← The Complete Works of William Shakespeare

Act I, Scene I — A Room of State in King Lear’s Palace…

Part 27 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 I, Scene I — A Room of State in King Lear’s Palace

Enter Kent, Gloucester and Edmund.

KENT. I thought the King had more affected the Duke of Albany than Cornwall.

GLOUCESTER. It did always seem so to us; but now, in the division of the kingdom, it appears not which of the Dukes he values most, for qualities are so weighed that curiosity in neither can make choice of either’s moiety.

KENT. Is not this your son, my lord?

GLOUCESTER. His breeding, sir, hath been at my charge: I have so often blush’d to acknowledge him that now I am braz’d to’t.

KENT. I cannot conceive you.

GLOUCESTER. Sir, this young fellow’s mother could; whereupon she grew round-wombed, and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?

KENT. I cannot wish the fault undone, the issue of it being so proper.

GLOUCESTER. But I have a son, sir, by order of law, some year elder than this, who yet is no dearer in my account: though this knave came something saucily to the world before he was sent for, yet was his mother fair; there was good sport at his making, and the whoreson must be acknowledged. Do you know this noble gentleman, Edmund?

EDMUND. No, my lord.

GLOUCESTER. My Lord of Kent: remember him hereafter as my honourable friend.

EDMUND. My services to your lordship.

KENT. I must love you, and sue to know you better.

EDMUND. Sir, I shall study deserving.

GLOUCESTER. He hath been out nine years, and away he shall again. The King is coming.

[Sennet within.]

Enter Lear, Cornwall, Albany, Goneril, Regan, Cordelia and Attendants.

LEAR. Attend the lords of France and Burgundy, Gloucester.

GLOUCESTER. I shall, my lord.

[Exeunt Gloucester and Edmund.]

LEAR. Meantime we shall express our darker purpose. Give me the map there. Know that we have divided In three our kingdom: and ’tis our fast intent To shake all cares and business from our age; Conferring them on younger strengths, while we Unburden’d crawl toward death. Our son of Cornwall, And you, our no less loving son of Albany, We have this hour a constant will to publish Our daughters’ several dowers, that future strife May be prevented now. The princes, France and Burgundy, Great rivals in our youngest daughter’s love, Long in our court have made their amorous sojourn, And here are to be answer’d. Tell me, my daughters,— Since now we will divest us both of rule, Interest of territory, cares of state,— Which of you shall we say doth love us most? That we our largest bounty may extend Where nature doth with merit challenge.—Goneril, Our eldest born, speak first.

GONERIL. Sir, I love you more than word can wield the matter; Dearer than eyesight, space, and liberty; Beyond what can be valu’d, rich or rare; No less than life, with grace, health, beauty, honour; As much as child e’er lov’d, or father found; A love that makes breath poor and speech unable; Beyond all manner of so much I love you.

CORDELIA. [Aside.] What shall Cordelia speak? Love, and be silent.

LEAR. Of all these bounds, even from this line to this, With shadowy forests and with champains rich’d, With plenteous rivers and wide-skirted meads, We make thee lady: to thine and Albany’s issue Be this perpetual.—What says our second daughter, Our dearest Regan, wife of Cornwall? Speak.

REGAN. Sir, I am made of the self mettle as my sister, And prize me at her worth. In my true heart I find she names my very deed of love; Only she comes too short, that I profess Myself an enemy to all other joys Which the most precious square of sense possesses, And find I am alone felicitate In your dear highness’ love.

CORDELIA. [Aside.] Then poor Cordelia, And yet not so; since, I am sure, my love’s More ponderous than my tongue.

LEAR. To thee and thine hereditary ever Remain this ample third of our fair kingdom; No less in space, validity, and pleasure Than that conferr’d on Goneril.—Now, our joy, Although the last and least; to whose young love The vines of France and milk of Burgundy Strive to be interess’d; what can you say to draw A third more opulent than your sisters? Speak.

CORDELIA. Nothing, my lord.

LEAR. Nothing?

CORDELIA. Nothing.

LEAR. Nothing will come of nothing: speak again.

CORDELIA. Unhappy that I am, I cannot heave My heart into my mouth: I love your majesty According to my bond; no more nor less.

LEAR. How, how, Cordelia? Mend your speech a little, Lest you may mar your fortunes.

CORDELIA. Good my lord, You have begot me, bred me, lov’d me: I Return those duties back as are right fit, Obey you, love you, and most honour you. Why have my sisters husbands if they say They love you all? Haply, when I shall wed, That lord whose hand must take my plight shall carry Half my love with him, half my care and duty: Sure I shall never marry like my sisters, To love my father all.

LEAR. But goes thy heart with this?

CORDELIA. Ay, my good lord.

LEAR. So young, and so untender?

CORDELIA. So young, my lord, and true.

LEAR. Let it be so, thy truth then be thy dower: For, by the sacred radiance of the sun, The mysteries of Hecate and the night; By all the operation of the orbs, From whom we do exist and cease to be; Here I disclaim all my paternal care, Propinquity and property of blood, And as a stranger to my heart and me Hold thee from this for ever. The barbarous Scythian, Or he that makes his generation messes To gorge his appetite, shall to my bosom Be as well neighbour’d, pitied, and reliev’d, As thou my sometime daughter.

KENT. Good my liege,—

LEAR. Peace, Kent! Come not between the dragon and his wrath. I lov’d her most, and thought to set my rest On her kind nursery. [To Cordelia.] Hence and avoid my sight! So be my grave my peace, as here I give Her father’s heart from her! Call France. Who stirs? Call Burgundy! Cornwall and Albany, With my two daughters’ dowers digest this third: Let pride, which she calls plainness, marry her. I do invest you jointly with my power, Pre-eminence, and all the large effects That troop with majesty. Ourself, by monthly course, With reservation of an hundred knights, By you to be sustain’d, shall our abode Make with you by due turn. Only we shall retain The name, and all the addition to a king; the sway, Revenue, execution of the rest, Beloved sons, be yours; which to confirm, This coronet part between you. [Giving the crown.]

KENT. Royal Lear, Whom I have ever honour’d as my king, Lov’d as my father, as my master follow’d, As my great patron thought on in my prayers.—

LEAR. The bow is bent and drawn; make from the shaft.

KENT. Let it fall rather, though the fork invade The region of my heart: be Kent unmannerly When Lear is mad. What wouldst thou do, old man? Think’st thou that duty shall have dread to speak, When power to flattery bows? To plainness honour’s bound When majesty falls to folly. Reverse thy state; And in thy best consideration check This hideous rashness: answer my life my judgement, Thy youngest daughter does not love thee least; Nor are those empty-hearted, whose low sounds Reverb no hollowness.

LEAR. Kent, on thy life, no more.

KENT. My life I never held but as a pawn To wage against thine enemies; ne’er fear to lose it, Thy safety being the motive.

LEAR. Out of my sight!

KENT. See better, Lear; and let me still remain The true blank of thine eye.

LEAR. Now, by Apollo,—

KENT. Now by Apollo, King, Thou swear’st thy gods in vain.

LEAR. O vassal! Miscreant!

[Laying his hand on his sword.]

ALBANY and CORNWALL. Dear sir, forbear!

KENT. Kill thy physician, and the fee bestow Upon the foul disease. Revoke thy gift, Or, whilst I can vent clamour from my throat, I’ll tell thee thou dost evil.

LEAR. Hear me, recreant! on thine allegiance, hear me! Since thou hast sought to make us break our vows, Which we durst never yet, and with strain’d pride To come betwixt our sentences and our power, Which nor our nature, nor our place can bear, Our potency made good, take thy reward. Five days we do allot thee for provision, To shield thee from disasters of the world; And on the sixth to turn thy hated back Upon our kingdom: if, on the next day following, Thy banish’d trunk be found in our dominions, The moment is thy death. Away! By Jupiter, This shall not be revok’d.

KENT. Fare thee well, King: sith thus thou wilt appear, Freedom lives hence, and banishment is here. [To Cordelia.] The gods to their dear shelter take thee, maid, That justly think’st and hast most rightly said! [To Goneril and Regan.] And your large speeches may your deeds approve, That good effects may spring from words of love. Thus Kent, O princes, bids you all adieu; He’ll shape his old course in a country new.

[Exit.]

Flourish. Re-enter Gloucester, with France, Burgundy and Attendants.

CORDELIA. Here’s France and Burgundy, my noble lord.

LEAR. My Lord of Burgundy, We first address toward you, who with this king Hath rivall’d for our daughter: what in the least Will you require in present dower with her, Or cease your quest of love?

BURGUNDY. Most royal majesty, I crave no more than hath your highness offer’d, Nor will you tender less.

LEAR. Right noble Burgundy, When she was dear to us, we did hold her so; But now her price is fall’n. Sir, there she stands: If aught within that little-seeming substance, Or all of it, with our displeasure piec’d, And nothing more, may fitly like your grace, She’s there, and she is yours.

BURGUNDY. I know no answer.

LEAR. Will you, with those infirmities she owes, Unfriended, new adopted to our hate, Dower’d with our curse, and stranger’d with our oath, Take her or leave her?

BURGUNDY. Pardon me, royal sir; Election makes not up in such conditions.

LEAR. Then leave her, sir; for, by the power that made me, I tell you all her wealth. [To France] For you, great king, I would not from your love make such a stray To match you where I hate; therefore beseech you T’avert your liking a more worthier way Than on a wretch whom nature is asham’d Almost t’acknowledge hers.

FRANCE. This is most strange, That she, who even but now was your best object, The argument of your praise, balm of your age, The best, the dearest, should in this trice of time Commit a thing so monstrous, to dismantle So many folds of favour. Sure her offence Must be of such unnatural degree That monsters it, or your fore-vouch’d affection Fall into taint; which to believe of her Must be a faith that reason without miracle Should never plant in me.

CORDELIA. I yet beseech your majesty, If for I want that glib and oily art To speak and purpose not; since what I well intend, I’ll do’t before I speak,—that you make known It is no vicious blot, murder, or foulness, No unchaste action or dishonour’d step, That hath depriv’d me of your grace and favour; But even for want of that for which I am richer, A still soliciting eye, and such a tongue As I am glad I have not, though not to have it Hath lost me in your liking.

LEAR. Better thou hadst Not been born than not to have pleas’d me better.

FRANCE. Is it but this?—a tardiness in nature Which often leaves the history unspoke That it intends to do? My lord of Burgundy, What say you to the lady? Love’s not love When it is mingled with regards that stands Aloof from the entire point. Will you have her? She is herself a dowry.

BURGUNDY. Royal King, Give but that portion which yourself propos’d, And here I take Cordelia by the hand, Duchess of Burgundy.

LEAR. Nothing: I have sworn; I am firm.

BURGUNDY. I am sorry, then, you have so lost a father That you must lose a husband.

CORDELIA. Peace be with Burgundy! Since that respects of fortunes are his love, I shall not be his wife.

FRANCE. Fairest Cordelia, that art most rich, being poor; Most choice forsaken; and most lov’d, despis’d! Thee and thy virtues here I seize upon: Be it lawful, I take up what’s cast away. Gods, gods! ’Tis strange that from their cold’st neglect My love should kindle to inflam’d respect. Thy dowerless daughter, King, thrown to my chance, Is queen of us, of ours, and our fair France: Not all the dukes of waterish Burgundy Can buy this unpriz’d precious maid of me. Bid them farewell, Cordelia, though unkind: Thou losest here, a better where to find.

LEAR. Thou hast her, France: let her be thine; for we Have no such daughter, nor shall ever see That face of hers again. Therefore be gone Without our grace, our love, our benison. Come, noble Burgundy.

[Flourish. Exeunt Lear, Burgundy, Cornwall, Albany, Gloucester and Attendants.]

FRANCE. Bid farewell to your sisters.

CORDELIA. The jewels of our father, with wash’d eyes Cordelia leaves you: I know you what you are; And like a sister am most loath to call Your faults as they are nam’d. Love well our father: To your professed bosoms I commit him: But yet, alas, stood I within his grace, I would prefer him to a better place. So farewell to you both.

REGAN. Prescribe not us our duties.

GONERIL. Let your study Be to content your lord, who hath receiv’d you At fortune’s alms. You have obedience scanted, And well are worth the want that you have wanted.

CORDELIA. Time shall unfold what plighted cunning hides: Who covers faults, at last shame derides. Well may you prosper.

FRANCE. Come, my fair Cordelia.

[Exeunt France and Cordelia.]

GONERIL. Sister, it is not little I have to say of what most nearly appertains to us both. I think our father will hence tonight.

REGAN. That’s most certain, and with you; next month with us.

GONERIL. You see how full of changes his age is; the observation we have made of it hath not been little: he always loved our sister most; and with what poor judgement he hath now cast her off appears too grossly.

REGAN. ’Tis the infirmity of his age: yet he hath ever but slenderly known himself.

GONERIL. The best and soundest of his time hath been but rash; then must we look from his age to receive not alone the imperfections of long-engrafted condition, but therewithal the unruly waywardness that infirm and choleric years bring with them.

REGAN. Such unconstant starts are we like to have from him as this of Kent’s banishment.

GONERIL. There is further compliment of leave-taking between France and him. Pray you let us hit together: if our father carry authority with such disposition as he bears, this last surrender of his will but offend us.

REGAN. We shall further think of it.

GONERIL. We must do something, and i’ th’ heat.

[Exeunt.]

Act I, Scene II — A Hall in the Earl of Gloucester’s Castle

Enter Edmund with a letter.

EDMUND. Thou, Nature, art my goddess; to thy law My services are bound. Wherefore should I Stand in the plague of custom, and permit The curiosity of nations to deprive me? For that I am some twelve or fourteen moonshines Lag of a brother? Why bastard? Wherefore base? When my dimensions are as well compact, My mind as generous, and my shape as true As honest madam’s issue? Why brand they us With base? With baseness? bastardy? Base, base? Who, in the lusty stealth of nature, take More composition and fierce quality Than doth within a dull stale tired bed Go to the creating a whole tribe of fops Got ’tween asleep and wake? Well then, Legitimate Edgar, I must have your land: Our father’s love is to the bastard Edmund As to the legitimate: fine word: legitimate! Well, my legitimate, if this letter speed, And my invention thrive, Edmund the base Shall top the legitimate. I grow, I prosper. Now, gods, stand up for bastards!

Enter Gloucester.

GLOUCESTER. Kent banish’d thus! and France in choler parted! And the King gone tonight! Prescrib’d his pow’r! Confin’d to exhibition! All this done Upon the gad!—Edmund, how now! What news?

EDMUND. So please your lordship, none.

[Putting up the letter.]

GLOUCESTER. Why so earnestly seek you to put up that letter?

EDMUND. I know no news, my lord.

GLOUCESTER. What paper were you reading?

EDMUND. Nothing, my lord.

GLOUCESTER. No? What needed then that terrible dispatch of it into your pocket? The quality of nothing hath not such need to hide itself. Let’s see. Come, if it be nothing, I shall not need spectacles.

EDMUND. I beseech you, sir, pardon me. It is a letter from my brother that I have not all o’er-read; and for so much as I have perus’d, I find it not fit for your o’er-looking.

GLOUCESTER. Give me the letter, sir.

EDMUND. I shall offend, either to detain or give it. The contents, as in part I understand them, are to blame.

GLOUCESTER. Let’s see, let’s see!

EDMUND. I hope, for my brother’s justification, he wrote this but as an essay, or taste of my virtue.

GLOUCESTER. [Reads.] ‘This policy and reverence of age makes the world bitter to the best of our times; keeps our fortunes from us till our oldness cannot relish them. I begin to find an idle and fond bondage in the oppression of aged tyranny; who sways not as it hath power, but as it is suffered. Come to me, that of this I may speak more. If our father would sleep till I waked him, you should enjoy half his revenue for ever, and live the beloved of your brother EDGAR.’ Hum! Conspiracy? ‘Sleep till I wake him, you should enjoy half his revenue.’—My son Edgar! Had he a hand to write this? A heart and brain to breed it in? When came this to you? Who brought it?

EDMUND. It was not brought me, my lord, there’s the cunning of it. I found it thrown in at the casement of my closet.

GLOUCESTER. You know the character to be your brother’s?

EDMUND. If the matter were good, my lord, I durst swear it were his; but in respect of that, I would fain think it were not.

GLOUCESTER. It is his.

EDMUND. It is his hand, my lord; but I hope his heart is not in the contents.

GLOUCESTER. Has he never before sounded you in this business?

EDMUND. Never, my lord. But I have heard him oft maintain it to be fit that, sons at perfect age, and fathers declined, the father should be as ward to the son, and the son manage his revenue.

GLOUCESTER. O villain, villain! His very opinion in the letter! Abhorred villain! Unnatural, detested, brutish villain! worse than brutish! Go, sirrah, seek him; I’ll apprehend him. Abominable villain, Where is he?

EDMUND. I do not well know, my lord. If it shall please you to suspend your indignation against my brother till you can derive from him better testimony of his intent, you should run a certain course; where, if you violently proceed against him, mistaking his purpose, it would make a great gap in your own honour, and shake in pieces the heart of his obedience. I dare pawn down my life for him, that he hath writ this to feel my affection to your honour, and to no other pretence of danger.

GLOUCESTER. Think you so?

EDMUND. If your honour judge it meet, I will place you where you shall hear us confer of this, and by an auricular assurance have your satisfaction, and that without any further delay than this very evening.

GLOUCESTER. He cannot be such a monster.

EDMUND. Nor is not, sure.

GLOUCESTER. To his father, that so tenderly and entirely loves him. Heaven and earth! Edmund, seek him out; wind me into him, I pray you: frame the business after your own wisdom. I would unstate myself to be in a due resolution.

EDMUND. I will seek him, sir, presently; convey the business as I shall find means, and acquaint you withal.

GLOUCESTER. These late eclipses in the sun and moon portend no good to us: though the wisdom of Nature can reason it thus and thus, yet nature finds itself scourged by the sequent effects. Love cools, friendship falls off, brothers divide: in cities, mutinies; in countries, discord; in palaces, treason; and the bond cracked ’twixt son and father. This villain of mine comes under the prediction; there’s son against father: the King falls from bias of nature; there’s father against child. We have seen the best of our time. Machinations, hollowness, treachery, and all ruinous disorders follow us disquietly to our graves. Find out this villain, Edmund; it shall lose thee nothing; do it carefully.—And the noble and true-hearted Kent banished! his offence, honesty! ’Tis strange.

[Exit.]

EDMUND. This is the excellent foppery of the world, that, when we are sick in fortune, often the surfeits of our own behaviour, we make guilty of our disasters the sun, the moon, and the stars; as if we were villains on necessity; fools by heavenly compulsion; knaves, thieves, and treachers by spherical predominance; drunkards, liars, and adulterers by an enforced obedience of planetary influence; and all that we are evil in, by a divine thrusting on. An admirable evasion of whoremaster man, to lay his goatish disposition to the charge of a star. My father compounded with my mother under the dragon’s tail, and my nativity was under Ursa Major, so that it follows I am rough and lecherous. Fut! I should have been that I am, had the maidenliest star in the firmament twinkled on my bastardizing.

Enter Edgar.

Pat! he comes, like the catastrophe of the old comedy: my cue is villainous melancholy, with a sigh like Tom o’Bedlam.—O, these eclipses do portend these divisions! Fa, sol, la, mi.

EDGAR. How now, brother Edmund, what serious contemplation are you in?

EDMUND. I am thinking, brother, of a prediction I read this other day, what should follow these eclipses.

EDGAR. Do you busy yourself with that?

EDMUND. I promise you, the effects he writes of succeed unhappily: as of unnaturalness between the child and the parent; death, dearth, dissolutions of ancient amities; divisions in state, menaces and maledictions against King and nobles; needless diffidences, banishment of friends, dissipation of cohorts, nuptial breaches, and I know not what.

EDGAR. How long have you been a sectary astronomical?

EDMUND. Come, come! when saw you my father last?

EDGAR. The night gone by.

EDMUND. Spake you with him?

EDGAR. Ay, two hours together.

EDMUND. Parted you in good terms? Found you no displeasure in him, by word nor countenance?

EDGAR. None at all.

EDMUND. Bethink yourself wherein you may have offended him: and at my entreaty forbear his presence until some little time hath qualified the heat of his displeasure; which at this instant so rageth in him that with the mischief of your person it would scarcely allay.

EDGAR. Some villain hath done me wrong.

EDMUND. That’s my fear. I pray you have a continent forbearance till the speed of his rage goes slower; and, as I say, retire with me to my lodging, from whence I will fitly bring you to hear my lord speak: pray ye, go; there’s my key. If you do stir abroad, go armed.

EDGAR. Armed, brother?

EDMUND. Brother, I advise you to the best; I am no honest man if there be any good meaning toward you: I have told you what I have seen and heard. But faintly; nothing like the image and horror of it: pray you, away!

EDGAR. Shall I hear from you anon?

EDMUND. I do serve you in this business.

[Exit Edgar.]

A credulous father! and a brother noble, Whose nature is so far from doing harms That he suspects none; on whose foolish honesty My practices ride easy! I see the business. Let me, if not by birth, have lands by wit; All with me’s meet that I can fashion fit.

[Exit.]

Act I, Scene III — A Room in the Duke of Albany’s Palace

Enter Goneril and Oswald.

GONERIL. Did my father strike my gentleman for chiding of his fool?

OSWALD. Ay, madam.

GONERIL. By day and night, he wrongs me; every hour He flashes into one gross crime or other, That sets us all at odds; I’ll not endure it: His knights grow riotous, and himself upbraids us On every trifle. When he returns from hunting, I will not speak with him; say I am sick. If you come slack of former services, You shall do well; the fault of it I’ll answer.

[Horns within.]

OSWALD. He’s coming, madam; I hear him.

GONERIL. Put on what weary negligence you please, You and your fellows; I’d have it come to question: If he distaste it, let him to our sister, Whose mind and mine, I know, in that are one, Not to be overruled. Idle old man, That still would manage those authorities That he hath given away! Now, by my life, Old fools are babes again; and must be us’d With checks as flatteries, when they are seen abus’d. Remember what I have said.

OSWALD. Very well, madam.

GONERIL. And let his knights have colder looks among you; What grows of it, no matter; advise your fellows so; I would breed from hence occasions, and I shall, That I may speak. I’ll write straight to my sister To hold my very course. Prepare for dinner.

[Exeunt.]

Act I, Scene IV — A Hall in Albany’s Palace

Enter Kent, disguised.

KENT. If but as well I other accents borrow, That can my speech defuse, my good intent May carry through itself to that full issue For which I rais’d my likeness. Now, banish’d Kent, If thou canst serve where thou dost stand condemn’d, So may it come, thy master, whom thou lov’st, Shall find thee full of labours.

Horns within. Enter King Lear, Knights and Attendants.

LEAR. Let me not stay a jot for dinner; go get it ready.

[Exit an Attendant.]

How now! what art thou?

KENT. A man, sir.

LEAR. What dost thou profess? What wouldst thou with us?

KENT. I do profess to be no less than I seem; to serve him truly that will put me in trust; to love him that is honest; to converse with him that is wise and says little; to fear judgement; to fight when I cannot choose; and to eat no fish.

LEAR. What art thou?

KENT. A very honest-hearted fellow, and as poor as the King.

LEAR. If thou be’st as poor for a subject as he’s for a king, thou art poor enough. What wouldst thou?

KENT. Service.

LEAR. Who wouldst thou serve?

KENT. You.

LEAR. Dost thou know me, fellow?

KENT. No, sir; but you have that in your countenance which I would fain call master.

LEAR. What’s that?

KENT. Authority.

LEAR. What services canst thou do?

KENT. I can keep honest counsel, ride, run, mar a curious tale in telling it and deliver a plain message bluntly. That which ordinary men are fit for, I am qualified in, and the best of me is diligence.

LEAR. How old art thou?

KENT. Not so young, sir, to love a woman for singing; nor so old to dote on her for anything: I have years on my back forty-eight.

LEAR. Follow me; thou shalt serve me. If I like thee no worse after dinner, I will not part from thee yet. Dinner, ho, dinner! Where’s my knave? my fool? Go you and call my fool hither.

[Exit an Attendant.]

Enter Oswald.

You, you, sirrah, where’s my daughter?

OSWALD. So please you,—

[Exit.]

LEAR. What says the fellow there? Call the clotpoll back.

[Exit a Knight.]

Where’s my fool? Ho, I think the world’s asleep.

Re-enter Knight.

How now! where’s that mongrel?

KNIGHT. He says, my lord, your daughter is not well.

LEAR. Why came not the slave back to me when I called him?

KNIGHT. Sir, he answered me in the roundest manner, he would not.

LEAR. He would not?

KNIGHT. My lord, I know not what the matter is; but to my judgement your highness is not entertained with that ceremonious affection as you were wont; there’s a great abatement of kindness appears as well in the general dependants as in the Duke himself also, and your daughter.

LEAR. Ha! say’st thou so?

KNIGHT. I beseech you pardon me, my lord, if I be mistaken; for my duty cannot be silent when I think your highness wronged.

LEAR. Thou but rememberest me of mine own conception: I have perceived a most faint neglect of late; which I have rather blamed as mine own jealous curiosity than as a very pretence and purpose of unkindness: I will look further into’t. But where’s my fool? I have not seen him this two days.

KNIGHT. Since my young lady’s going into France, sir, the fool hath much pined away.

LEAR. No more of that; I have noted it well. Go you and tell my daughter I would speak with her.

[Exit Attendant.]

Go you, call hither my fool.

[Exit another Attendant.]

Re-enter Oswald.

O, you, sir, you, come you hither, sir: who am I, sir?

OSWALD. My lady’s father.

LEAR. My lady’s father! my lord’s knave: you whoreson dog! you slave! you cur!

OSWALD. I am none of these, my lord; I beseech your pardon.

LEAR. Do you bandy looks with me, you rascal?

[Striking him.]

OSWALD. I’ll not be struck, my lord.

KENT. Nor tripp’d neither, you base football player.

[Tripping up his heels.]

LEAR. I thank thee, fellow. Thou serv’st me, and I’ll love thee.

KENT. Come, sir, arise, away! I’ll teach you differences: away, away! If you will measure your lubber’s length again, tarry; but away! go to; have you wisdom? So.

[Pushes Oswald out.]

LEAR. Now, my friendly knave, I thank thee: there’s earnest of thy service.

[Giving Kent money.]

Enter Fool.

FOOL. Let me hire him too; here’s my coxcomb.

[Giving Kent his cap.]

LEAR. How now, my pretty knave, how dost thou?

FOOL. Sirrah, you were best take my coxcomb.

KENT. Why, fool?

FOOL. Why, for taking one’s part that’s out of favour. Nay, an thou canst not smile as the wind sits, thou’lt catch cold shortly: there, take my coxcomb: why, this fellow has banish’d two on’s daughters, and did the third a blessing against his will; if thou follow him, thou must needs wear my coxcomb. How now, nuncle! Would I had two coxcombs and two daughters!

LEAR. Why, my boy?

FOOL. If I gave them all my living, I’d keep my coxcombs myself. There’s mine; beg another of thy daughters.

LEAR. Take heed, sirrah, the whip.

FOOL. Truth’s a dog must to kennel; he must be whipped out, when the Lady Brach may stand by the fire and stink.

LEAR. A pestilent gall to me!

FOOL. Sirrah, I’ll teach thee a speech.

LEAR. Do.

FOOL. Mark it, nuncle: Have more than thou showest, Speak less than thou knowest, Lend less than thou owest, Ride more than thou goest, Learn more than thou trowest, Set less than thou throwest; Leave thy drink and thy whore, And keep in-a-door, And thou shalt have more Than two tens to a score.

KENT. This is nothing, fool.

FOOL. Then ’tis like the breath of an unfee’d lawyer, you gave me nothing for’t. Can you make no use of nothing, nuncle?

LEAR. Why, no, boy; nothing can be made out of nothing.

FOOL. [to Kent.] Prithee tell him, so much the rent of his land comes to: he will not believe a fool.

LEAR. A bitter fool.

FOOL. Dost thou know the difference, my boy, between a bitter fool and a sweet one?

LEAR. No, lad; teach me.

FOOL. That lord that counsell’d thee To give away thy land, Come place him here by me, Do thou for him stand. The sweet and bitter fool Will presently appear; The one in motley here, The other found out there.

LEAR. Dost thou call me fool, boy?

FOOL. All thy other titles thou hast given away; that thou wast born with.

KENT. This is not altogether fool, my lord.

FOOL. No, faith; lords and great men will not let me; if I had a monopoly out, they would have part on’t and ladies too, they will not let me have all the fool to myself; they’ll be snatching. Nuncle, give me an egg, and I’ll give thee two crowns.

LEAR. What two crowns shall they be?

FOOL. Why, after I have cut the egg i’ the middle and eat up the meat, the two crowns of the egg. When thou clovest thy crown i’ the middle and gav’st away both parts, thou bor’st thine ass on thy back o’er the dirt: thou hadst little wit in thy bald crown when thou gav’st thy golden one away. If I speak like myself in this, let him be whipped that first finds it so. [Singing.] Fools had ne’er less grace in a year; For wise men are grown foppish, And know not how their wits to wear, Their manners are so apish.

LEAR. When were you wont to be so full of songs, sirrah?

FOOL. I have used it, nuncle, e’er since thou mad’st thy daughters thy mothers; for when thou gav’st them the rod, and put’st down thine own breeches, [Singing.] Then they for sudden joy did weep, And I for sorrow sung, That such a king should play bo-peep, And go the fools among. Prithee, nuncle, keep a schoolmaster that can teach thy fool to lie; I would fain learn to lie.

LEAR. An you lie, sirrah, we’ll have you whipped.

FOOL. I marvel what kin thou and thy daughters are: they’ll have me whipped for speaking true; thou’lt have me whipped for lying; and sometimes I am whipped for holding my peace. I had rather be any kind o’thing than a fool: and yet I would not be thee, nuncle: thou hast pared thy wit o’both sides, and left nothing i’ the middle: here comes one o’ the parings.

Enter Goneril.

LEAR. How now, daughter? What makes that frontlet on? Methinks you are too much of late i’ the frown.

FOOL. Thou wast a pretty fellow when thou hadst no need to care for her frowning. Now thou art an O without a figure: I am better than thou art now. I am a fool, thou art nothing. [To Goneril.] Yes, forsooth, I will hold my tongue. So your face bids me, though you say nothing. Mum, mum, He that keeps nor crust nor crum, Weary of all, shall want some. [Pointing to Lear.] That’s a shealed peascod.

GONERIL. Not only, sir, this your all-licens’d fool, But other of your insolent retinue Do hourly carp and quarrel; breaking forth In rank and not-to-be-endured riots. Sir, I had thought, by making this well known unto you, To have found a safe redress; but now grow fearful, By what yourself too late have spoke and done, That you protect this course, and put it on By your allowance; which if you should, the fault Would not scape censure, nor the redresses sleep, Which, in the tender of a wholesome weal, Might in their working do you that offence Which else were shame, that then necessity Will call discreet proceeding.

FOOL. For you know, nuncle, The hedge-sparrow fed the cuckoo so long That it’s had it head bit off by it young. So out went the candle, and we were left darkling.

LEAR. Are you our daughter?

GONERIL. Come, sir, I would you would make use of that good wisdom, Whereof I know you are fraught; and put away These dispositions, which of late transform you From what you rightly are.

FOOL. May not an ass know when the cart draws the horse? Whoop, Jug! I love thee!

LEAR. Doth any here know me? This is not Lear; Doth Lear walk thus? speak thus? Where are his eyes? Either his notion weakens, his discernings Are lethargied. Ha! waking? ’Tis not so! Who is it that can tell me who I am?

FOOL. Lear’s shadow.

LEAR. I would learn that; for by the marks of sovereignty, knowledge and reason, I should be false persuaded I had daughters.

FOOL. Which they will make an obedient father.

LEAR. Your name, fair gentlewoman?

GONERIL. This admiration, sir, is much o’ the favour Of other your new pranks. I do beseech you To understand my purposes aright: As you are old and reverend, you should be wise. Here do you keep a hundred knights and squires; Men so disorder’d, so debosh’d and bold That this our court, infected with their manners, Shows like a riotous inn. Epicurism and lust Makes it more like a tavern or a brothel Than a grac’d palace. The shame itself doth speak For instant remedy. Be, then, desir’d By her that else will take the thing she begs A little to disquantity your train; And the remainder that shall still depend, To be such men as may besort your age, Which know themselves, and you.

LEAR. Darkness and devils! Saddle my horses; call my train together. Degenerate bastard! I’ll not trouble thee: Yet have I left a daughter.

GONERIL. You strike my people; and your disorder’d rabble Make servants of their betters.

Enter Albany.

LEAR. Woe that too late repents!— [To Albany.] O, sir, are you come? Is it your will? Speak, sir.—Prepare my horses. Ingratitude, thou marble-hearted fiend, More hideous when thou show’st thee in a child Than the sea-monster!

ALBANY. Pray, sir, be patient.

LEAR. [to Goneril.] Detested kite, thou liest. My train are men of choice and rarest parts, That all particulars of duty know; And in the most exact regard support The worships of their name. O most small fault, How ugly didst thou in Cordelia show! Which, like an engine, wrench’d my frame of nature From the fix’d place; drew from my heart all love, And added to the gall. O Lear, Lear, Lear! [Striking his head.] Beat at this gate that let thy folly in And thy dear judgement out! Go, go, my people.

ALBANY. My lord, I am guiltless, as I am ignorant Of what hath moved you.

LEAR. It may be so, my lord. Hear, nature, hear; dear goddess, hear! Suspend thy purpose, if thou didst intend To make this creature fruitful! Into her womb convey sterility! Dry up in her the organs of increase; And from her derogate body never spring A babe to honour her! If she must teem, Create her child of spleen, that it may live And be a thwart disnatur’d torment to her! Let it stamp wrinkles in her brow of youth; With cadent tears fret channels in her cheeks; Turn all her mother’s pains and benefits To laughter and contempt; that she may feel How sharper than a serpent’s tooth it is To have a thankless child! Away, away!

[Exit.]

ALBANY. Now, gods that we adore, whereof comes this?

GONERIL. Never afflict yourself to know more of it; But let his disposition have that scope That dotage gives it.

Re-enter Lear.

LEAR. What, fifty of my followers at a clap? Within a fortnight?

ALBANY. What’s the matter, sir?

LEAR. I’ll tell thee. [To Goneril.] Life and death! I am asham’d That thou hast power to shake my manhood thus; That these hot tears, which break from me perforce, Should make thee worth them. Blasts and fogs upon thee! Th’untented woundings of a father’s curse Pierce every sense about thee! Old fond eyes, Beweep this cause again, I’ll pluck ye out, And cast you with the waters that you lose To temper clay. Ha! Let it be so. I have another daughter, Who, I am sure, is kind and comfortable: When she shall hear this of thee, with her nails She’ll flay thy wolvish visage. Thou shalt find That I’ll resume the shape which thou dost think I have cast off for ever.

[Exeunt Lear, Kent and Attendants.]

GONERIL. Do you mark that?

ALBANY. I cannot be so partial, Goneril, To the great love I bear you,—

GONERIL. Pray you, content. What, Oswald, ho! [To the Fool.] You, sir, more knave than fool, after your master.

FOOL. Nuncle Lear, nuncle Lear, tarry and take the fool with thee. A fox when one has caught her, And such a daughter, Should sure to the slaughter, If my cap would buy a halter; So the fool follows after.

[Exit.]

GONERIL. This man hath had good counsel.—A hundred knights! ’Tis politic and safe to let him keep At point a hundred knights: yes, that on every dream, Each buzz, each fancy, each complaint, dislike, He may enguard his dotage with their powers, And hold our lives in mercy. Oswald, I say!

ALBANY. Well, you may fear too far.

GONERIL. Safer than trust too far: Let me still take away the harms I fear, Not fear still to be taken: I know his heart. What he hath utter’d I have writ my sister: If she sustain him and his hundred knights, When I have show’d th’unfitness,—

Re-enter Oswald.

How now, Oswald! What, have you writ that letter to my sister?

OSWALD. Ay, madam.

GONERIL. Take you some company, and away to horse: Inform her full of my particular fear; And thereto add such reasons of your own As may compact it more. Get you gone; And hasten your return.

[Exit Oswald.]

No, no, my lord! This milky gentleness and course of yours, Though I condemn not, yet, under pardon, You are much more attask’d for want of wisdom Than prais’d for harmful mildness.

ALBANY. How far your eyes may pierce I cannot tell: Striving to better, oft we mar what’s well.

GONERIL. Nay then,—

ALBANY. Well, well; the event.

[Exeunt.]

Act I, Scene V — Court before the Duke of Albany’s Palace

Enter Lear, Kent and Fool.

LEAR. Go you before to Gloucester with these letters: acquaint my daughter no further with anything you know than comes from her demand out of the letter. If your diligence be not speedy, I shall be there afore you.

KENT. I will not sleep, my lord, till I have delivered your letter.

[Exit.]

FOOL. If a man’s brains were in’s heels, were’t not in danger of kibes?

LEAR. Ay, boy.

FOOL. Then I prithee be merry; thy wit shall not go slipshod.

LEAR. Ha, ha, ha!

FOOL. Shalt see thy other daughter will use thee kindly, for though she’s as like this as a crab’s like an apple, yet I can tell what I can tell.

LEAR. What canst tell, boy?

FOOL. She’ll taste as like this as a crab does to a crab. Thou canst tell why one’s nose stands i’the middle on’s face?

LEAR. No.

FOOL. Why, to keep one’s eyes of either side’s nose, that what a man cannot smell out, he may spy into.

LEAR. I did her wrong.

FOOL. Canst tell how an oyster makes his shell?

LEAR. No.

FOOL. Nor I neither; but I can tell why a snail has a house.

LEAR. Why?

FOOL. Why, to put’s head in; not to give it away to his daughters, and leave his horns without a case.

LEAR. I will forget my nature. So kind a father! Be my horses ready?

FOOL. Thy asses are gone about ’em. The reason why the seven stars are no more than seven is a pretty reason.

LEAR. Because they are not eight?

FOOL. Yes indeed: thou wouldst make a good fool.

LEAR. To tak’t again perforce!—Monster ingratitude!

FOOL. If thou wert my fool, nuncle, I’d have thee beaten for being old before thy time.

LEAR. How’s that?

FOOL. Thou shouldst not have been old till thou hadst been wise.

LEAR. O, let me not be mad, not mad, sweet heaven! Keep me in temper; I would not be mad!

Enter Gentleman.

How now? are the horses ready?

GENTLEMAN. Ready, my lord.

LEAR. Come, boy.

FOOL. She that’s a maid now, and laughs at my departure, Shall not be a maid long, unless things be cut shorter.

[Exeunt.]

Act II, Scene I — A court within the Castle of the Earl of Gloucester

Enter Edmund and Curan, meeting.

EDMUND. Save thee, Curan.

CURAN. And you, sir. I have been with your father, and given him notice that the Duke of Cornwall and Regan his Duchess will be here with him this night.

EDMUND. How comes that?

CURAN. Nay, I know not. You have heard of the news abroad; I mean the whispered ones, for they are yet but ear-kissing arguments?

EDMUND. Not I: pray you, what are they?

CURAN. Have you heard of no likely wars toward, ’twixt the two dukes of Cornwall and Albany?

EDMUND. Not a word.

CURAN. You may do, then, in time. Fare you well, sir.

[Exit.]

EDMUND. The Duke be here tonight? The better! best! This weaves itself perforce into my business. My father hath set guard to take my brother; And I have one thing, of a queasy question, Which I must act. Briefness and fortune work! Brother, a word, descend, brother, I say!

Enter Edgar.

My father watches: O sir, fly this place; Intelligence is given where you are hid; You have now the good advantage of the night. Have you not spoken ’gainst the Duke of Cornwall? He’s coming hither; now, i’ the night, i’ the haste, And Regan with him: have you nothing said Upon his party ’gainst the Duke of Albany? Advise yourself.

EDGAR. I am sure on’t, not a word.

EDMUND. I hear my father coming:—pardon me; In cunning I must draw my sword upon you: Draw: seem to defend yourself: now quit you well. Yield: come before my father. Light, ho, here! Fly, brother. Torches, torches!—So farewell.

[Exit Edgar.]

Some blood drawn on me would beget opinion Of my more fierce endeavour: [Wounds his arm.] I have seen drunkards Do more than this in sport. Father, father! Stop, stop! No help?

Enter Gloucester and Servants with torches.

GLOUCESTER. Now, Edmund, where’s the villain?

EDMUND. Here stood he in the dark, his sharp sword out, Mumbling of wicked charms, conjuring the moon To stand auspicious mistress.

GLOUCESTER. But where is he?

EDMUND. Look, sir, I bleed.

GLOUCESTER. Where is the villain, Edmund?

EDMUND. Fled this way, sir. When by no means he could,—

GLOUCESTER. Pursue him, ho! Go after.

[Exeunt Servants.]

—By no means what?

EDMUND. Persuade me to the murder of your lordship; But that I told him the revenging gods ’Gainst parricides did all their thunders bend; Spoke with how manifold and strong a bond The child was bound to the father; sir, in fine, Seeing how loathly opposite I stood To his unnatural purpose, in fell motion With his prepared sword, he charges home My unprovided body, latch’d mine arm; But when he saw my best alarum’d spirits, Bold in the quarrel’s right, rous’d to th’encounter, Or whether gasted by the noise I made, Full suddenly he fled.

GLOUCESTER. Let him fly far; Not in this land shall he remain uncaught; And found—dispatch’d. The noble Duke my master, My worthy arch and patron, comes tonight: By his authority I will proclaim it, That he which finds him shall deserve our thanks, Bringing the murderous coward to the stake; He that conceals him, death.

EDMUND. When I dissuaded him from his intent, And found him pight to do it, with curst speech I threaten’d to discover him: he replied, ‘Thou unpossessing bastard! dost thou think, If I would stand against thee, would the reposal Of any trust, virtue, or worth in thee Make thy words faith’d? No: what I should deny As this I would; ay, though thou didst produce My very character, I’d turn it all To thy suggestion, plot, and damned practice: And thou must make a dullard of the world, If they not thought the profits of my death Were very pregnant and potential spurs To make thee seek it.

GLOUCESTER. O strange and fast’ned villain! Would he deny his letter, said he? I never got him.

[Tucket within.]

Hark, the Duke’s trumpets! I know not why he comes. All ports I’ll bar; the villain shall not scape; The Duke must grant me that: besides, his picture I will send far and near, that all the kingdom May have due note of him; and of my land, Loyal and natural boy, I’ll work the means To make thee capable.

Enter Cornwall, Regan and Attendants.

CORNWALL. How now, my noble friend! since I came hither, Which I can call but now, I have heard strange news.

REGAN. If it be true, all vengeance comes too short Which can pursue th’offender. How dost, my lord?

GLOUCESTER. O madam, my old heart is crack’d, it’s crack’d!

REGAN. What, did my father’s godson seek your life? He whom my father nam’d? your Edgar?

GLOUCESTER. O lady, lady, shame would have it hid!

REGAN. Was he not companion with the riotous knights That tend upon my father?

GLOUCESTER. I know not, madam; ’tis too bad, too bad.

EDMUND. Yes, madam, he was of that consort.

REGAN. No marvel then though he were ill affected: ’Tis they have put him on the old man’s death, To have the expense and waste of his revenues. I have this present evening from my sister Been well inform’d of them; and with such cautions That if they come to sojourn at my house, I’ll not be there.

CORNWALL. Nor I, assure thee, Regan. Edmund, I hear that you have shown your father A childlike office.

EDMUND. It was my duty, sir.

GLOUCESTER. He did bewray his practice; and receiv’d This hurt you see, striving to apprehend him.

CORNWALL. Is he pursued?

GLOUCESTER. Ay, my good lord.

CORNWALL. If he be taken, he shall never more Be fear’d of doing harm: make your own purpose, How in my strength you please. For you, Edmund, Whose virtue and obedience doth this instant So much commend itself, you shall be ours: Natures of such deep trust we shall much need; You we first seize on.

EDMUND. I shall serve you, sir, truly, however else.

GLOUCESTER. For him I thank your grace.

CORNWALL. You know not why we came to visit you?

REGAN. Thus out of season, threading dark-ey’d night: Occasions, noble Gloucester, of some poise, Wherein we must have use of your advice. Our father he hath writ, so hath our sister, Of differences, which I best thought it fit To answer from our home; the several messengers From hence attend dispatch. Our good old friend, Lay comforts to your bosom; and bestow Your needful counsel to our business, Which craves the instant use.

GLOUCESTER. I serve you, madam: Your graces are right welcome.

[Exeunt. Flourish.]

Act II, Scene II — Before Gloucester’s Castle

Enter Kent and Oswald, severally.

OSWALD. Good dawning to thee, friend: art of this house?

KENT. Ay.

OSWALD. Where may we set our horses?

KENT. I’ the mire.

OSWALD. Prithee, if thou lov’st me, tell me.

KENT. I love thee not.

OSWALD. Why then, I care not for thee.

KENT. If I had thee in Lipsbury pinfold, I would make thee care for me.

OSWALD. Why dost thou use me thus? I know thee not.

KENT. Fellow, I know thee.

OSWALD. What dost thou know me for?

KENT. A knave; a rascal; an eater of broken meats; a base, proud, shallow, beggarly, three-suited, hundred-pound, filthy, worsted-stocking knave; a lily-livered, action-taking, whoreson, glass-gazing, super-serviceable, finical rogue; one trunk-inheriting slave; one that wouldst be a bawd in way of good service, and art nothing but the composition of a knave, beggar, coward, pander, and the son and heir of a mongrel bitch: one whom I will beat into clamorous whining, if thou deniest the least syllable of thy addition.

OSWALD. Why, what a monstrous fellow art thou, thus to rail on one that’s neither known of thee nor knows thee?

KENT. What a brazen-faced varlet art thou, to deny thou knowest me! Is it two days ago since I tripped up thy heels and beat thee before the King? Draw, you rogue: for, though it be night, yet the moon shines; I’ll make a sop o’ the moonshine of you: draw, you whoreson cullionly barber-monger, draw!

[Drawing his sword.]

OSWALD. Away! I have nothing to do with thee.

KENT. Draw, you rascal: you come with letters against the King; and take vanity the puppet’s part against the royalty of her father: draw, you rogue, or I’ll so carbonado your shanks:—draw, you rascal; come your ways!

OSWALD. Help, ho! murder! help!

KENT. Strike, you slave; stand, rogue, stand; you neat slave, strike!

[Beating him.]

OSWALD. Help, ho! murder! murder!

Enter Edmund, Cornwall, Regan, Gloucester and Servants.

EDMUND. How now! What’s the matter? Part!

KENT. With you, goodman boy, if you please: come, I’ll flesh ye; come on, young master.

GLOUCESTER. Weapons! arms! What’s the matter here?

CORNWALL. Keep peace, upon your lives, he dies that strikes again. What is the matter?

REGAN. The messengers from our sister and the King.

CORNWALL. What is your difference? Speak.

OSWALD. I am scarce in breath, my lord.

KENT. No marvel, you have so bestirr’d your valour. You cowardly rascal, nature disclaims in thee; a tailor made thee.

CORNWALL. Thou art a strange fellow: a tailor make a man?

KENT. Ay, a tailor, sir: a stonecutter or a painter could not have made him so ill, though he had been but two years at the trade.

CORNWALL. Speak yet, how grew your quarrel?

OSWALD. This ancient ruffian, sir, whose life I have spared at suit of his grey beard,—

KENT. Thou whoreson zed! thou unnecessary letter! My lord, if you’ll give me leave, I will tread this unbolted villain into mortar and daub the walls of a jakes with him. Spare my grey beard, you wagtail?

CORNWALL. Peace, sirrah! You beastly knave, know you no reverence?

KENT. Yes, sir; but anger hath a privilege.

CORNWALL. Why art thou angry?

KENT. That such a slave as this should wear a sword, Who wears no honesty. Such smiling rogues as these, Like rats, oft bite the holy cords a-twain Which are too intrince t’unloose; smooth every passion That in the natures of their lords rebel; Bring oil to fire, snow to their colder moods; Renege, affirm, and turn their halcyon beaks With every gale and vary of their masters, Knowing naught, like dogs, but following. A plague upon your epileptic visage! Smile you my speeches, as I were a fool? Goose, if I had you upon Sarum plain, I’d drive ye cackling home to Camelot.

CORNWALL. What, art thou mad, old fellow?

GLOUCESTER. How fell you out? Say that.

KENT. No contraries hold more antipathy Than I and such a knave.

CORNWALL. Why dost thou call him knave? What is his fault?

KENT. His countenance likes me not.

CORNWALL. No more perchance does mine, or his, or hers.

KENT. Sir, ’tis my occupation to be plain: I have seen better faces in my time Than stands on any shoulder that I see Before me at this instant.

CORNWALL. This is some fellow Who, having been prais’d for bluntness, doth affect A saucy roughness, and constrains the garb Quite from his nature: he cannot flatter, he, An honest mind and plain, he must speak truth! An they will take it, so; if not, he’s plain. These kind of knaves I know which in this plainness Harbour more craft and more corrupter ends Than twenty silly-ducking observants That stretch their duties nicely.

KENT. Sir, in good faith, in sincere verity, Under th’allowance of your great aspect, Whose influence, like the wreath of radiant fire On flickering Phoebus’ front,—

CORNWALL. What mean’st by this?

KENT. To go out of my dialect, which you discommend so much. I know, sir, I am no flatterer: he that beguiled you in a plain accent was a plain knave; which, for my part, I will not be, though I should win your displeasure to entreat me to’t.

CORNWALL. What was the offence you gave him?

OSWALD. I never gave him any: It pleas’d the King his master very late To strike at me, upon his misconstruction; When he, compact, and flattering his displeasure, Tripp’d me behind; being down, insulted, rail’d And put upon him such a deal of man, That worthied him, got praises of the King For him attempting who was self-subdu’d; And, in the fleshment of this dread exploit, Drew on me here again.

KENT. None of these rogues and cowards But Ajax is their fool.

CORNWALL. Fetch forth the stocks! You stubborn ancient knave, you reverent braggart, We’ll teach you.

KENT. Sir, I am too old to learn: Call not your stocks for me: I serve the King; On whose employment I was sent to you: You shall do small respect, show too bold malice Against the grace and person of my master, Stocking his messenger.

CORNWALL. Fetch forth the stocks! As I have life and honour, there shall he sit till noon.

REGAN. Till noon! Till night, my lord; and all night too!

KENT. Why, madam, if I were your father’s dog, You should not use me so.

REGAN. Sir, being his knave, I will.

[Stocks brought out.]

CORNWALL. This is a fellow of the selfsame colour Our sister speaks of. Come, bring away the stocks!

GLOUCESTER. Let me beseech your grace not to do so: His fault is much, and the good King his master Will check him for’t: your purpos’d low correction Is such as basest and contemned’st wretches For pilferings and most common trespasses, Are punish’d with. The King must take it ill That he, so slightly valued in his messenger, Should have him thus restrained.

CORNWALL. I’ll answer that.

REGAN. My sister may receive it much more worse, To have her gentleman abus’d, assaulted, For following her affairs. Put in his legs.

[Kent is put in the stocks.]

CORNWALL. Come, my good lord, away.

[Exeunt all but Gloucester and Kent.]

GLOUCESTER. I am sorry for thee, friend; ’tis the Duke’s pleasure, Whose disposition, all the world well knows, Will not be rubb’d nor stopp’d; I’ll entreat for thee.

KENT. Pray do not, sir: I have watch’d, and travell’d hard; Some time I shall sleep out, the rest I’ll whistle. A good man’s fortune may grow out at heels: Give you good morrow!

GLOUCESTER. The Duke’s to blame in this: ’twill be ill taken.

[Exit.]

KENT. Good King, that must approve the common saw, Thou out of heaven’s benediction com’st To the warm sun. Approach, thou beacon to this under globe, That by thy comfortable beams I may Peruse this letter. Nothing almost sees miracles But misery. I know ’tis from Cordelia, Who hath most fortunately been inform’d Of my obscured course. And shall find time From this enormous state, seeking to give Losses their remedies. All weary and o’erwatch’d, Take vantage, heavy eyes, not to behold This shameful lodging. Fortune, good night: smile once more, turn thy wheel!

[He sleeps.]

Act II, Scene III — The open Country

Enter Edgar.

EDGAR. I heard myself proclaim’d, And by the happy hollow of a tree Escap’d the hunt. No port is free, no place That guard and most unusual vigilance Does not attend my taking. While I may scape I will preserve myself: and am bethought To take the basest and most poorest shape That ever penury in contempt of man, Brought near to beast: my face I’ll grime with filth, Blanket my loins; elf all my hair in knots, And with presented nakedness outface The winds and persecutions of the sky. The country gives me proof and precedent Of Bedlam beggars, who, with roaring voices, Strike in their numb’d and mortified bare arms Pins, wooden pricks, nails, sprigs of rosemary; And with this horrible object, from low farms, Poor pelting villages, sheep-cotes, and mills, Sometime with lunatic bans, sometime with prayers, Enforce their charity. Poor Turlygod! poor Tom, That’s something yet: Edgar I nothing am.

[Exit.]

Act II, Scene IV — Before Gloucester’s Castle; Kent in the stocks

Enter Lear, Fool and Gentleman.

LEAR. ’Tis strange that they should so depart from home, And not send back my messenger.

GENTLEMAN. As I learn’d, The night before there was no purpose in them Of this remove.

KENT. Hail to thee, noble master!

LEAR. Ha! Mak’st thou this shame thy pastime?

KENT. No, my lord.

FOOL. Ha, ha! he wears cruel garters. Horses are tied by the heads; dogs and bears by the neck, monkeys by the loins, and men by the legs: when a man is overlusty at legs, then he wears wooden nether-stocks.

LEAR. What’s he that hath so much thy place mistook To set thee here?

KENT. It is both he and she, Your son and daughter.

LEAR. No.

KENT. Yes.

LEAR. No, I say.

KENT. I say, yea.

LEAR. No, no; they would not.

KENT. Yes, they have.

LEAR. By Jupiter, I swear no.

KENT. By Juno, I swear ay.

LEAR. They durst not do’t. They could not, would not do’t; ’tis worse than murder, To do upon respect such violent outrage: Resolve me, with all modest haste, which way Thou mightst deserve or they impose this usage, Coming from us.

KENT. My lord, when at their home I did commend your highness’ letters to them, Ere I was risen from the place that show’d My duty kneeling, came there a reeking post, Stew’d in his haste, half breathless, panting forth From Goneril his mistress salutations; Deliver’d letters, spite of intermission, Which presently they read; on those contents, They summon’d up their meiny, straight took horse; Commanded me to follow and attend The leisure of their answer; gave me cold looks: And meeting here the other messenger, Whose welcome I perceiv’d had poison’d mine, Being the very fellow which of late Display’d so saucily against your highness, Having more man than wit about me, drew; He rais’d the house with loud and coward cries. Your son and daughter found this trespass worth The shame which here it suffers.

FOOL. Winter’s not gone yet, if the wild geese fly that way. Fathers that wear rags Do make their children blind, But fathers that bear bags Shall see their children kind. Fortune, that arrant whore, Ne’er turns the key to th’ poor. But for all this, thou shalt have as many dolours for thy daughters as thou canst tell in a year.

LEAR. O, how this mother swells up toward my heart! Hysterica passio, down, thou climbing sorrow, Thy element’s below! Where is this daughter?

KENT. With the earl, sir, here within.

LEAR. Follow me not; stay here.

[Exit.]

GENTLEMAN. Made you no more offence but what you speak of?

KENT. None. How chance the King comes with so small a number?

FOOL. An thou hadst been set i’ the stocks for that question, thou hadst well deserved it.

KENT. Why, fool?

FOOL. We’ll set thee to school to an ant, to teach thee there’s no labouring i’the winter. All that follow their noses are led by their eyes but blind men; and there’s not a nose among twenty but can smell him that’s stinking. Let go thy hold when a great wheel runs down a hill, lest it break thy neck with following it; but the great one that goes upward, let him draw thee after. When a wise man gives thee better counsel, give me mine again: I would have none but knaves follow it, since a fool gives it. That sir which serves and seeks for gain, And follows but for form, Will pack when it begins to rain, And leave thee in the storm. But I will tarry; the fool will stay, And let the wise man fly: The knave turns fool that runs away; The fool no knave perdy.

KENT. Where learn’d you this, fool?

FOOL. Not i’ the stocks, fool.

Enter Lear and Gloucester.

LEAR. Deny to speak with me? They are sick? they are weary? They have travell’d all the night? Mere fetches; The images of revolt and flying off. Fetch me a better answer.

GLOUCESTER. My dear lord, You know the fiery quality of the Duke; How unremovable and fix’d he is In his own course.

LEAR. Vengeance! plague! death! confusion! Fiery? What quality? Why, Gloucester, Gloucester, I’d speak with the Duke of Cornwall and his wife.

GLOUCESTER. Well, my good lord, I have inform’d them so.

LEAR. Inform’d them! Dost thou understand me, man?

GLOUCESTER. Ay, my good lord.

LEAR. The King would speak with Cornwall; the dear father Would with his daughter speak, commands, tends, service, Are they inform’d of this? My breath and blood! Fiery? The fiery Duke, tell the hot Duke that— No, but not yet: maybe he is not well: Infirmity doth still neglect all office Whereto our health is bound: we are not ourselves When nature, being oppress’d, commands the mind To suffer with the body: I’ll forbear; And am fallen out with my more headier will, To take the indispos’d and sickly fit For the sound man. [Looking on Kent.] Death on my state! Wherefore Should he sit here? This act persuades me That this remotion of the Duke and her Is practice only. Give me my servant forth. Go tell the Duke and’s wife I’d speak with them, Now, presently: bid them come forth and hear me, Or at their chamber door I’ll beat the drum Till it cry sleep to death.

GLOUCESTER. I would have all well betwixt you.

[Exit.]

LEAR. O me, my heart, my rising heart! But down!

FOOL. Cry to it, nuncle, as the cockney did to the eels when she put ’em i’ the paste alive; she knapped ’em o’ the coxcombs with a stick and cried ‘Down, wantons, down!’ ’Twas her brother that, in pure kindness to his horse buttered his hay.

Enter Cornwall, Regan, Gloucester and Servants.

LEAR. Good morrow to you both.

CORNWALL. Hail to your grace!

[Kent here set at liberty.]

REGAN. I am glad to see your highness.

LEAR. Regan, I think you are; I know what reason I have to think so: if thou shouldst not be glad, I would divorce me from thy mother’s tomb, Sepulchring an adultress. [To Kent] O, are you free? Some other time for that.—Beloved Regan, Thy sister’s naught: O Regan, she hath tied Sharp-tooth’d unkindness, like a vulture, here.

[Points to his heart.]

I can scarce speak to thee; thou’lt not believe With how deprav’d a quality—O Regan!

REGAN. I pray you, sir, take patience. I have hope You less know how to value her desert Than she to scant her duty.

LEAR. Say, how is that?

REGAN. I cannot think my sister in the least Would fail her obligation. If, sir, perchance She have restrain’d the riots of your followers, ’Tis on such ground, and to such wholesome end, As clears her from all blame.

LEAR. My curses on her.

REGAN. O, sir, you are old; Nature in you stands on the very verge Of her confine: you should be rul’d and led By some discretion, that discerns your state Better than you yourself. Therefore I pray you, That to our sister you do make return; Say you have wrong’d her, sir.

LEAR. Ask her forgiveness? Do you but mark how this becomes the house? ‘Dear daughter, I confess that I am old; [Kneeling.] Age is unnecessary: on my knees I beg That you’ll vouchsafe me raiment, bed, and food.’

REGAN. Good sir, no more! These are unsightly tricks: Return you to my sister.

LEAR. [Rising.] Never, Regan: She hath abated me of half my train; Look’d black upon me; struck me with her tongue, Most serpent-like, upon the very heart. All the stor’d vengeances of heaven fall On her ingrateful top! Strike her young bones, You taking airs, with lameness!

CORNWALL. Fie, sir, fie!

LEAR. You nimble lightnings, dart your blinding flames Into her scornful eyes! Infect her beauty, You fen-suck’d fogs, drawn by the powerful sun, To fall and blast her pride!

REGAN. O the blest gods! So will you wish on me when the rash mood is on.

LEAR. No, Regan, thou shalt never have my curse. Thy tender-hefted nature shall not give Thee o’er to harshness. Her eyes are fierce; but thine Do comfort, and not burn. ’Tis not in thee To grudge my pleasures, to cut off my train, To bandy hasty words, to scant my sizes, And, in conclusion, to oppose the bolt Against my coming in. Thou better know’st The offices of nature, bond of childhood, Effects of courtesy, dues of gratitude; Thy half o’ the kingdom hast thou not forgot, Wherein I thee endow’d.

REGAN. Good sir, to the purpose.

LEAR. Who put my man i’ the stocks?

[Tucket within.]

CORNWALL. What trumpet’s that?

REGAN. I know’t, my sister’s: this approves her letter, That she would soon be here.

Enter Oswald.

Is your lady come?

LEAR. This is a slave, whose easy borrowed pride Dwells in the fickle grace of her he follows. Out, varlet, from my sight!

CORNWALL. What means your grace?

LEAR. Who stock’d my servant? Regan, I have good hope Thou didst not know on’t. Who comes here? O heavens!

Enter Goneril.

If you do love old men, if your sweet sway Allow obedience, if yourselves are old, Make it your cause; send down, and take my part! [To Goneril.] Art not asham’d to look upon this beard? O Regan, wilt thou take her by the hand?

GONERIL. Why not by the hand, sir? How have I offended? All’s not offence that indiscretion finds And dotage terms so.

LEAR. O sides, you are too tough! Will you yet hold? How came my man i’ the stocks?

CORNWALL. I set him there, sir: but his own disorders Deserv’d much less advancement.

LEAR. You? Did you?

REGAN. I pray you, father, being weak, seem so. If, till the expiration of your month, You will return and sojourn with my sister, Dismissing half your train, come then to me: I am now from home, and out of that provision Which shall be needful for your entertainment.

LEAR. Return to her, and fifty men dismiss’d? No, rather I abjure all roofs, and choose To wage against the enmity o’ the air; To be a comrade with the wolf and owl, Necessity’s sharp pinch! Return with her? Why, the hot-blooded France, that dowerless took Our youngest born, I could as well be brought To knee his throne, and, squire-like, pension beg To keep base life afoot. Return with her? Persuade me rather to be slave and sumpter To this detested groom.

[Pointing to Oswald.]

GONERIL. At your choice, sir.

LEAR. I prithee, daughter, do not make me mad: I will not trouble thee, my child; farewell: We’ll no more meet, no more see one another. But yet thou art my flesh, my blood, my daughter; Or rather a disease that’s in my flesh, Which I must needs call mine. Thou art a boil, A plague sore, or embossed carbuncle In my corrupted blood. But I’ll not chide thee; Let shame come when it will, I do not call it: I do not bid the thunder-bearer shoot, Nor tell tales of thee to high-judging Jove: Mend when thou canst; be better at thy leisure: I can be patient; I can stay with Regan, I and my hundred knights.

REGAN. Not altogether so, I look’d not for you yet, nor am provided For your fit welcome. Give ear, sir, to my sister; For those that mingle reason with your passion Must be content to think you old, and so— But she knows what she does.

LEAR. Is this well spoken?

REGAN. I dare avouch it, sir: what, fifty followers? Is it not well? What should you need of more? Yea, or so many, sith that both charge and danger Speak ’gainst so great a number? How in one house Should many people, under two commands, Hold amity? ’Tis hard; almost impossible.

GONERIL. Why might not you, my lord, receive attendance From those that she calls servants, or from mine?

REGAN. Why not, my lord? If then they chanc’d to slack ye, We could control them. If you will come to me,— For now I spy a danger,—I entreat you To bring but five-and-twenty: to no more Will I give place or notice.

LEAR. I gave you all,—

REGAN. And in good time you gave it.

LEAR. Made you my guardians, my depositaries; But kept a reservation to be followed With such a number. What, must I come to you With five-and-twenty, Regan, said you so?

REGAN. And speak’t again my lord; no more with me.

LEAR. Those wicked creatures yet do look well-favour’d When others are more wicked; not being the worst Stands in some rank of praise. [To Goneril.] I’ll go with thee: Thy fifty yet doth double five-and-twenty, And thou art twice her love.

GONERIL. Hear me, my lord: What need you five-and-twenty? Ten? Or five? To follow in a house where twice so many Have a command to tend you?

REGAN. What need one?

LEAR. O, reason not the need: our basest beggars Are in the poorest thing superfluous: Allow not nature more than nature needs, Man’s life is cheap as beast’s. Thou art a lady; If only to go warm were gorgeous, Why, nature needs not what thou gorgeous wear’st Which scarcely keeps thee warm. But, for true need,— You heavens, give me that patience, patience I need! You see me here, you gods, a poor old man, As full of grief as age; wretched in both! If it be you that stirs these daughters’ hearts Against their father, fool me not so much To bear it tamely; touch me with noble anger, And let not women’s weapons, water-drops, Stain my man’s cheeks! No, you unnatural hags, I will have such revenges on you both That all the world shall,—I will do such things,— What they are yet, I know not; but they shall be The terrors of the earth. You think I’ll weep; No, I’ll not weep:— [Storm and tempest.] I have full cause of weeping; but this heart Shall break into a hundred thousand flaws Or ere I’ll weep.—O fool, I shall go mad!

[Exeunt Lear, Gloucester, Kent and Fool.]

CORNWALL. Let us withdraw; ’twill be a storm.

REGAN. This house is little: the old man and his people Cannot be well bestow’d.

GONERIL. ’Tis his own blame; hath put himself from rest And must needs taste his folly.

REGAN. For his particular, I’ll receive him gladly, But not one follower.

GONERIL. So am I purpos’d. Where is my lord of Gloucester?

Enter Gloucester.

CORNWALL. Followed the old man forth, he is return’d.

GLOUCESTER. The King is in high rage.

CORNWALL. Whither is he going?

GLOUCESTER. He calls to horse; but will I know not whither.

CORNWALL. ’Tis best to give him way; he leads himself.

GONERIL. My lord, entreat him by no means to stay.

GLOUCESTER. Alack, the night comes on, and the high winds Do sorely ruffle; for many miles about There’s scarce a bush.

REGAN. O, sir, to wilful men The injuries that they themselves procure Must be their schoolmasters. Shut up your doors. He is attended with a desperate train, And what they may incense him to, being apt To have his ear abus’d, wisdom bids fear.

CORNWALL. Shut up your doors, my lord; ’tis a wild night. My Regan counsels well: come out o’ the storm.

[Exeunt.]

Act III, Scene I — A Heath

A storm with thunder and lightning. Enter Kent and a Gentleman, severally.

KENT. Who’s there, besides foul weather?

GENTLEMAN. One minded like the weather, most unquietly.

KENT. I know you. Where’s the King?

GENTLEMAN. Contending with the fretful elements; Bids the wind blow the earth into the sea, Or swell the curled waters ’bove the main, That things might change or cease; tears his white hair, Which the impetuous blasts with eyeless rage, Catch in their fury and make nothing of; Strives in his little world of man to outscorn The to-and-fro-conflicting wind and rain. This night, wherein the cub-drawn bear would couch, The lion and the belly-pinched wolf Keep their fur dry, unbonneted he runs, And bids what will take all.

KENT. But who is with him?

GENTLEMAN. None but the fool, who labours to out-jest His heart-struck injuries.

KENT. Sir, I do know you; And dare, upon the warrant of my note Commend a dear thing to you. There is division, Although as yet the face of it be cover’d With mutual cunning, ’twixt Albany and Cornwall; Who have, as who have not, that their great stars Throne’d and set high; servants, who seem no less, Which are to France the spies and speculations Intelligent of our state. What hath been seen, Either in snuffs and packings of the Dukes; Or the hard rein which both of them have borne Against the old kind King; or something deeper, Whereof, perchance, these are but furnishings;— But, true it is, from France there comes a power Into this scatter’d kingdom; who already, Wise in our negligence, have secret feet In some of our best ports, and are at point To show their open banner.—Now to you: If on my credit you dare build so far To make your speed to Dover, you shall find Some that will thank you making just report Of how unnatural and bemadding sorrow The King hath cause to plain. I am a gentleman of blood and breeding; And from some knowledge and assurance Offer this office to you.

GENTLEMAN. I will talk further with you.

KENT. No, do not. For confirmation that I am much more Than my out-wall, open this purse, and take What it contains. If you shall see Cordelia, As fear not but you shall, show her this ring; And she will tell you who your fellow is That yet you do not know. Fie on this storm! I will go seek the King.

GENTLEMAN. Give me your hand: have you no more to say?

KENT. Few words, but, to effect, more than all yet: That, when we have found the King, in which your pain That way, I’ll this; he that first lights on him Holla the other.

[Exeunt.]

Act III, Scene II — Another part of the heath

Storm continues. Enter Lear and Fool.

LEAR. Blow, winds, and crack your cheeks! Rage! blow! You cataracts and hurricanoes, spout Till you have drench’d our steeples, drown’d the cocks! You sulphurous and thought-executing fires, Vaunt-couriers to oak-cleaving thunderbolts, Singe my white head! And thou, all-shaking thunder, Strike flat the thick rotundity o’ the world! Crack nature’s moulds, all germens spill at once, That make ingrateful man!

FOOL. O nuncle, court holy-water in a dry house is better than this rain-water out o’ door. Good nuncle, in; and ask thy daughters blessing: here’s a night pities neither wise men nor fools.

LEAR. Rumble thy bellyful! Spit, fire! spout, rain! Nor rain, wind, thunder, fire are my daughters; I tax not you, you elements, with unkindness. I never gave you kingdom, call’d you children; You owe me no subscription: then let fall Your horrible pleasure. Here I stand your slave, A poor, infirm, weak, and despis’d old man: But yet I call you servile ministers, That will with two pernicious daughters join Your high-engender’d battles ’gainst a head So old and white as this! O! O! ’tis foul!

FOOL. He that has a house to put’s head in has a good head-piece. The codpiece that will house Before the head has any, The head and he shall louse: So beggars marry many. The man that makes his toe What he his heart should make Shall of a corn cry woe, And turn his sleep to wake. For there was never yet fair woman but she made mouths in a glass.

LEAR. No, I will be the pattern of all patience; I will say nothing.

Enter Kent.

KENT. Who’s there?

FOOL. Marry, here’s grace and a codpiece; that’s a wise man and a fool.

KENT. Alas, sir, are you here? Things that love night Love not such nights as these; the wrathful skies Gallow the very wanderers of the dark, And make them keep their caves. Since I was man, Such sheets of fire, such bursts of horrid thunder, Such groans of roaring wind and rain I never Remember to have heard. Man’s nature cannot carry Th’affliction, nor the fear.

LEAR. Let the great gods, That keep this dreadful pudder o’er our heads, Find out their enemies now. Tremble, thou wretch, That hast within thee undivulged crimes Unwhipp’d of justice. Hide thee, thou bloody hand; Thou perjur’d, and thou simular of virtue That art incestuous. Caitiff, to pieces shake That under covert and convenient seeming Hast practis’d on man’s life: close pent-up guilts, Rive your concealing continents, and cry These dreadful summoners grace. I am a man More sinn’d against than sinning.

KENT. Alack, bareheaded! Gracious my lord, hard by here is a hovel; Some friendship will it lend you ’gainst the tempest: Repose you there, whilst I to this hard house,— More harder than the stones whereof ’tis rais’d; Which even but now, demanding after you, Denied me to come in,—return, and force Their scanted courtesy.

LEAR. My wits begin to turn. Come on, my boy. How dost, my boy? Art cold? I am cold myself. Where is this straw, my fellow? The art of our necessities is strange, That can make vile things precious. Come, your hovel. Poor fool and knave, I have one part in my heart That’s sorry yet for thee.

FOOL. [Singing.] He that has and a little tiny wit, With heigh-ho, the wind and the rain, Must make content with his fortunes fit, Though the rain it raineth every day.

LEAR. True, boy. Come, bring us to this hovel.

[Exeunt Lear and Kent.]

FOOL. This is a brave night to cool a courtezan. I’ll speak a prophecy ere I go: When priests are more in word than matter; When brewers mar their malt with water; When nobles are their tailors’ tutors; No heretics burn’d, but wenches’ suitors; When every case in law is right; No squire in debt, nor no poor knight; When slanders do not live in tongues; Nor cut-purses come not to throngs; When usurers tell their gold i’ the field; And bawds and whores do churches build, Then shall the realm of Albion Come to great confusion: Then comes the time, who lives to see’t, That going shall be us’d with feet. This prophecy Merlin shall make; for I live before his time.

[Exit.]

Act III, Scene III — A Room in Gloucester’s Castle

Enter Gloucester and Edmund.

GLOUCESTER. Alack, alack, Edmund, I like not this unnatural dealing. When I desired their leave that I might pity him, they took from me the use of mine own house; charged me on pain of perpetual displeasure, neither to speak of him, entreat for him, or any way sustain him.

EDMUND. Most savage and unnatural!

GLOUCESTER. Go to; say you nothing. There is division between the Dukes, and a worse matter than that: I have received a letter this night;—’tis dangerous to be spoken;—I have locked the letter in my closet: these injuries the King now bears will be revenged home; there’s part of a power already footed: we must incline to the King. I will look him, and privily relieve him: go you and maintain talk with the Duke, that my charity be not of him perceived: if he ask for me, I am ill, and gone to bed. If I die for it, as no less is threatened me, the King my old master must be relieved. There is some strange thing toward, Edmund; pray you be careful.

[Exit.]

EDMUND. This courtesy, forbid thee, shall the Duke Instantly know; and of that letter too. This seems a fair deserving, and must draw me That which my father loses, no less than all: The younger rises when the old doth fall.

[Exit.]

Act III, Scene IV — A part of the Heath with a Hovel

Storm continues. Enter Lear, Kent and Fool.

KENT. Here is the place, my lord; good my lord, enter: The tyranny of the open night’s too rough For nature to endure.

LEAR. Let me alone.

KENT. Good my lord, enter here.

LEAR. Wilt break my heart?

KENT. I had rather break mine own. Good my lord, enter.

LEAR. Thou think’st ’tis much that this contentious storm Invades us to the skin: so ’tis to thee, But where the greater malady is fix’d, The lesser is scarce felt. Thou’dst shun a bear; But if thy flight lay toward the raging sea, Thou’dst meet the bear i’ the mouth. When the mind’s free, The body’s delicate: the tempest in my mind Doth from my senses take all feeling else Save what beats there. Filial ingratitude! Is it not as this mouth should tear this hand For lifting food to’t? But I will punish home; No, I will weep no more. In such a night To shut me out! Pour on; I will endure: In such a night as this! O Regan, Goneril! Your old kind father, whose frank heart gave all, O, that way madness lies; let me shun that; No more of that.

KENT. Good my lord, enter here.

LEAR. Prithee go in thyself; seek thine own ease: This tempest will not give me leave to ponder On things would hurt me more. But I’ll go in. [To the Fool.] In, boy; go first. You houseless poverty, Nay, get thee in. I’ll pray, and then I’ll sleep.

[Fool goes in.]

Poor naked wretches, wheresoe’er you are, That bide the pelting of this pitiless storm, How shall your houseless heads and unfed sides, Your loop’d and window’d raggedness, defend you From seasons such as these? O, I have ta’en Too little care of this! Take physic, pomp; Expose thyself to feel what wretches feel, That thou mayst shake the superflux to them And show the heavens more just.

EDGAR. [Within.] Fathom and half, fathom and half! Poor Tom!

[The Fool runs out from the hovel.]

FOOL. Come not in here, nuncle, here’s a spirit. Help me, help me!

KENT. Give me thy hand. Who’s there?

FOOL. A spirit, a spirit: he says his name’s poor Tom.

KENT. What art thou that dost grumble there i’ the straw? Come forth.

Enter Edgar, disguised as a madman.

EDGAR. Away! the foul fiend follows me! Through the sharp hawthorn blows the cold wind. Humh! go to thy cold bed, and warm thee.

LEAR. Didst thou give all to thy two daughters? And art thou come to this?

EDGAR. Who gives anything to poor Tom? Whom the foul fiend hath led through fire and through flame, through ford and whirlpool, o’er bog and quagmire; that hath laid knives under his pillow and halters in his pew, set ratsbane by his porridge; made him proud of heart, to ride on a bay trotting horse over four-inched bridges, to course his own shadow for a traitor. Bless thy five wits! Tom’s a-cold. O, do, de, do, de, do, de. Bless thee from whirlwinds, star-blasting, and taking! Do poor Tom some charity, whom the foul fiend vexes. There could I have him now, and there,—and there again, and there.

[Storm continues.]

LEAR. What, have his daughters brought him to this pass? Couldst thou save nothing? Didst thou give ’em all?

FOOL. Nay, he reserv’d a blanket, else we had been all shamed.

LEAR. Now all the plagues that in the pendulous air Hang fated o’er men’s faults light on thy daughters!

KENT. He hath no daughters, sir.

LEAR. Death, traitor! nothing could have subdu’d nature To such a lowness but his unkind daughters. Is it the fashion that discarded fathers Should have thus little mercy on their flesh? Judicious punishment! ’twas this flesh begot Those pelican daughters.

EDGAR. Pillicock sat on Pillicock hill, Alow, alow, loo loo!

FOOL. This cold night will turn us all to fools and madmen.

EDGAR. Take heed o’ th’ foul fiend: obey thy parents; keep thy word justly; swear not; commit not with man’s sworn spouse; set not thy sweet-heart on proud array. Tom’s a-cold.

LEAR. What hast thou been?

EDGAR. A serving-man, proud in heart and mind; that curled my hair; wore gloves in my cap; served the lust of my mistress’ heart, and did the act of darkness with her; swore as many oaths as I spake words, and broke them in the sweet face of heaven. One that slept in the contriving of lust, and waked to do it. Wine loved I deeply, dice dearly; and in woman out-paramour’d the Turk. False of heart, light of ear, bloody of hand; hog in sloth, fox in stealth, wolf in greediness, dog in madness, lion in prey. Let not the creaking of shoes nor the rustling of silks betray thy poor heart to woman. Keep thy foot out of brothels, thy hand out of plackets, thy pen from lender’s book, and defy the foul fiend. Still through the hawthorn blows the cold wind: says suum, mun, nonny. Dolphin my boy, boy, sessa! let him trot by.

[Storm still continues.]

LEAR. Why, thou wert better in thy grave than to answer with thy uncovered body this extremity of the skies. Is man no more than this? Consider him well. Thou owest the worm no silk, the beast no hide, the sheep no wool, the cat no perfume. Ha! here’s three on’s are sophisticated! Thou art the thing itself: unaccommodated man is no more but such a poor, bare, forked animal as thou art. Off, off, you lendings! Come, unbutton here.

[Tears off his clothes.]

FOOL. Prithee, nuncle, be contented; ’tis a naughty night to swim in. Now a little fire in a wild field were like an old lecher’s heart, a small spark, all the rest on’s body cold. Look, here comes a walking fire.

EDGAR. This is the foul fiend Flibbertigibbet: he begins at curfew, and walks till the first cock; he gives the web and the pin, squints the eye, and makes the harelip; mildews the white wheat, and hurts the poor creature of earth. Swithold footed thrice the old; He met the nightmare, and her nine-fold; Bid her alight and her troth plight, And aroint thee, witch, aroint thee!

KENT. How fares your grace?

Enter Gloucester with a torch.

LEAR. What’s he?

KENT. Who’s there? What is’t you seek?

GLOUCESTER. What are you there? Your names?

EDGAR. Poor Tom; that eats the swimming frog, the toad, the todpole, the wall-newt and the water; that in the fury of his heart, when the foul fiend rages, eats cow-dung for sallets; swallows the old rat and the ditch-dog; drinks the green mantle of the standing pool; who is whipped from tithing to tithing, and stocked, punished, and imprisoned; who hath had three suits to his back, six shirts to his body, Horse to ride, and weapon to wear. But mice and rats and such small deer, Have been Tom’s food for seven long year. Beware my follower. Peace, Smulkin; peace, thou fiend!

GLOUCESTER. What, hath your grace no better company?

EDGAR. The prince of darkness is a gentleman: Modo he’s call’d, and Mahu.

GLOUCESTER. Our flesh and blood, my lord, is grown so vile That it doth hate what gets it.

EDGAR. Poor Tom’s a-cold.

GLOUCESTER. Go in with me: my duty cannot suffer T’obey in all your daughters’ hard commands; Though their injunction be to bar my doors, And let this tyrannous night take hold upon you, Yet have I ventur’d to come seek you out, And bring you where both fire and food is ready.

LEAR. First let me talk with this philosopher. What is the cause of thunder?

KENT. Good my lord, take his offer; go into the house.

LEAR. I’ll talk a word with this same learned Theban. What is your study?

EDGAR. How to prevent the fiend and to kill vermin.

LEAR. Let me ask you one word in private.

KENT. Importune him once more to go, my lord; His wits begin t’unsettle.

GLOUCESTER. Canst thou blame him? His daughters seek his death. Ah, that good Kent! He said it would be thus, poor banish’d man! Thou sayest the King grows mad; I’ll tell thee, friend, I am almost mad myself. I had a son, Now outlaw’d from my blood; he sought my life But lately, very late: I lov’d him, friend, No father his son dearer: true to tell thee,

[Storm continues.]

The grief hath craz’d my wits. What a night’s this! I do beseech your grace.

LEAR. O, cry you mercy, sir. Noble philosopher, your company.

EDGAR. Tom’s a-cold.

GLOUCESTER. In, fellow, there, into the hovel; keep thee warm.

LEAR. Come, let’s in all.

KENT. This way, my lord.

LEAR. With him; I will keep still with my philosopher.

KENT. Good my lord, soothe him; let him take the fellow.

GLOUCESTER. Take him you on.

KENT. Sirrah, come on; go along with us.

LEAR. Come, good Athenian.

GLOUCESTER. No words, no words, hush.

EDGAR. Child Rowland to the dark tower came, His word was still—Fie, foh, and fum, I smell the blood of a British man.

[Exeunt.]

Act III, Scene V — A Room in Gloucester’s Castle

Enter Cornwall and Edmund.

CORNWALL. I will have my revenge ere I depart his house.

EDMUND. How, my lord, I may be censured, that nature thus gives way to loyalty, something fears me to think of.

CORNWALL. I now perceive it was not altogether your brother’s evil disposition made him seek his death; but a provoking merit, set a-work by a reproveable badness in himself.

EDMUND. How malicious is my fortune, that I must repent to be just! This is the letter he spoke of, which approves him an intelligent party to the advantages of France. O heavens! that this treason were not; or not I the detector!

CORNWALL. Go with me to the Duchess.

EDMUND. If the matter of this paper be certain, you have mighty business in hand.

CORNWALL. True or false, it hath made thee Earl of Gloucester. Seek out where thy father is, that he may be ready for our apprehension.

EDMUND. [Aside.] If I find him comforting the King, it will stuff his suspicion more fully. I will persever in my course of loyalty, though the conflict be sore between that and my blood.

CORNWALL. I will lay trust upon thee; and thou shalt find a dearer father in my love.

[Exeunt.]

Act III, Scene VI — A Chamber in a Farmhouse adjoining the Castle

Enter Gloucester, Lear, Kent, Fool and Edgar.

GLOUCESTER. Here is better than the open air; take it thankfully. I will piece out the comfort with what addition I can: I will not be long from you.

KENT. All the power of his wits have given way to his impatience:— the gods reward your kindness!

[Exit Gloucester.]

EDGAR. Frateretto calls me; and tells me Nero is an angler in the lake of darkness. Pray, innocent, and beware the foul fiend.

FOOL. Prithee, nuncle, tell me whether a madman be a gentleman or a yeoman.

LEAR. A king, a king!

FOOL. No, he’s a yeoman that has a gentleman to his son; for he’s a mad yeoman that sees his son a gentleman before him.

LEAR. To have a thousand with red burning spits Come hissing in upon ’em.

EDGAR. The foul fiend bites my back.

FOOL. He’s mad that trusts in the tameness of a wolf, a horse’s health, a boy’s love, or a whore’s oath.

LEAR. It shall be done; I will arraign them straight. [To Edgar.] Come, sit thou here, most learned justicer; [To the Fool.] Thou, sapient sir, sit here. Now, you she-foxes!—

EDGAR. Look, where he stands and glares! Want’st thou eyes at trial, madam? Come o’er the bourn, Bessy, to me.

FOOL. Her boat hath a leak, And she must not speak Why she dares not come over to thee.

EDGAR. The foul fiend haunts poor Tom in the voice of a nightingale. Hoppedance cries in Tom’s belly for two white herring. Croak not, black angel; I have no food for thee.

KENT. How do you, sir? Stand you not so amaz’d; Will you lie down and rest upon the cushions?

LEAR. I’ll see their trial first. Bring in their evidence. [To Edgar.] Thou, robed man of justice, take thy place. [To the Fool.] And thou, his yokefellow of equity, Bench by his side. [To Kent.] You are o’ the commission, Sit you too.

EDGAR. Let us deal justly. Sleepest or wakest thou, jolly shepherd? Thy sheep be in the corn; And for one blast of thy minikin mouth Thy sheep shall take no harm. Purr! the cat is grey.

LEAR. Arraign her first; ’tis Goneril. I here take my oath before this honourable assembly, she kicked the poor King her father.

FOOL. Come hither, mistress. Is your name Goneril?

LEAR. She cannot deny it.

FOOL. Cry you mercy, I took you for a joint-stool.

LEAR. And here’s another, whose warp’d looks proclaim What store her heart is made on. Stop her there! Arms, arms! sword! fire! Corruption in the place! False justicer, why hast thou let her ’scape?

EDGAR. Bless thy five wits!

KENT. O pity! Sir, where is the patience now That you so oft have boasted to retain?

EDGAR. [Aside.] My tears begin to take his part so much They mar my counterfeiting.

LEAR. The little dogs and all, Trey, Blanch, and Sweetheart, see, they bark at me.

EDGAR. Tom will throw his head at them. Avaunt, you curs! Be thy mouth or black or white, Tooth that poisons if it bite; Mastiff, greyhound, mongrel grim, Hound or spaniel, brach or him, Or bobtail tike or trundle-tail, Tom will make them weep and wail; For, with throwing thus my head, Dogs leap the hatch, and all are fled. Do, de, de, de. Sessa! Come, march to wakes and fairs and market towns. Poor Tom, thy horn is dry.

LEAR. Then let them anatomize Regan; see what breeds about her heart. Is there any cause in nature that makes these hard hearts? [To Edgar.] You, sir, I entertain you for one of my hundred; only I do not like the fashion of your garments. You’ll say they are Persian; but let them be changed.

KENT. Now, good my lord, lie here and rest awhile.

LEAR. Make no noise, make no noise; draw the curtains. So, so. We’ll go to supper i’ the morning.

FOOL. And I’ll go to bed at noon.

Enter Gloucester.

GLOUCESTER. Come hither, friend; Where is the King my master?

KENT. Here, sir; but trouble him not, his wits are gone.

GLOUCESTER. Good friend, I prithee, take him in thy arms; I have o’erheard a plot of death upon him; There is a litter ready; lay him in’t And drive towards Dover, friend, where thou shalt meet Both welcome and protection. Take up thy master; If thou shouldst dally half an hour, his life, With thine, and all that offer to defend him, Stand in assured loss. Take up, take up; And follow me, that will to some provision Give thee quick conduct.

KENT. Oppressed nature sleeps. This rest might yet have balm’d thy broken sinews, Which, if convenience will not allow, Stand in hard cure. Come, help to bear thy master; [To the Fool.] Thou must not stay behind.

GLOUCESTER. Come, come, away!

[Exeunt Kent, Gloucester and the Fool bearing off Lear.]

EDGAR. When we our betters see bearing our woes, We scarcely think our miseries our foes. Who alone suffers, suffers most i’ the mind, Leaving free things and happy shows behind: But then the mind much sufferance doth o’erskip When grief hath mates, and bearing fellowship. How light and portable my pain seems now, When that which makes me bend makes the King bow; He childed as I fathered! Tom, away! Mark the high noises; and thyself bewray, When false opinion, whose wrong thoughts defile thee, In thy just proof repeals and reconciles thee. What will hap more tonight, safe ’scape the King! Lurk, lurk.

[Exit.]