tis true, fair daughter; and this blessed day Ever in France shall be kept festival. To solemnize this day the glorious sun Stays in his course and plays the alchemist, Turning with splendour of his precious eye The meagre cloddy earth to glittering gold. The yearly course that brings this day about Shall never see it but a holy day.

CONSTANCE. [Rising.] A wicked day, and not a holy day! What hath this day deserv’d? What hath it done That it in golden letters should be set Among the high tides in the calendar? Nay, rather turn this day out of the week, This day of shame, oppression, perjury. Or, if it must stand still, let wives with child Pray that their burdens may not fall this day, Lest that their hopes prodigiously be cross’d. But on this day let seamen fear no wrack; No bargains break that are not this day made; This day, all things begun come to ill end, Yea, faith itself to hollow falsehood change!

KING PHILIP. By heaven, lady, you shall have no cause To curse the fair proceedings of this day. Have I not pawn’d to you my majesty?

CONSTANCE. You have beguil’d me with a counterfeit Resembling majesty, which, being touch’d and tried, Proves valueless. You are forsworn, forsworn. You came in arms to spill mine enemies’ blood, But now in arms you strengthen it with yours. The grappling vigour and rough frown of war Is cold in amity and painted peace, And our oppression hath made up this league. Arm, arm, you heavens, against these perjur’d kings! A widow cries; be husband to me, heavens! Let not the hours of this ungodly day Wear out the day in peace; but, ere sunset, Set armed discord ’twixt these perjur’d kings! Hear me, O, hear me!

AUSTRIA. Lady Constance, peace!

CONSTANCE. War! war! no peace! Peace is to me a war. O Limoges, O Austria, thou dost shame That bloody spoil. Thou slave, thou wretch, thou coward! Thou little valiant, great in villainy! Thou ever strong upon the stronger side! Thou Fortune’s champion that dost never fight But when her humorous ladyship is by To teach thee safety! Thou art perjur’d too, And sooth’st up greatness. What a fool art thou, A ramping fool, to brag, and stamp, and swear Upon my party! Thou cold-blooded slave, Hast thou not spoke like thunder on my side? Been sworn my soldier, bidding me depend Upon thy stars, thy fortune, and thy strength? And dost thou now fall over to my foes? Thou wear a lion’s hide! Doff it for shame, And hang a calf’s-skin on those recreant limbs.

AUSTRIA. O that a man should speak those words to me!

BASTARD. And hang a calf’s-skin on those recreant limbs.

AUSTRIA. Thou dar’st not say so, villain, for thy life.

BASTARD. And hang a calf’s-skin on those recreant limbs.

KING JOHN. We like not this. Thou dost forget thyself.

KING PHILIP. Here comes the holy legate of the Pope.

Enter Pandulph.

PANDULPH. Hail, you anointed deputies of heaven! To thee, King John, my holy errand is. I Pandulph, of fair Milan cardinal, And from Pope Innocent the legate here, Do in his name religiously demand Why thou against the church, our holy mother, So wilfully dost spurn; and force perforce Keep Stephen Langton, chosen Archbishop Of Canterbury, from that holy see. This, in our foresaid holy father’s name, Pope Innocent, I do demand of thee.

KING JOHN. What earthy name to interrogatories Can task the free breath of a sacred king? Thou canst not, cardinal, devise a name So slight, unworthy, and ridiculous, To charge me to an answer, as the pope. Tell him this tale; and from the mouth of England Add thus much more, that no Italian priest Shall tithe or toll in our dominions; But as we under God are supreme head, So, under Him, that great supremacy, Where we do reign, we will alone uphold Without th’ assistance of a mortal hand. So tell the pope, all reverence set apart To him and his usurp’d authority.

KING PHILIP. Brother of England, you blaspheme in this.

KING JOHN. Though you and all the kings of Christendom Are led so grossly by this meddling priest, Dreading the curse that money may buy out; And by the merit of vile gold, dross, dust, Purchase corrupted pardon of a man, Who in that sale sells pardon from himself; Though you and all the rest, so grossly led, This juggling witchcraft with revenue cherish, Yet I alone, alone do me oppose Against the pope, and count his friends my foes.

PANDULPH. Then, by the lawful power that I have, Thou shalt stand curs’d and excommunicate; And blessed shall he be that doth revolt From his allegiance to an heretic; And meritorious shall that hand be call’d, Canonized and worshipp’d as a saint, That takes away by any secret course Thy hateful life.

CONSTANCE. O, lawful let it be That I have room with Rome to curse awhile! Good father Cardinal, cry thou amen To my keen curses; for without my wrong There is no tongue hath power to curse him right.

PANDULPH. There’s law and warrant, lady, for my curse.

CONSTANCE. And for mine too. When law can do no right, Let it be lawful that law bar no wrong. Law cannot give my child his kingdom here, For he that holds his kingdom holds the law; Therefore, since law itself is perfect wrong, How can the law forbid my tongue to curse?

PANDULPH. Philip of France, on peril of a curse, Let go the hand of that arch-heretic, And raise the power of France upon his head, Unless he do submit himself to Rome.

QUEEN ELEANOR. Look’st thou pale, France? Do not let go thy hand.

CONSTANCE Look to that, devil, lest that France repent And by disjoining hands, hell lose a soul.

AUSTRIA. King Philip, listen to the cardinal.

BASTARD. And hang a calf’s-skin on his recreant limbs.

AUSTRIA. Well, ruffian, I must pocket up these wrongs, Because—

BASTARD. Your breeches best may carry them.

KING JOHN. Philip, what say’st thou to the cardinal?

CONSTANCE. What should he say, but as the cardinal?

LOUIS. Bethink you, father; for the difference Is purchase of a heavy curse from Rome, Or the light loss of England for a friend. Forgo the easier.

BLANCHE. That’s the curse of Rome.

CONSTANCE. O Louis, stand fast! The devil tempts thee here In likeness of a new untrimmed bride.

BLANCHE. The Lady Constance speaks not from her faith, But from her need.

CONSTANCE. O, if thou grant my need, Which only lives but by the death of faith, That need must needs infer this principle: That faith would live again by death of need. O then tread down my need, and faith mounts up; Keep my need up, and faith is trodden down!

KING JOHN. The King is mov’d, and answers not to this.

CONSTANCE. O, be remov’d from him, and answer well!

AUSTRIA. Do so, King Philip; hang no more in doubt.

BASTARD. Hang nothing but a calf’s-skin, most sweet lout.

KING PHILIP. I am perplex’d, and know not what to say.

PANDULPH. What canst thou say but will perplex thee more, If thou stand excommunicate and curs’d?

KING PHILIP. Good reverend father, make my person yours, And tell me how you would bestow yourself. This royal hand and mine are newly knit, And the conjunction of our inward souls Married in league, coupled and link’d together With all religious strength of sacred vows; The latest breath that gave the sound of words Was deep-sworn faith, peace, amity, true love Between our kingdoms and our royal selves; And even before this truce, but new before, No longer than we well could wash our hands To clap this royal bargain up of peace, Heaven knows, they were besmear’d and overstain’d With slaughter’s pencil, where revenge did paint The fearful difference of incensed kings. And shall these hands, so lately purg’d of blood, So newly join’d in love, so strong in both, Unyoke this seizure and this kind regreet? Play fast and loose with faith? So jest with heaven, Make such unconstant children of ourselves, As now again to snatch our palm from palm, Unswear faith sworn, and on the marriage-bed Of smiling peace to march a bloody host, And make a riot on the gentle brow Of true sincerity? O, holy sir, My reverend father, let it not be so! Out of your grace, devise, ordain, impose Some gentle order, and then we shall be blest To do your pleasure and continue friends.

PANDULPH. All form is formless, order orderless, Save what is opposite to England’s love. Therefore to arms! Be champion of our church, Or let the church, our mother, breathe her curse, A mother’s curse, on her revolting son. France, thou mayst hold a serpent by the tongue, A chafed lion by the mortal paw, A fasting tiger safer by the tooth, Than keep in peace that hand which thou dost hold.

KING PHILIP. I may disjoin my hand, but not my faith.

PANDULPH. So mak’st thou faith an enemy to faith, And like a civil war sett’st oath to oath, Thy tongue against thy tongue. O, let thy vow First made to heaven, first be to heaven perform’d, That is, to be the champion of our church. What since thou swor’st is sworn against thyself And may not be performed by thyself, For that which thou hast sworn to do amiss Is not amiss when it is truly done; And being not done, where doing tends to ill, The truth is then most done not doing it. The better act of purposes mistook Is to mistake again; though indirect, Yet indirection thereby grows direct, And falsehood falsehood cures, as fire cools fire Within the scorched veins of one new-burn’d. It is religion that doth make vows kept, But thou hast sworn against religion By what thou swear’st against the thing thou swear’st, And mak’st an oath the surety for thy truth Against an oath. The truth thou art unsure To swear, swears only not to be forsworn, Else what a mockery should it be to swear? But thou dost swear only to be forsworn, And most forsworn, to keep what thou dost swear. Therefore thy latter vows against thy first Is in thyself rebellion to thyself; And better conquest never canst thou make Than arm thy constant and thy nobler parts Against these giddy loose suggestions, Upon which better part our prayers come in, If thou vouchsafe them. But if not, then know The peril of our curses light on thee, So heavy as thou shalt not shake them off, But in despair die under the black weight.

AUSTRIA. Rebellion, flat rebellion!

BASTARD. Will’t not be? Will not a calf’s-skin stop that mouth of thine?

LOUIS. Father, to arms!

BLANCHE. Upon thy wedding-day? Against the blood that thou hast married? What, shall our feast be kept with slaughter’d men? Shall braying trumpets and loud churlish drums, Clamours of hell, be measures to our pomp? O husband, hear me! Ay, alack, how new Is “husband” in my mouth! Even for that name, Which till this time my tongue did ne’er pronounce, Upon my knee I beg, go not to arms Against mine uncle.

CONSTANCE. O, upon my knee, Made hard with kneeling, I do pray to thee, Thou virtuous Dauphin, alter not the doom Forethought by heaven!

BLANCHE. Now shall I see thy love. What motive may Be stronger with thee than the name of wife?

CONSTANCE. That which upholdeth him that thee upholds, His honour. O, thine honour, Louis, thine honour!

LOUIS. I muse your majesty doth seem so cold, When such profound respects do pull you on.

PANDULPH. I will denounce a curse upon his head.

KING PHILIP. Thou shalt not need. England, I will fall from thee.

CONSTANCE. O fair return of banish’d majesty!

QUEEN ELEANOR. O foul revolt of French inconstancy!

KING JOHN. France, thou shalt rue this hour within this hour.

BASTARD. Old Time the clock-setter, that bald sexton Time, Is it as he will? Well, then, France shall rue.

BLANCHE. The sun’s o’ercast with blood. Fair day, adieu! Which is the side that I must go withal? I am with both, each army hath a hand; And in their rage, I having hold of both, They whirl asunder and dismember me. Husband, I cannot pray that thou mayst win; Uncle, I needs must pray that thou mayst lose; Father, I may not wish the fortune thine; Grandam, I will not wish thy wishes thrive. Whoever wins, on that side shall I lose; Assured loss before the match be play’d.

LOUIS. Lady, with me, with me thy fortune lies.

BLANCHE. There where my fortune lives, there my life dies.

KING JOHN. Cousin, go draw our puissance together.

[Exit Bastard.]

France, I am burn’d up with inflaming wrath; A rage whose heat hath this condition, That nothing can allay, nothing but blood, The blood, and dearest-valu’d blood, of France.

KING PHILIP. Thy rage shall burn thee up, and thou shalt turn To ashes, ere our blood shall quench that fire. Look to thyself, thou art in jeopardy.

KING JOHN. No more than he that threats. To arms let’s hie!

[Exeunt severally.]

Act III, Scene II — The same. Plains near Angiers

Alarums. Excursions. Enter the Bastard with Austria’s head.

BASTARD. Now, by my life, this day grows wondrous hot; Some airy devil hovers in the sky And pours down mischief. Austria’s head lie there, While Philip breathes.

Enter King John, Arthur and Hubert.

KING JOHN. Hubert, keep this boy.—Philip, make up. My mother is assailed in our tent, And ta’en, I fear.

BASTARD. My lord, I rescu’d her; Her highness is in safety, fear you not. But on, my liege; for very little pains Will bring this labour to an happy end.

[Exeunt.]

Act III, Scene III — The same

Alarums, Excursions, Retreat. Enter King John, Eleanor, Arthur, the Bastard, Hubert and Lords.

KING JOHN. [To Eleanor] So shall it be; your grace shall stay behind So strongly guarded. [To Arthur] Cousin, look not sad. Thy grandam loves thee, and thy uncle will As dear be to thee as thy father was.

ARTHUR. O, this will make my mother die with grief!

KING JOHN. [To the Bastard] Cousin, away for England! Haste before, And, ere our coming, see thou shake the bags Of hoarding abbots; imprison’d angels Set at liberty. The fat ribs of peace Must by the hungry now be fed upon. Use our commission in his utmost force.

BASTARD. Bell, book, and candle shall not drive me back When gold and silver becks me to come on. I leave your highness. Grandam, I will pray, If ever I remember to be holy, For your fair safety; so, I kiss your hand.

QUEEN ELEANOR. Farewell, gentle cousin.

KING JOHN. Coz, farewell.

[Exit Bastard.]

QUEEN ELEANOR. Come hither, little kinsman; hark, a word.

[She takes Arthur aside.]

KING JOHN. Come hither, Hubert. O my gentle Hubert, We owe thee much! Within this wall of flesh There is a soul counts thee her creditor, And with advantage means to pay thy love. And, my good friend, thy voluntary oath Lives in this bosom, dearly cherished. Give me thy hand. I had a thing to say, But I will fit it with some better tune. By heaven, Hubert, I am almost asham’d To say what good respect I have of thee.

HUBERT. I am much bounden to your majesty.

KING JOHN. Good friend, thou hast no cause to say so yet, But thou shalt have; and creep time ne’er so slow, Yet it shall come for me to do thee good. I had a thing to say, but let it go. The sun is in the heaven, and the proud day, Attended with the pleasures of the world, Is all too wanton and too full of gauds To give me audience. If the midnight bell Did, with his iron tongue and brazen mouth, Sound on into the drowsy race of night; If this same were a churchyard where we stand, And thou possessed with a thousand wrongs; Or if that surly spirit, melancholy, Had bak’d thy blood and made it heavy, thick, Which else runs tickling up and down the veins, Making that idiot, laughter, keep men’s eyes And strain their cheeks to idle merriment, A passion hateful to my purposes; Or if that thou couldst see me without eyes, Hear me without thine ears, and make reply Without a tongue, using conceit alone, Without eyes, ears, and harmful sound of words; Then, in despite of brooded watchful day, I would into thy bosom pour my thoughts. But, ah, I will not! Yet I love thee well; And, by my troth, I think thou lov’st me well.

HUBERT. So well that what you bid me undertake, Though that my death were adjunct to my act, By heaven, I would do it.

KING JOHN. Do not I know thou wouldst? Good Hubert, Hubert, Hubert, throw thine eye On yon young boy. I’ll tell thee what, my friend, He is a very serpent in my way; And wheresoe’er this foot of mine doth tread, He lies before me. Dost thou understand me? Thou art his keeper.

HUBERT. And I’ll keep him so That he shall not offend your majesty.

KING JOHN. Death.

HUBERT. My lord?

KING JOHN. A grave.

HUBERT. He shall not live.

KING JOHN. Enough. I could be merry now. Hubert, I love thee. Well, I’ll not say what I intend for thee. Remember. Madam, fare you well. I’ll send those powers o’er to your majesty.

QUEEN ELEANOR. My blessing go with thee!

KING JOHN. For England, cousin, go. Hubert shall be your man, attend on you With all true duty. On toward Calais, ho!

[Exeunt.]

Act III, Scene IV — The same. The French King’s tent

Enter King Philip, Louis, Pandulph and Attendants.

KING PHILIP. So, by a roaring tempest on the flood A whole armado of convicted sail Is scattered and disjoin’d from fellowship.

PANDULPH. Courage and comfort! All shall yet go well.

KING PHILIP. What can go well, when we have run so ill. Are we not beaten? Is not Angiers lost? Arthur ta’en prisoner? Divers dear friends slain? And bloody England into England gone, O’erbearing interruption, spite of France?

LOUIS. What he hath won, that hath he fortified. So hot a speed with such advice dispos’d, Such temperate order in so fierce a cause, Doth want example. Who hath read or heard Of any kindred action like to this?

KING PHILIP. Well could I bear that England had this praise, So we could find some pattern of our shame.

Enter Constance.

Look who comes here! A grave unto a soul; Holding th’ eternal spirit, against her will, In the vile prison of afflicted breath. I prithee, lady, go away with me.

CONSTANCE. Lo, now, now see the issue of your peace!

KING PHILIP. Patience, good lady! Comfort, gentle Constance!

CONSTANCE. No, I defy all counsel, all redress, But that which ends all counsel, true redress, Death, death, O amiable, lovely death! Thou odoriferous stench, sound rottenness! Arise forth from the couch of lasting night, Thou hate and terror to prosperity, And I will kiss thy detestable bones And put my eyeballs in thy vaulty brows, And ring these fingers with thy household worms, And stop this gap of breath with fulsome dust, And be a carrion monster like thyself. Come, grin on me, and I will think thou smil’st, And buss thee as thy wife. Misery’s love, O, come to me!

KING PHILIP. O fair affliction, peace!

CONSTANCE. No, no, I will not, having breath to cry. O, that my tongue were in the thunder’s mouth! Then with a passion would I shake the world; And rouse from sleep that fell anatomy Which cannot hear a lady’s feeble voice, Which scorns a modern invocation.

PANDULPH. Lady, you utter madness, and not sorrow.

CONSTANCE. Thou art not holy to belie me so. I am not mad. This hair I tear is mine; My name is Constance; I was Geoffrey’s wife; Young Arthur is my son, and he is lost. I am not mad; I would to heaven I were! For then ’tis like I should forget myself. O, if I could, what grief should I forget! Preach some philosophy to make me mad, And thou shalt be canoniz’d, cardinal; For, being not mad but sensible of grief, My reasonable part produces reason How I may be deliver’d of these woes, And teaches me to kill or hang myself. If I were mad, I should forget my son, Or madly think a babe of clouts were he. I am not mad; too well, too well I feel The different plague of each calamity.

KING PHILIP. Bind up those tresses. O, what love I note In the fair multitude of those her hairs! Where but by a chance a silver drop hath fall’n, Even to that drop ten thousand wiry friends Do glue themselves in sociable grief, Like true, inseparable, faithful loves, Sticking together in calamity.

CONSTANCE. To England, if you will.

KING PHILIP. Bind up your hairs.

CONSTANCE. Yes, that I will; and wherefore will I do it? I tore them from their bonds and cried aloud, “O that these hands could so redeem my son, As they have given these hairs their liberty!” But now I envy at their liberty, And will again commit them to their bonds, Because my poor child is a prisoner. And, father cardinal, I have heard you say That we shall see and know our friends in heaven. If that be true, I shall see my boy again; For since the birth of Cain, the first male child, To him that did but yesterday suspire, There was not such a gracious creature born. But now will canker sorrow eat my bud And chase the native beauty from his cheek, And he will look as hollow as a ghost, As dim and meagre as an ague’s fit, And so he’ll die; and, rising so again, When I shall meet him in the court of heaven I shall not know him. Therefore never, never Must I behold my pretty Arthur more.

PANDULPH. You hold too heinous a respect of grief.

CONSTANCE. He talks to me that never had a son.

KING PHILIP. You are as fond of grief as of your child.

CONSTANCE. Grief fills the room up of my absent child, Lies in his bed, walks up and down with me, Puts on his pretty looks, repeats his words, Remembers me of all his gracious parts, Stuffs out his vacant garments with his form; Then have I reason to be fond of grief? Fare you well. Had you such a loss as I, I could give better comfort than you do. I will not keep this form upon my head,

[She unbinds her hair.]

When there is such disorder in my wit. O Lord! My boy, my Arthur, my fair son! My life, my joy, my food, my all the world! My widow-comfort, and my sorrows’ cure!

[Exit.]

KING PHILIP. I fear some outrage, and I’ll follow her.

[Exit.]

LOUIS. There’s nothing in this world can make me joy. Life is as tedious as a twice-told tale Vexing the dull ear of a drowsy man; And bitter shame hath spoil’d the sweet world’s taste, That it yields nought but shame and bitterness.

PANDULPH. Before the curing of a strong disease, Even in the instant of repair and health, The fit is strongest; evils that take leave On their departure most of all show evil. What have you lost by losing of this day?

LOUIS. All days of glory, joy, and happiness.

PANDULPH. If you had won it, certainly you had. No, no; when Fortune means to men most good, She looks upon them with a threat’ning eye. ’Tis strange to think how much King John hath lost In this which he accounts so clearly won. Are not you griev’d that Arthur is his prisoner?

LOUIS. As heartily as he is glad he hath him.

PANDULPH. Your mind is all as youthful as your blood. Now hear me speak with a prophetic spirit; For even the breath of what I mean to speak Shall blow each dust, each straw, each little rub, Out of the path which shall directly lead Thy foot to England’s throne; and therefore mark. John hath seiz’d Arthur; and it cannot be That, whiles warm life plays in that infant’s veins, The misplac’d John should entertain an hour, One minute, nay, one quiet breath of rest. A sceptre snatch’d with an unruly hand Must be boisterously maintain’d as gain’d. And he that stands upon a slipp’ry place Makes nice of no vile hold to stay him up. That John may stand, then, Arthur needs must fall. So be it, for it cannot be but so.

LOUIS. But what shall I gain by young Arthur’s fall?

PANDULPH. You, in the right of Lady Blanche your wife, May then make all the claim that Arthur did.

LOUIS. And lose it, life and all, as Arthur did.

PANDULPH. How green you are and fresh in this old world! John lays you plots; the times conspire with you; For he that steeps his safety in true blood Shall find but bloody safety and untrue. This act so evilly borne shall cool the hearts Of all his people, and freeze up their zeal, That none so small advantage shall step forth To check his reign, but they will cherish it; No natural exhalation in the sky, No scope of nature, no distemper’d day, No common wind, no customed event, But they will pluck away his natural cause And call them meteors, prodigies, and signs, Abortives, presages, and tongues of heaven, Plainly denouncing vengeance upon John.

LOUIS. Maybe he will not touch young Arthur’s life, But hold himself safe in his prisonment.

PANDULPH. O, sir, when he shall hear of your approach, If that young Arthur be not gone already, Even at that news he dies; and then the hearts Of all his people shall revolt from him, And kiss the lips of unacquainted change, And pick strong matter of revolt and wrath Out of the bloody fingers’ ends of John. Methinks I see this hurly all on foot; And, O, what better matter breeds for you Than I have nam’d! The bastard Faulconbridge Is now in England ransacking the church, Offending charity. If but a dozen French Were there in arms, they would be as a call To train ten thousand English to their side, Or as a little snow, tumbled about, Anon becomes a mountain. O noble Dauphin, Go with me to the King. ’Tis wonderful What may be wrought out of their discontent, Now that their souls are topful of offence. For England go. I will whet on the King.

LOUIS. Strong reasons makes strong actions. Let us go. If you say ay, the King will not say no.

[Exeunt.]