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

Part 28 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 III, Scene VII — A Room in Gloucester’s Castle

Enter Cornwall, Regan, Goneril, Edmund and Servants.

CORNWALL. Post speedily to my lord your husband, show him this letter: the army of France is landed. Seek out the traitor Gloucester.

[Exeunt some of the Servants.]

REGAN. Hang him instantly.

GONERIL. Pluck out his eyes.

CORNWALL. Leave him to my displeasure. Edmund, keep you our sister company: the revenges we are bound to take upon your traitorous father are not fit for your beholding. Advise the Duke where you are going, to a most festinate preparation: we are bound to the like. Our posts shall be swift and intelligent betwixt us. Farewell, dear sister, farewell, my lord of Gloucester.

Enter Oswald.

How now! Where’s the King?

OSWALD. My lord of Gloucester hath convey’d him hence: Some five or six and thirty of his knights, Hot questrists after him, met him at gate; Who, with some other of the lord’s dependants, Are gone with him toward Dover: where they boast To have well-armed friends.

CORNWALL. Get horses for your mistress.

GONERIL. Farewell, sweet lord, and sister.

CORNWALL. Edmund, farewell.

[Exeunt Goneril, Edmund and Oswald.]

Go seek the traitor Gloucester, Pinion him like a thief, bring him before us.

[Exeunt other Servants.]

Though well we may not pass upon his life Without the form of justice, yet our power Shall do a courtesy to our wrath, which men May blame, but not control. Who’s there? The traitor?

Enter Gloucester and Servants.

REGAN. Ingrateful fox! ’tis he.

CORNWALL. Bind fast his corky arms.

GLOUCESTER. What mean your graces? Good my friends, consider you are my guests. Do me no foul play, friends.

CORNWALL. Bind him, I say.

[Servants bind him.]

REGAN. Hard, hard. O filthy traitor!

GLOUCESTER. Unmerciful lady as you are, I’m none.

CORNWALL. To this chair bind him. Villain, thou shalt find—

[Regan plucks his beard.]

GLOUCESTER. By the kind gods, ’tis most ignobly done To pluck me by the beard.

REGAN. So white, and such a traitor!

GLOUCESTER. Naughty lady, These hairs which thou dost ravish from my chin Will quicken, and accuse thee. I am your host: With robber’s hands my hospitable favours You should not ruffle thus. What will you do?

CORNWALL. Come, sir, what letters had you late from France?

REGAN. Be simple answer’d, for we know the truth.

CORNWALL. And what confederacy have you with the traitors, Late footed in the kingdom?

REGAN. To whose hands have you sent the lunatic King? Speak.

GLOUCESTER. I have a letter guessingly set down, Which came from one that’s of a neutral heart, And not from one oppos’d.

CORNWALL. Cunning.

REGAN. And false.

CORNWALL. Where hast thou sent the King?

GLOUCESTER. To Dover.

REGAN. Wherefore to Dover? Wast thou not charg’d at peril,—

CORNWALL. Wherefore to Dover? Let him first answer that.

GLOUCESTER. I am tied to the stake, and I must stand the course.

REGAN. Wherefore to Dover, sir?

GLOUCESTER. Because I would not see thy cruel nails Pluck out his poor old eyes; nor thy fierce sister In his anointed flesh stick boarish fangs. The sea, with such a storm as his bare head In hell-black night endur’d, would have buoy’d up, And quench’d the stelled fires; Yet, poor old heart, he holp the heavens to rain. If wolves had at thy gate howl’d that stern time, Thou shouldst have said, ‘Good porter, turn the key.’ All cruels else subscrib’d: but I shall see The winged vengeance overtake such children.

CORNWALL. See’t shalt thou never. Fellows, hold the chair. Upon these eyes of thine I’ll set my foot.

[Gloucester is held down in his chair, while Cornwall plucks out one of his eyes and sets his foot on it.]

GLOUCESTER. He that will think to live till he be old, Give me some help!—O cruel! O you gods!

REGAN. One side will mock another; the other too!

CORNWALL. If you see vengeance—

FIRST SERVANT. Hold your hand, my lord: I have serv’d you ever since I was a child; But better service have I never done you Than now to bid you hold.

REGAN. How now, you dog!

FIRST SERVANT. If you did wear a beard upon your chin, I’d shake it on this quarrel. What do you mean?

CORNWALL. My villain?

[Draws, and runs at him.]

FIRST SERVANT. Nay, then, come on, and take the chance of anger.

[Draws. They fight. Cornwall is wounded.]

REGAN. [To another servant.] Give me thy sword. A peasant stand up thus?

[Snatches a sword, comes behind, and stabs him.]

FIRST SERVANT. O, I am slain! My lord, you have one eye left To see some mischief on him. O!

[Dies.]

CORNWALL. Lest it see more, prevent it. Out, vile jelly! Where is thy lustre now?

[Tears out Gloucester’s other eye and throws it on the ground.]

GLOUCESTER. All dark and comfortless. Where’s my son Edmund? Edmund, enkindle all the sparks of nature To quit this horrid act.

REGAN. Out, treacherous villain! Thou call’st on him that hates thee: it was he That made the overture of thy treasons to us; Who is too good to pity thee.

GLOUCESTER. O my follies! Then Edgar was abus’d. Kind gods, forgive me that, and prosper him!

REGAN. Go thrust him out at gates, and let him smell His way to Dover. How is’t, my lord? How look you?

CORNWALL. I have receiv’d a hurt: follow me, lady. Turn out that eyeless villain. Throw this slave Upon the dunghill. Regan, I bleed apace: Untimely comes this hurt: give me your arm.

[Exit Cornwall, led by Regan; Servants unbind Gloucester and lead him out.]

SECOND SERVANT. I’ll never care what wickedness I do, If this man come to good.

THIRD SERVANT. If she live long, And in the end meet the old course of death, Women will all turn monsters.

SECOND SERVANT. Let’s follow the old Earl, and get the bedlam To lead him where he would: his roguish madness Allows itself to anything.

THIRD SERVANT. Go thou: I’ll fetch some flax and whites of eggs To apply to his bleeding face. Now heaven help him!

[Exeunt.]

Act IV, Scene I — The heath

Enter Edgar.

EDGAR. Yet better thus, and known to be contemn’d, Than still contemn’d and flatter’d. To be worst, The lowest and most dejected thing of fortune, Stands still in esperance, lives not in fear: The lamentable change is from the best; The worst returns to laughter. Welcome then, Thou unsubstantial air that I embrace; The wretch that thou hast blown unto the worst Owes nothing to thy blasts.

Enter Gloucester, led by an Old Man.

But who comes here? My father, poorly led? World, world, O world! But that thy strange mutations make us hate thee, Life would not yield to age.

OLD MAN. O my good lord, I have been your tenant, and your father’s tenant these fourscore years.

GLOUCESTER. Away, get thee away; good friend, be gone. Thy comforts can do me no good at all; Thee they may hurt.

OLD MAN. You cannot see your way.

GLOUCESTER. I have no way, and therefore want no eyes; I stumbled when I saw. Full oft ’tis seen Our means secure us, and our mere defects Prove our commodities. O dear son Edgar, The food of thy abused father’s wrath! Might I but live to see thee in my touch, I’d say I had eyes again!

OLD MAN. How now! Who’s there?

EDGAR. [Aside.] O gods! Who is’t can say ‘I am at the worst’? I am worse than e’er I was.

OLD MAN. ’Tis poor mad Tom.

EDGAR. [Aside.] And worse I may be yet. The worst is not So long as we can say ‘This is the worst.’

OLD MAN. Fellow, where goest?

GLOUCESTER. Is it a beggar-man?

OLD MAN. Madman, and beggar too.

GLOUCESTER. He has some reason, else he could not beg. I’ the last night’s storm I such a fellow saw; Which made me think a man a worm. My son Came then into my mind, and yet my mind Was then scarce friends with him. I have heard more since. As flies to wanton boys are we to the gods, They kill us for their sport.

EDGAR. [Aside.] How should this be? Bad is the trade that must play fool to sorrow, Angering itself and others. Bless thee, master!

GLOUCESTER. Is that the naked fellow?

OLD MAN. Ay, my lord.

GLOUCESTER. Then prithee get thee away. If for my sake Thou wilt o’ertake us hence a mile or twain, I’ the way toward Dover, do it for ancient love, And bring some covering for this naked soul, Which I’ll entreat to lead me.

OLD MAN. Alack, sir, he is mad.

GLOUCESTER. ’Tis the time’s plague when madmen lead the blind. Do as I bid thee, or rather do thy pleasure; Above the rest, be gone.

OLD MAN. I’ll bring him the best ’parel that I have, Come on’t what will.

[Exit.]

GLOUCESTER. Sirrah naked fellow.

EDGAR. Poor Tom’s a-cold. [Aside.] I cannot daub it further.

GLOUCESTER. Come hither, fellow.

EDGAR. [Aside.] And yet I must. Bless thy sweet eyes, they bleed.

GLOUCESTER. Know’st thou the way to Dover?

EDGAR. Both stile and gate, horseway and footpath. Poor Tom hath been scared out of his good wits. Bless thee, good man’s son, from the foul fiend! Five fiends have been in poor Tom at once; of lust, as Obidicut; Hobbididence, prince of darkness; Mahu, of stealing; Modo, of murder; Flibbertigibbet, of mopping and mowing, who since possesses chambermaids and waiting women. So, bless thee, master!

GLOUCESTER. Here, take this purse, thou whom the heaven’s plagues Have humbled to all strokes: that I am wretched Makes thee the happier. Heavens deal so still! Let the superfluous and lust-dieted man, That slaves your ordinance, that will not see Because he does not feel, feel your power quickly; So distribution should undo excess, And each man have enough. Dost thou know Dover?

EDGAR. Ay, master.

GLOUCESTER. There is a cliff, whose high and bending head Looks fearfully in the confined deep: Bring me but to the very brim of it, And I’ll repair the misery thou dost bear With something rich about me: from that place I shall no leading need.

EDGAR. Give me thy arm: Poor Tom shall lead thee.

[Exeunt.]

Act IV, Scene II — Before the Duke of Albany’s Palace

Enter Goneril, Edmund; Oswald meeting them.

GONERIL. Welcome, my lord. I marvel our mild husband Not met us on the way. Now, where’s your master?

OSWALD. Madam, within; but never man so chang’d. I told him of the army that was landed; He smil’d at it: I told him you were coming; His answer was, ‘The worse.’ Of Gloucester’s treachery And of the loyal service of his son When I inform’d him, then he call’d me sot, And told me I had turn’d the wrong side out. What most he should dislike seems pleasant to him; What like, offensive.

GONERIL. [To Edmund.] Then shall you go no further. It is the cowish terror of his spirit, That dares not undertake. He’ll not feel wrongs Which tie him to an answer. Our wishes on the way May prove effects. Back, Edmund, to my brother; Hasten his musters and conduct his powers. I must change names at home, and give the distaff Into my husband’s hands. This trusty servant Shall pass between us. Ere long you are like to hear, If you dare venture in your own behalf, A mistress’s command. [Giving a favour.] Wear this; spare speech; Decline your head. This kiss, if it durst speak, Would stretch thy spirits up into the air. Conceive, and fare thee well.

EDMUND. Yours in the ranks of death.

[Exit Edmund.]

GONERIL. My most dear Gloucester. O, the difference of man and man! To thee a woman’s services are due; My fool usurps my body.

OSWALD. Madam, here comes my lord.

[Exit.]

Enter Albany.

GONERIL. I have been worth the whistle.

ALBANY. O Goneril! You are not worth the dust which the rude wind Blows in your face! I fear your disposition; That nature which contemns its origin Cannot be bordered certain in itself. She that herself will sliver and disbranch From her material sap, perforce must wither And come to deadly use.

GONERIL. No more; the text is foolish.

ALBANY. Wisdom and goodness to the vile seem vile; Filths savour but themselves. What have you done? Tigers, not daughters, what have you perform’d? A father, and a gracious aged man, Whose reverence even the head-lugg’d bear would lick, Most barbarous, most degenerate, have you madded. Could my good brother suffer you to do it? A man, a prince, by him so benefitted! If that the heavens do not their visible spirits Send quickly down to tame these vile offences, It will come, Humanity must perforce prey on itself, Like monsters of the deep.

GONERIL. Milk-liver’d man! That bear’st a cheek for blows, a head for wrongs; Who hast not in thy brows an eye discerning Thine honour from thy suffering; that not know’st Fools do those villains pity who are punish’d Ere they have done their mischief. Where’s thy drum? France spreads his banners in our noiseless land; With plumed helm thy state begins to threat, Whilst thou, a moral fool, sitt’st still, and criest ‘Alack, why does he so?’

ALBANY. See thyself, devil! Proper deformity seems not in the fiend So horrid as in woman.

GONERIL. O vain fool!

ALBANY. Thou changed and self-cover’d thing, for shame! Be-monster not thy feature! Were’t my fitness To let these hands obey my blood, They are apt enough to dislocate and tear Thy flesh and bones. Howe’er thou art a fiend, A woman’s shape doth shield thee.

GONERIL. Marry, your manhood, mew!

Enter a Messenger.

ALBANY. What news?

MESSENGER. O, my good lord, the Duke of Cornwall’s dead; Slain by his servant, going to put out The other eye of Gloucester.

ALBANY. Gloucester’s eyes!

MESSENGER. A servant that he bred, thrill’d with remorse, Oppos’d against the act, bending his sword To his great master; who, thereat enrag’d, Flew on him, and amongst them fell’d him dead; But not without that harmful stroke which since Hath pluck’d him after.

ALBANY. This shows you are above, You justicers, that these our nether crimes So speedily can venge! But, O poor Gloucester! Lost he his other eye?

MESSENGER. Both, both, my lord. This letter, madam, craves a speedy answer; ’Tis from your sister.

GONERIL. [Aside.] One way I like this well; But being widow, and my Gloucester with her, May all the building in my fancy pluck Upon my hateful life. Another way The news is not so tart. I’ll read, and answer.

[Exit.]

ALBANY. Where was his son when they did take his eyes?

MESSENGER. Come with my lady hither.

ALBANY. He is not here.

MESSENGER. No, my good lord; I met him back again.

ALBANY. Knows he the wickedness?

MESSENGER. Ay, my good lord. ’Twas he inform’d against him; And quit the house on purpose, that their punishment Might have the freer course.

ALBANY. Gloucester, I live To thank thee for the love thou show’dst the King, And to revenge thine eyes. Come hither, friend, Tell me what more thou know’st.

[Exeunt.]

Act IV, Scene III — The French camp near Dover

Enter Kent and a Gentleman.

KENT. Why the King of France is so suddenly gone back, know you no reason?

GENTLEMAN. Something he left imperfect in the state, which since his coming forth is thought of, which imports to the kingdom so much fear and danger that his personal return was most required and necessary.

KENT. Who hath he left behind him general?

GENTLEMAN. The Mareschal of France, Monsieur La Far.

KENT. Did your letters pierce the queen to any demonstration of grief?

GENTLEMAN. Ay, sir; she took them, read them in my presence; And now and then an ample tear trill’d down Her delicate cheek. It seem’d she was a queen Over her passion; who, most rebel-like, Sought to be king o’er her.

KENT. O, then it mov’d her.

GENTLEMAN. Not to a rage: patience and sorrow strove Who should express her goodliest. You have seen Sunshine and rain at once: her smiles and tears Were like a better day. Those happy smilets That play’d on her ripe lip seem’d not to know What guests were in her eyes; which parted thence As pearls from diamonds dropp’d. In brief, Sorrow would be a rarity most belov’d, If all could so become it.

KENT. Made she no verbal question?

GENTLEMAN. Faith, once or twice she heav’d the name of ‘father’ Pantingly forth, as if it press’d her heart; Cried ‘Sisters, sisters! Shame of ladies! sisters! Kent! father! sisters! What, i’ the storm? i’ the night? Let pity not be believ’d!’ There she shook The holy water from her heavenly eyes, And clamour master’d her: then away she started To deal with grief alone.

KENT. It is the stars, The stars above us govern our conditions; Else one self mate and make could not beget Such different issues. You spoke not with her since?

GENTLEMAN. No.

KENT. Was this before the King return’d?

GENTLEMAN. No, since.

KENT. Well, sir, the poor distressed Lear’s i’ the town; Who sometime, in his better tune, remembers What we are come about, and by no means Will yield to see his daughter.

GENTLEMAN. Why, good sir?

KENT. A sovereign shame so elbows him. His own unkindness, That stripp’d her from his benediction, turn’d her To foreign casualties, gave her dear rights To his dog-hearted daughters, these things sting His mind so venomously that burning shame Detains him from Cordelia.

GENTLEMAN. Alack, poor gentleman!

KENT. Of Albany’s and Cornwall’s powers you heard not?

GENTLEMAN. ’Tis so; they are afoot.

KENT. Well, sir, I’ll bring you to our master Lear And leave you to attend him. Some dear cause Will in concealment wrap me up awhile; When I am known aright, you shall not grieve Lending me this acquaintance. I pray you, go along with me.

[Exeunt.]

Act IV, Scene IV — The French camp. A Tent

Enter with drum and colours, Cordelia, Physician and Soldiers.

CORDELIA. Alack, ’tis he: why, he was met even now As mad as the vex’d sea; singing aloud; Crown’d with rank fumiter and furrow weeds, With harlocks, hemlock, nettles, cuckoo-flowers, Darnel, and all the idle weeds that grow In our sustaining corn. A century send forth; Search every acre in the high-grown field, And bring him to our eye.

[Exit an Officer.]

What can man’s wisdom In the restoring his bereaved sense, He that helps him take all my outward worth.

PHYSICIAN. There is means, madam: Our foster nurse of nature is repose, The which he lacks; that to provoke in him Are many simples operative, whose power Will close the eye of anguish.

CORDELIA. All bless’d secrets, All you unpublish’d virtues of the earth, Spring with my tears! Be aidant and remediate In the good man’s distress! Seek, seek for him; Lest his ungovern’d rage dissolve the life That wants the means to lead it.

Enter a Messenger.

MESSENGER. News, madam; The British powers are marching hitherward.

CORDELIA. ’Tis known before. Our preparation stands In expectation of them. O dear father, It is thy business that I go about; Therefore great France My mourning and important tears hath pitied. No blown ambition doth our arms incite, But love, dear love, and our ag’d father’s right: Soon may I hear and see him!

[Exeunt.]

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

Enter Regan and Oswald.

REGAN. But are my brother’s powers set forth?

OSWALD. Ay, madam.

REGAN. Himself in person there?

OSWALD. Madam, with much ado. Your sister is the better soldier.

REGAN. Lord Edmund spake not with your lord at home?

OSWALD. No, madam.

REGAN. What might import my sister’s letter to him?

OSWALD. I know not, lady.

REGAN. Faith, he is posted hence on serious matter. It was great ignorance, Gloucester’s eyes being out, To let him live. Where he arrives he moves All hearts against us. Edmund, I think, is gone In pity of his misery, to dispatch His nighted life; moreover to descry The strength o’ th’enemy.

OSWALD. I must needs after him, madam, with my letter.

REGAN. Our troops set forth tomorrow; stay with us; The ways are dangerous.

OSWALD. I may not, madam: My lady charg’d my duty in this business.

REGAN. Why should she write to Edmund? Might not you Transport her purposes by word? Belike, Somethings, I know not what, I’ll love thee much. Let me unseal the letter.

OSWALD. Madam, I had rather—

REGAN. I know your lady does not love her husband; I am sure of that; and at her late being here She gave strange oeillades and most speaking looks To noble Edmund. I know you are of her bosom.

OSWALD. I, madam?

REGAN. I speak in understanding; y’are, I know’t: Therefore I do advise you take this note: My lord is dead; Edmund and I have talk’d, And more convenient is he for my hand Than for your lady’s. You may gather more. If you do find him, pray you give him this; And when your mistress hears thus much from you, I pray desire her call her wisdom to her. So, fare you well. If you do chance to hear of that blind traitor, Preferment falls on him that cuts him off.

OSWALD. Would I could meet him, madam! I should show What party I do follow.

REGAN. Fare thee well.

[Exeunt.]

Act IV, Scene VI — The country near Dover

Enter Gloucester, and Edgar dressed like a peasant.

GLOUCESTER. When shall I come to the top of that same hill?

EDGAR. You do climb up it now. Look how we labour.

GLOUCESTER. Methinks the ground is even.

EDGAR. Horrible steep. Hark, do you hear the sea?

GLOUCESTER. No, truly.

EDGAR. Why, then, your other senses grow imperfect By your eyes’ anguish.

GLOUCESTER. So may it be indeed. Methinks thy voice is alter’d; and thou speak’st In better phrase and matter than thou didst.

EDGAR. Y’are much deceiv’d: in nothing am I chang’d But in my garments.

GLOUCESTER. Methinks you’re better spoken.

EDGAR. Come on, sir; here’s the place. Stand still. How fearful And dizzy ’tis to cast one’s eyes so low! The crows and choughs that wing the midway air Show scarce so gross as beetles. Half way down Hangs one that gathers samphire—dreadful trade! Methinks he seems no bigger than his head. The fishermen that walk upon the beach Appear like mice; and yond tall anchoring bark, Diminish’d to her cock; her cock a buoy Almost too small for sight: the murmuring surge That on th’unnumber’d idle pebble chafes Cannot be heard so high. I’ll look no more; Lest my brain turn, and the deficient sight Topple down headlong.

GLOUCESTER. Set me where you stand.

EDGAR. Give me your hand. You are now within a foot of th’extreme verge. For all beneath the moon would I not leap upright.

GLOUCESTER. Let go my hand. Here, friend, ’s another purse; in it a jewel Well worth a poor man’s taking. Fairies and gods Prosper it with thee! Go thou further off; Bid me farewell, and let me hear thee going.

EDGAR. Now fare ye well, good sir.

[Seems to go.]

GLOUCESTER. With all my heart.

EDGAR. [Aside.] Why I do trifle thus with his despair Is done to cure it.

GLOUCESTER. O you mighty gods! This world I do renounce, and in your sights, Shake patiently my great affliction off: If I could bear it longer, and not fall To quarrel with your great opposeless wills, My snuff and loathed part of nature should Burn itself out. If Edgar live, O, bless him! Now, fellow, fare thee well.

EDGAR. Gone, sir, farewell.

[Gloucester leaps, and falls along]

And yet I know not how conceit may rob The treasury of life when life itself Yields to the theft. Had he been where he thought, By this had thought been past. Alive or dead? Ho you, sir! friend! Hear you, sir? speak! Thus might he pass indeed: yet he revives. What are you, sir?

GLOUCESTER. Away, and let me die.

EDGAR. Hadst thou been aught but gossamer, feathers, air, So many fathom down precipitating, Thou’dst shiver’d like an egg: but thou dost breathe; Hast heavy substance; bleed’st not; speak’st; art sound. Ten masts at each make not the altitude Which thou hast perpendicularly fell. Thy life is a miracle. Speak yet again.

GLOUCESTER. But have I fall’n, or no?

EDGAR. From the dread summit of this chalky bourn. Look up a-height, the shrill-gorg’d lark so far Cannot be seen or heard. Do but look up.

GLOUCESTER. Alack, I have no eyes. Is wretchedness depriv’d that benefit To end itself by death? ’Twas yet some comfort When misery could beguile the tyrant’s rage And frustrate his proud will.

EDGAR. Give me your arm. Up, so. How is’t? Feel you your legs? You stand.

GLOUCESTER. Too well, too well.

EDGAR. This is above all strangeness. Upon the crown o’ the cliff what thing was that Which parted from you?

GLOUCESTER. A poor unfortunate beggar.

EDGAR. As I stood here below, methought his eyes Were two full moons; he had a thousand noses, Horns whelk’d and waved like the enraged sea. It was some fiend. Therefore, thou happy father, Think that the clearest gods, who make them honours Of men’s impossibilities, have preserv’d thee.

GLOUCESTER. I do remember now: henceforth I’ll bear Affliction till it do cry out itself ‘Enough, enough,’ and die. That thing you speak of, I took it for a man; often ’twould say, ‘The fiend, the fiend’; he led me to that place.

EDGAR. Bear free and patient thoughts. But who comes here?

Enter Lear, fantastically dressed up with flowers.

The safer sense will ne’er accommodate His master thus.

LEAR. No, they cannot touch me for coining. I am the King himself.

EDGAR. O thou side-piercing sight!

LEAR. Nature’s above art in that respect. There’s your press money. That fellow handles his bow like a crow-keeper: draw me a clothier’s yard. Look, look, a mouse! Peace, peace, this piece of toasted cheese will do’t. There’s my gauntlet; I’ll prove it on a giant. Bring up the brown bills. O, well flown, bird! i’ the clout, i’ the clout. Hewgh! Give the word.

EDGAR. Sweet marjoram.

LEAR. Pass.

GLOUCESTER. I know that voice.

LEAR. Ha! Goneril with a white beard! They flattered me like a dog; and told me I had white hairs in my beard ere the black ones were there. To say ‘ay’ and ‘no’ to everything I said ‘ay’ and ‘no’ to was no good divinity. When the rain came to wet me once, and the wind to make me chatter; when the thunder would not peace at my bidding; there I found ’em, there I smelt ’em out. Go to, they are not men o’ their words: they told me I was everything; ’tis a lie, I am not ague-proof.

GLOUCESTER. The trick of that voice I do well remember: Is’t not the King?

LEAR. Ay, every inch a king. When I do stare, see how the subject quakes. I pardon that man’s life. What was thy cause? Adultery? Thou shalt not die: die for adultery! No: The wren goes to’t, and the small gilded fly Does lecher in my sight. Let copulation thrive; For Gloucester’s bastard son was kinder to his father Than my daughters got ’tween the lawful sheets. To’t, luxury, pell-mell! for I lack soldiers. Behold yond simp’ring dame, Whose face between her forks presages snow; That minces virtue, and does shake the head To hear of pleasure’s name. The fitchew nor the soiled horse goes to’t with a more riotous appetite. Down from the waist they are centaurs, though women all above. But to the girdle do the gods inherit, beneath is all the fiend’s; there’s hell, there’s darkness, there is the sulphurous pit; burning, scalding, stench, consumption. Fie, fie, fie! pah, pah! Give me an ounce of civet, good apothecary, to sweeten my imagination. There’s money for thee.

GLOUCESTER. O, let me kiss that hand!

LEAR. Let me wipe it first; it smells of mortality.

GLOUCESTER. O ruin’d piece of nature, this great world Shall so wear out to naught. Dost thou know me?

LEAR. I remember thine eyes well enough. Dost thou squiny at me? No, do thy worst, blind Cupid; I’ll not love. Read thou this challenge; mark but the penning of it.

GLOUCESTER. Were all the letters suns, I could not see one.

EDGAR. I would not take this from report, It is, and my heart breaks at it.

LEAR. Read.

GLOUCESTER. What, with the case of eyes?

LEAR. O, ho, are you there with me? No eyes in your head, nor no money in your purse? Your eyes are in a heavy case, your purse in a light, yet you see how this world goes.

GLOUCESTER. I see it feelingly.

LEAR. What, art mad? A man may see how the world goes with no eyes. Look with thine ears. See how yon justice rails upon yon simple thief. Hark, in thine ear: change places; and, handy-dandy, which is the justice, which is the thief? Thou hast seen a farmer’s dog bark at a beggar?

GLOUCESTER. Ay, sir.

LEAR. And the creature run from the cur? There thou mightst behold the great image of authority: a dog’s obeyed in office. Thou rascal beadle, hold thy bloody hand! Why dost thou lash that whore? Strip thine own back; Thou hotly lusts to use her in that kind For which thou whipp’st her. The usurer hangs the cozener. Through tatter’d clothes great vices do appear; Robes and furr’d gowns hide all. Plate sin with gold, And the strong lance of justice hurtless breaks; Arm it in rags, a pygmy’s straw does pierce it. None does offend, none, I say none; I’ll able ’em; Take that of me, my friend, who have the power To seal the accuser’s lips. Get thee glass eyes, And like a scurvy politician, seem To see the things thou dost not. Now, now, now, now: Pull off my boots: harder, harder, so.

EDGAR. O, matter and impertinency mix’d! Reason in madness!

LEAR. If thou wilt weep my fortunes, take my eyes. I know thee well enough, thy name is Gloucester. Thou must be patient; we came crying hither: Thou know’st the first time that we smell the air We wawl and cry. I will preach to thee: mark.

GLOUCESTER. Alack, alack the day!

LEAR. When we are born, we cry that we are come To this great stage of fools. This a good block: It were a delicate stratagem to shoe A troop of horse with felt. I’ll put’t in proof And when I have stol’n upon these son-in-laws, Then kill, kill, kill, kill, kill, kill!

Enter a Gentleman with Attendants.

GENTLEMAN. O, here he is: lay hand upon him. Sir, Your most dear daughter—

LEAR. No rescue? What, a prisoner? I am even The natural fool of fortune. Use me well; You shall have ransom. Let me have surgeons; I am cut to the brains.

GENTLEMAN. You shall have anything.

LEAR. No seconds? All myself? Why, this would make a man a man of salt, To use his eyes for garden water-pots, Ay, and for laying autumn’s dust.

GENTLEMAN. Good sir.

LEAR. I will die bravely, like a smug bridegroom. What! I will be jovial. Come, come, I am a king, my masters, know you that.

GENTLEMAN. You are a royal one, and we obey you.

LEAR. Then there’s life in’t. Come, and you get it, You shall get it by running. Sa, sa, sa, sa!

[Exit running. Attendants follow.]

GENTLEMAN. A sight most pitiful in the meanest wretch, Past speaking of in a king! Thou hast one daughter Who redeems nature from the general curse Which twain have brought her to.

EDGAR. Hail, gentle sir.

GENTLEMAN. Sir, speed you. What’s your will?

EDGAR. Do you hear aught, sir, of a battle toward?

GENTLEMAN. Most sure and vulgar. Everyone hears that, which can distinguish sound.

EDGAR. But, by your favour, How near’s the other army?

GENTLEMAN. Near and on speedy foot; the main descry Stands on the hourly thought.

EDGAR. I thank you sir, that’s all.

GENTLEMAN. Though that the queen on special cause is here, Her army is mov’d on.

EDGAR. I thank you, sir.

[Exit Gentleman.]

GLOUCESTER. You ever-gentle gods, take my breath from me; Let not my worser spirit tempt me again To die before you please.

EDGAR. Well pray you, father.

GLOUCESTER. Now, good sir, what are you?

EDGAR. A most poor man, made tame to fortune’s blows; Who, by the art of known and feeling sorrows, Am pregnant to good pity. Give me your hand, I’ll lead you to some biding.

GLOUCESTER. Hearty thanks: The bounty and the benison of heaven To boot, and boot.

Enter Oswald.

OSWALD. A proclaim’d prize! Most happy! That eyeless head of thine was first fram’d flesh To raise my fortunes. Thou old unhappy traitor, Briefly thyself remember. The sword is out That must destroy thee.

GLOUCESTER. Now let thy friendly hand Put strength enough to’t.

[Edgar interposes.]

OSWALD. Wherefore, bold peasant, Dar’st thou support a publish’d traitor? Hence; Lest that th’infection of his fortune take Like hold on thee. Let go his arm.

EDGAR. Chill not let go, zir, without vurther ’casion.

OSWALD. Let go, slave, or thou diest!

EDGAR. Good gentleman, go your gait, and let poor volke pass. An chud ha’ bin zwaggered out of my life, ’twould not ha’ bin zo long as ’tis by a vortnight. Nay, come not near th’old man; keep out, che vor ye, or ise try whether your costard or my ballow be the harder: chill be plain with you.

OSWALD. Out, dunghill!

EDGAR. Chill pick your teeth, zir. Come! No matter vor your foins.

[They fight, and Edgar knocks him down.]

OSWALD. Slave, thou hast slain me. Villain, take my purse. If ever thou wilt thrive, bury my body; And give the letters which thou find’st about me To Edmund, Earl of Gloucester. Seek him out Upon the British party. O, untimely death!

[Dies.]

EDGAR. I know thee well. A serviceable villain, As duteous to the vices of thy mistress As badness would desire.

GLOUCESTER. What, is he dead?

EDGAR. Sit you down, father; rest you. Let’s see these pockets; the letters that he speaks of May be my friends. He’s dead; I am only sorry He had no other deathsman. Let us see: Leave, gentle wax; and, manners, blame us not. To know our enemies’ minds, we rip their hearts, Their papers is more lawful. [Reads.] ‘Let our reciprocal vows be remembered. You have many opportunities to cut him off: if your will want not, time and place will be fruitfully offered. There is nothing done if he return the conqueror: then am I the prisoner, and his bed my gaol; from the loathed warmth whereof deliver me, and supply the place for your labour. ‘Your (wife, so I would say) affectionate servant, ‘Goneril.’ O indistinguish’d space of woman’s will! A plot upon her virtuous husband’s life, And the exchange my brother! Here in the sands Thee I’ll rake up, the post unsanctified Of murderous lechers: and in the mature time, With this ungracious paper strike the sight Of the death-practis’d Duke: for him ’tis well That of thy death and business I can tell.

[Exit Edgar, dragging out the body.]

GLOUCESTER. The King is mad: how stiff is my vile sense, That I stand up, and have ingenious feeling Of my huge sorrows! Better I were distract: So should my thoughts be sever’d from my griefs, And woes by wrong imaginations lose The knowledge of themselves.

[A drum afar off.]

EDGAR. Give me your hand. Far off methinks I hear the beaten drum. Come, father, I’ll bestow you with a friend.

[Exeunt.]

Act IV, Scene VII — A Tent in the French Camp

Lear on a bed, asleep, soft music playing; Physician, Gentleman and others attending.

Enter Cordelia and Kent.

CORDELIA. O thou good Kent, how shall I live and work To match thy goodness? My life will be too short, And every measure fail me.

KENT. To be acknowledg’d, madam, is o’erpaid. All my reports go with the modest truth; Nor more, nor clipp’d, but so.

CORDELIA. Be better suited, These weeds are memories of those worser hours: I prithee put them off.

KENT. Pardon, dear madam; Yet to be known shortens my made intent. My boon I make it that you know me not Till time and I think meet.

CORDELIA. Then be’t so, my good lord. [To the Physician.] How does the King?

PHYSICIAN. Madam, sleeps still.

CORDELIA. O you kind gods, Cure this great breach in his abused nature! The untun’d and jarring senses, O, wind up Of this child-changed father.

PHYSICIAN. So please your majesty That we may wake the King: he hath slept long.

CORDELIA. Be govern’d by your knowledge, and proceed I’ the sway of your own will. Is he array’d?

PHYSICIAN. Ay, madam. In the heaviness of sleep We put fresh garments on him. Be by, good madam, when we do awake him; I doubt not of his temperance.

CORDELIA. Very well.

PHYSICIAN. Please you draw near. Louder the music there!

CORDELIA. O my dear father! Restoration hang Thy medicine on my lips; and let this kiss Repair those violent harms that my two sisters Have in thy reverence made!

KENT. Kind and dear princess!

CORDELIA. Had you not been their father, these white flakes Did challenge pity of them. Was this a face To be oppos’d against the warring winds? To stand against the deep dread-bolted thunder? In the most terrible and nimble stroke Of quick cross lightning? to watch, poor perdu! With this thin helm? Mine enemy’s dog, Though he had bit me, should have stood that night Against my fire; and wast thou fain, poor father, To hovel thee with swine and rogues forlorn In short and musty straw? Alack, alack! ’Tis wonder that thy life and wits at once Had not concluded all. He wakes; speak to him.

PHYSICIAN. Madam, do you; ’tis fittest.

CORDELIA. How does my royal lord? How fares your majesty?

LEAR. You do me wrong to take me out o’ the grave. Thou art a soul in bliss; but I am bound Upon a wheel of fire, that mine own tears Do scald like molten lead.

CORDELIA. Sir, do you know me?

LEAR. You are a spirit, I know: when did you die?

CORDELIA. Still, still, far wide!

PHYSICIAN. He’s scarce awake: let him alone awhile.

LEAR. Where have I been? Where am I? Fair daylight? I am mightily abus’d. I should e’en die with pity, To see another thus. I know not what to say. I will not swear these are my hands: let’s see; I feel this pin prick. Would I were assur’d Of my condition!

CORDELIA. O, look upon me, sir, And hold your hands in benediction o’er me. No, sir, you must not kneel.

LEAR. Pray, do not mock me: I am a very foolish fond old man, Fourscore and upward, not an hour more nor less; And to deal plainly, I fear I am not in my perfect mind. Methinks I should know you, and know this man; Yet I am doubtful: for I am mainly ignorant What place this is; and all the skill I have Remembers not these garments; nor I know not Where I did lodge last night. Do not laugh at me; For, as I am a man, I think this lady To be my child Cordelia.

CORDELIA. And so I am. I am.

LEAR. Be your tears wet? Yes, faith. I pray weep not: If you have poison for me, I will drink it. I know you do not love me; for your sisters Have, as I do remember, done me wrong. You have some cause, they have not.

CORDELIA. No cause, no cause.

LEAR. Am I in France?

KENT. In your own kingdom, sir.

LEAR. Do not abuse me.

PHYSICIAN. Be comforted, good madam, the great rage, You see, is kill’d in him: and yet it is danger To make him even o’er the time he has lost. Desire him to go in; trouble him no more Till further settling.

CORDELIA. Will’t please your highness walk?

LEAR. You must bear with me: Pray you now, forget and forgive: I am old and foolish.

[Exeunt Lear, Cordelia, Physician and Attendants.]

GENTLEMAN. Holds it true, sir, that the Duke of Cornwall was so slain?

KENT. Most certain, sir.

GENTLEMAN. Who is conductor of his people?

KENT. As ’tis said, the bastard son of Gloucester.

GENTLEMAN. They say Edgar, his banished son, is with the Earl of Kent in Germany.

KENT. Report is changeable. ’Tis time to look about; the powers of the kingdom approach apace.

GENTLEMAN. The arbitrement is like to be bloody. Fare you well, sir.

[Exit.]

KENT. My point and period will be throughly wrought, Or well or ill, as this day’s battle’s fought.

[Exit.]

Act V, Scene I — The Camp of the British Forces near Dover

Enter, with drum and colours Edmund, Regan, Officers, Soldiers and others.

EDMUND. Know of the Duke if his last purpose hold, Or whether since he is advis’d by aught To change the course, he’s full of alteration And self-reproving, bring his constant pleasure.

[To an Officer, who goes out.]

REGAN. Our sister’s man is certainly miscarried.

EDMUND. ’Tis to be doubted, madam.

REGAN. Now, sweet lord, You know the goodness I intend upon you: Tell me but truly, but then speak the truth, Do you not love my sister?

EDMUND. In honour’d love.

REGAN. But have you never found my brother’s way To the forfended place?

EDMUND. That thought abuses you.

REGAN. I am doubtful that you have been conjunct And bosom’d with her, as far as we call hers.

EDMUND. No, by mine honour, madam.

REGAN. I never shall endure her, dear my lord, Be not familiar with her.

EDMUND. Fear not, She and the Duke her husband!

Enter with drum and colours Albany, Goneril and Soldiers.

GONERIL. [Aside.] I had rather lose the battle than that sister Should loosen him and me.

ALBANY. Our very loving sister, well be-met. Sir, this I heard: the King is come to his daughter, With others whom the rigour of our state Forc’d to cry out. Where I could not be honest, I never yet was valiant. For this business, It toucheth us as France invades our land, Not bolds the King, with others whom I fear Most just and heavy causes make oppose.

EDMUND. Sir, you speak nobly.

REGAN. Why is this reason’d?

GONERIL. Combine together ’gainst the enemy; For these domestic and particular broils Are not the question here.

ALBANY. Let’s, then, determine with the ancient of war On our proceeding.

EDMUND. I shall attend you presently at your tent.

REGAN. Sister, you’ll go with us?

GONERIL. No.

REGAN. ’Tis most convenient; pray you, go with us.

GONERIL. [Aside.] O, ho, I know the riddle. I will go.

[Exeunt Edmund, Regan, Goneril, Officers, Soldiers and Attendants.]

As they are going out, enter Edgar disguised.

EDGAR. If e’er your grace had speech with man so poor, Hear me one word.

ALBANY. I’ll overtake you. Speak.

EDGAR. Before you fight the battle, ope this letter. If you have victory, let the trumpet sound For him that brought it: wretched though I seem, I can produce a champion that will prove What is avouched there. If you miscarry, Your business of the world hath so an end, And machination ceases. Fortune love you!

ALBANY. Stay till I have read the letter.

EDGAR. I was forbid it. When time shall serve, let but the herald cry, And I’ll appear again.

ALBANY. Why, fare thee well. I will o’erlook thy paper.

[Exit Edgar.]

Enter Edmund.

EDMUND. The enemy’s in view; draw up your powers. Here is the guess of their true strength and forces By diligent discovery; but your haste Is now urg’d on you.

ALBANY. We will greet the time.

[Exit.]

EDMUND. To both these sisters have I sworn my love; Each jealous of the other, as the stung Are of the adder. Which of them shall I take? Both? One? Or neither? Neither can be enjoy’d, If both remain alive. To take the widow Exasperates, makes mad her sister Goneril; And hardly shall I carry out my side, Her husband being alive. Now, then, we’ll use His countenance for the battle; which being done, Let her who would be rid of him devise His speedy taking off. As for the mercy Which he intends to Lear and to Cordelia, The battle done, and they within our power, Shall never see his pardon: for my state Stands on me to defend, not to debate.

[Exit.]

Act V, Scene II — A field between the two Camps

Alarum within. Enter with drum and colours, Lear, Cordelia and their Forces, and exeunt.

Enter Edgar and Gloucester.

EDGAR. Here, father, take the shadow of this tree For your good host; pray that the right may thrive: If ever I return to you again, I’ll bring you comfort.

GLOUCESTER. Grace go with you, sir!

[Exit Edgar.]

Alarum and retreat within. Enter Edgar.

EDGAR. Away, old man, give me thy hand, away! King Lear hath lost, he and his daughter ta’en: Give me thy hand; come on!

GLOUCESTER. No further, sir; a man may rot even here.

EDGAR. What, in ill thoughts again? Men must endure Their going hence, even as their coming hither; Ripeness is all. Come on.

GLOUCESTER. And that’s true too.

[Exeunt.]

Act V, Scene III — The British Camp near Dover

Enter in conquest with drum and colours, Edmund, Lear and Cordelia as prisoners; Officers, Soldiers, &c.

EDMUND. Some officers take them away: good guard Until their greater pleasures first be known That are to censure them.

CORDELIA. We are not the first Who with best meaning have incurr’d the worst. For thee, oppressed King, I am cast down; Myself could else out-frown false fortune’s frown. Shall we not see these daughters and these sisters?

LEAR. No, no, no, no. Come, let’s away to prison: We two alone will sing like birds i’ the cage: When thou dost ask me blessing I’ll kneel down And ask of thee forgiveness. So we’ll live, And pray, and sing, and tell old tales, and laugh At gilded butterflies, and hear poor rogues Talk of court news; and we’ll talk with them too, Who loses and who wins; who’s in, who’s out; And take upon’s the mystery of things, As if we were God’s spies. And we’ll wear out, In a wall’d prison, packs and sects of great ones That ebb and flow by the moon.

EDMUND. Take them away.

LEAR. Upon such sacrifices, my Cordelia, The gods themselves throw incense. Have I caught thee? He that parts us shall bring a brand from heaven, And fire us hence like foxes. Wipe thine eyes; The good years shall devour them, flesh and fell, Ere they shall make us weep! We’ll see ’em starve first: come.

[Exeunt Lear and Cordelia, guarded.]

EDMUND. Come hither, captain, hark. Take thou this note [giving a paper]; go follow them to prison. One step I have advanc’d thee; if thou dost As this instructs thee, thou dost make thy way To noble fortunes: know thou this, that men Are as the time is; to be tender-minded Does not become a sword. Thy great employment Will not bear question; either say thou’lt do’t, Or thrive by other means.

CAPTAIN. I’ll do’t, my lord.

EDMUND. About it; and write happy when thou hast done. Mark, I say, instantly; and carry it so As I have set it down.

CAPTAIN. I cannot draw a cart, nor eat dried oats; If it be man’s work, I’ll do’t.

[Exit.]

Flourish. Enter Albany, Goneril, Regan, Officers and Attendants.

ALBANY. Sir, you have show’d today your valiant strain, And fortune led you well: you have the captives Who were the opposites of this day’s strife: I do require them of you, so to use them As we shall find their merits and our safety May equally determine.

EDMUND. Sir, I thought it fit To send the old and miserable King To some retention and appointed guard; Whose age has charms in it, whose title more, To pluck the common bosom on his side, And turn our impress’d lances in our eyes Which do command them. With him I sent the queen; My reason all the same; and they are ready Tomorrow, or at further space, to appear Where you shall hold your session. At this time We sweat and bleed: the friend hath lost his friend; And the best quarrels in the heat are curs’d By those that feel their sharpness. The question of Cordelia and her father Requires a fitter place.

ALBANY. Sir, by your patience, I hold you but a subject of this war, Not as a brother.

REGAN. That’s as we list to grace him. Methinks our pleasure might have been demanded Ere you had spoke so far. He led our powers; Bore the commission of my place and person; The which immediacy may well stand up And call itself your brother.

GONERIL. Not so hot: In his own grace he doth exalt himself, More than in your addition.

REGAN. In my rights, By me invested, he compeers the best.

ALBANY. That were the most, if he should husband you.

REGAN. Jesters do oft prove prophets.

GONERIL. Holla, holla! That eye that told you so look’d but asquint.

REGAN. Lady, I am not well; else I should answer From a full-flowing stomach. General, Take thou my soldiers, prisoners, patrimony; Dispose of them, of me; the walls are thine: Witness the world that I create thee here My lord and master.

GONERIL. Mean you to enjoy him?

ALBANY. The let-alone lies not in your good will.

EDMUND. Nor in thine, lord.

ALBANY. Half-blooded fellow, yes.

REGAN. [To Edmund.] Let the drum strike, and prove my title thine.

ALBANY. Stay yet; hear reason: Edmund, I arrest thee On capital treason; and, in thine arrest, This gilded serpent. [pointing to Goneril.] For your claim, fair sister, I bar it in the interest of my wife; ’Tis she is sub-contracted to this lord, And I her husband contradict your bans. If you will marry, make your loves to me, My lady is bespoke.

GONERIL. An interlude!

ALBANY. Thou art arm’d, Gloucester. Let the trumpet sound: If none appear to prove upon thy person Thy heinous, manifest, and many treasons, There is my pledge. [Throwing down a glove.] I’ll make it on thy heart, Ere I taste bread, thou art in nothing less Than I have here proclaim’d thee.

REGAN. Sick, O, sick!

GONERIL. [Aside.] If not, I’ll ne’er trust medicine.

EDMUND. There’s my exchange. [Throwing down a glove.] What in the world he is That names me traitor, villain-like he lies. Call by thy trumpet: he that dares approach, On him, on you, who not? I will maintain My truth and honour firmly.

ALBANY. A herald, ho!

Enter a Herald.

Trust to thy single virtue; for thy soldiers, All levied in my name, have in my name Took their discharge.

REGAN. My sickness grows upon me.

ALBANY. She is not well. Convey her to my tent.

[Exit Regan, led.]

Come hither, herald. Let the trumpet sound And read out this.

OFFICER. Sound, trumpet!

[A trumpet sounds.]

HERALD. [Reads.] ‘If any man of quality or degree within the lists of the army will maintain upon Edmund, supposed Earl of Gloucester, that he is a manifold traitor, let him appear by the third sound of the trumpet. He is bold in his defence.’

EDMUND. Sound!

[First trumpet.]

HERALD. Again!

[Second trumpet.]

HERALD. Again!

Third trumpet. Trumpet answers within. Enter Edgar, armed, preceded by a trumpet.

ALBANY. Ask him his purposes, why he appears Upon this call o’ the trumpet.

HERALD. What are you? Your name, your quality? and why you answer This present summons?

EDGAR. Know my name is lost; By treason’s tooth bare-gnawn and canker-bit. Yet am I noble as the adversary I come to cope.

ALBANY. Which is that adversary?

EDGAR. What’s he that speaks for Edmund, Earl of Gloucester?

EDMUND. Himself, what say’st thou to him?

EDGAR. Draw thy sword, That if my speech offend a noble heart, Thy arm may do thee justice: here is mine. Behold, it is the privilege of mine honours, My oath, and my profession: I protest, Maugre thy strength, youth, place, and eminence, Despite thy victor sword and fire-new fortune, Thy valour and thy heart, thou art a traitor; False to thy gods, thy brother, and thy father; Conspirant ’gainst this high illustrious prince; And, from the extremest upward of thy head To the descent and dust beneath thy foot, A most toad-spotted traitor. Say thou ‘No,’ This sword, this arm, and my best spirits are bent To prove upon thy heart, whereto I speak, Thou liest.

EDMUND. In wisdom I should ask thy name; But since thy outside looks so fair and warlike, And that thy tongue some say of breeding breathes, What safe and nicely I might well delay By rule of knighthood, I disdain and spurn. Back do I toss those treasons to thy head, With the hell-hated lie o’erwhelm thy heart; Which for they yet glance by and scarcely bruise, This sword of mine shall give them instant way, Where they shall rest for ever. Trumpets, speak!

[Alarums. They fight. Edmund falls.]

ALBANY. Save him, save him!

GONERIL. This is mere practice, Gloucester: By the law of arms thou wast not bound to answer An unknown opposite; thou art not vanquish’d, But cozen’d and beguil’d.

ALBANY. Shut your mouth, dame, Or with this paper shall I stop it. Hold, sir; Thou worse than any name, read thine own evil. No tearing, lady; I perceive you know it.

[Gives the letter to Edmund.]

GONERIL. Say if I do, the laws are mine, not thine: Who can arraign me for’t?

[Exit.]

ALBANY. Most monstrous! O! Know’st thou this paper?

EDMUND. Ask me not what I know.

ALBANY. [To an Officer, who goes out.] Go after her; she’s desperate; govern her.

EDMUND. What you have charg’d me with, that have I done; And more, much more; the time will bring it out. ’Tis past, and so am I. But what art thou That hast this fortune on me? If thou’rt noble, I do forgive thee.

EDGAR. Let’s exchange charity. I am no less in blood than thou art, Edmund; If more, the more thou hast wrong’d me. My name is Edgar and thy father’s son. The gods are just, and of our pleasant vices Make instruments to plague us: The dark and vicious place where thee he got Cost him his eyes.

EDMUND. Thou hast spoken right, ’tis true; The wheel is come full circle; I am here.

ALBANY. Methought thy very gait did prophesy A royal nobleness. I must embrace thee. Let sorrow split my heart if ever I Did hate thee or thy father.

EDGAR. Worthy prince, I know’t.

ALBANY. Where have you hid yourself? How have you known the miseries of your father?

EDGAR. By nursing them, my lord. List a brief tale; And when ’tis told, O that my heart would burst! The bloody proclamation to escape That follow’d me so near,—O, our lives’ sweetness! That with the pain of death we’d hourly die Rather than die at once!—taught me to shift Into a madman’s rags; t’assume a semblance That very dogs disdain’d; and in this habit Met I my father with his bleeding rings, Their precious stones new lost; became his guide, Led him, begg’d for him, sav’d him from despair; Never,—O fault!—reveal’d myself unto him Until some half hour past, when I was arm’d; Not sure, though hoping of this good success, I ask’d his blessing, and from first to last Told him my pilgrimage. But his flaw’d heart, Alack, too weak the conflict to support! ’Twixt two extremes of passion, joy and grief, Burst smilingly.

EDMUND. This speech of yours hath mov’d me, And shall perchance do good, but speak you on; You look as you had something more to say.

ALBANY. If there be more, more woeful, hold it in; For I am almost ready to dissolve, Hearing of this.

EDGAR. This would have seem’d a period To such as love not sorrow; but another, To amplify too much, would make much more, And top extremity. Whilst I was big in clamour, came there a man Who, having seen me in my worst estate, Shunn’d my abhorr’d society; but then finding Who ’twas that so endur’d, with his strong arms He fastened on my neck, and bellow’d out As he’d burst heaven; threw him on my father; Told the most piteous tale of Lear and him That ever ear receiv’d, which in recounting His grief grew puissant, and the strings of life Began to crack. Twice then the trumpets sounded, And there I left him tranc’d.

ALBANY. But who was this?

EDGAR. Kent, sir, the banish’d Kent; who in disguise Follow’d his enemy king and did him service Improper for a slave.

Enter a Gentleman hastily, with a bloody knife.

GENTLEMAN. Help, help! O, help!

EDGAR. What kind of help?

ALBANY. Speak, man.

EDGAR. What means this bloody knife?

GENTLEMAN. ’Tis hot, it smokes; It came even from the heart of—O! she’s dead!

ALBANY. Who dead? Speak, man.

GENTLEMAN. Your lady, sir, your lady; and her sister By her is poisoned; she hath confesses it.

EDMUND. I was contracted to them both, all three Now marry in an instant.

EDGAR. Here comes Kent.

Enter Kent.

ALBANY. Produce their bodies, be they alive or dead. This judgement of the heavens that makes us tremble Touches us not with pity. O, is this he? The time will not allow the compliment Which very manners urges.

KENT. I am come To bid my King and master aye good night: Is he not here?

ALBANY. Great thing of us forgot! Speak, Edmund, where’s the King? and where’s Cordelia?

The bodies of Goneril and Regan are brought in.

Seest thou this object, Kent?

KENT. Alack, why thus?

EDMUND. Yet Edmund was belov’d. The one the other poisoned for my sake, And after slew herself.

ALBANY. Even so. Cover their faces.

EDMUND. I pant for life. Some good I mean to do, Despite of mine own nature. Quickly send, Be brief in it, to the castle; for my writ Is on the life of Lear and on Cordelia; Nay, send in time.

ALBANY. Run, run, O, run!

EDGAR. To who, my lord? Who has the office? Send Thy token of reprieve.

EDMUND. Well thought on: take my sword, Give it the captain.

EDGAR. Haste thee for thy life.

[Exit Edgar.]

EDMUND. He hath commission from thy wife and me To hang Cordelia in the prison, and To lay the blame upon her own despair, That she fordid herself.

ALBANY. The gods defend her! Bear him hence awhile.

[Edmund is borne off.]

Enter Lear with Cordelia dead in his arms; Edgar, Officer and others following.

LEAR. Howl, howl, howl, howl! O, you are men of stone. Had I your tongues and eyes, I’ld use them so That heaven’s vault should crack. She’s gone for ever! I know when one is dead, and when one lives; She’s dead as earth. Lend me a looking glass; If that her breath will mist or stain the stone, Why, then she lives.

KENT. Is this the promis’d end?

EDGAR. Or image of that horror?

ALBANY. Fall, and cease!

LEAR. This feather stirs; she lives! If it be so, It is a chance which does redeem all sorrows That ever I have felt.

KENT. O, my good master! [Kneeling.]

LEAR. Prithee, away!

EDGAR. ’Tis noble Kent, your friend.

LEAR. A plague upon you, murderers, traitors all! I might have sav’d her; now she’s gone for ever! Cordelia, Cordelia! stay a little. Ha! What is’t thou say’st? Her voice was ever soft, Gentle, and low, an excellent thing in woman. I kill’d the slave that was a-hanging thee.

OFFICER. ’Tis true, my lords, he did.

LEAR. Did I not, fellow? I have seen the day, with my good biting falchion I would have made them skip. I am old now, And these same crosses spoil me. Who are you? Mine eyes are not o’ the best, I’ll tell you straight.

KENT. If Fortune brag of two she lov’d and hated, One of them we behold.

LEAR. This is a dull sight. Are you not Kent?

KENT. The same, Your servant Kent. Where is your servant Caius?

LEAR. He’s a good fellow, I can tell you that; He’ll strike, and quickly too:. He’s dead and rotten.

KENT. No, my good lord; I am the very man.

LEAR. I’ll see that straight.

KENT. That from your first of difference and decay Have follow’d your sad steps.

LEAR. You are welcome hither.

KENT. Nor no man else. All’s cheerless, dark and deadly. Your eldest daughters have fordone themselves, And desperately are dead.

LEAR. Ay, so I think.

ALBANY. He knows not what he says; and vain is it That we present us to him.

EDGAR. Very bootless.

Enter an Officer.

OFFICER. Edmund is dead, my lord.

ALBANY. That’s but a trifle here. You lords and noble friends, know our intent. What comfort to this great decay may come Shall be applied. For us, we will resign, During the life of this old majesty, To him our absolute power; [to Edgar and Kent] you to your rights; With boot and such addition as your honours Have more than merited. All friends shall taste The wages of their virtue and all foes The cup of their deservings. O, see, see!

LEAR. And my poor fool is hang’d! No, no, no life! Why should a dog, a horse, a rat have life, And thou no breath at all? Thou’lt come no more, Never, never, never, never, never! Pray you undo this button. Thank you, sir. Do you see this? Look on her: look, her lips, Look there, look there!

[He dies.]

EDGAR. He faints! My lord, my lord!

KENT. Break, heart; I prithee break!

EDGAR. Look up, my lord.

KENT. Vex not his ghost: O, let him pass! He hates him That would upon the rack of this rough world Stretch him out longer.

EDGAR. He is gone indeed.

KENT. The wonder is, he hath endur’d so long: He but usurp’d his life.

ALBANY. Bear them from hence. Our present business Is general woe. [To Edgar and Kent.] Friends of my soul, you twain, Rule in this realm and the gor’d state sustain.

KENT. I have a journey, sir, shortly to go; My master calls me, I must not say no.

EDGAR. The weight of this sad time we must obey; Speak what we feel, not what we ought to say. The oldest hath borne most; we that are young Shall never see so much, nor live so long.

[Exeunt with a dead march.]

LOVE’S LABOUR’S LOST

Dramatis Personæ

KING of Navarre, also known as Ferdinand

BEROWNE, Lord attending on the King LONGAVILLE, Lord attending on the King DUMAINE, Lord attending on the King

The PRINCESS of France

ROSALINE, Lady attending on the Princess MARIA, Lady attending on the Princess KATHARINE, Lady attending on the Princess BOYET, Lord attending on the Princess

Don Adriano de ARMADO, a fantastical Spaniard MOTH, Page to Armado JAQUENETTA, a country wench COSTARD, a Clown DULL, a Constable HOLOFERNES, a Schoolmaster Sir NATHANIEL, a Curate A FORESTER MARCADÉ, a messenger from France

Lords, Blackamoors, Officers and Others, Attendants on the King and Princess.

SCENE: Navarre

Act I, Scene I — The King of Navarre’s park

Enter Ferdinand, King of Navarre, Berowne, Longaville and Dumaine.

KING. Let fame, that all hunt after in their lives, Live registered upon our brazen tombs, And then grace us in the disgrace of death; When, spite of cormorant devouring time, Th’ endeavour of this present breath may buy That honour which shall bate his scythe’s keen edge, And make us heirs of all eternity. Therefore, brave conquerors, for so you are That war against your own affections And the huge army of the world’s desires, Our late edict shall strongly stand in force. Navarre shall be the wonder of the world; Our court shall be a little academe, Still and contemplative in living art. You three, Berowne, Dumaine and Longaville, Have sworn for three years’ term to live with me, My fellow-scholars, and to keep those statutes That are recorded in this schedule here. Your oaths are passed, and now subscribe your names, That his own hand may strike his honour down That violates the smallest branch herein. If you are armed to do as sworn to do, Subscribe to your deep oaths, and keep it too.

LONGAVILLE. I am resolved. ’Tis but a three years’ fast. The mind shall banquet, though the body pine. Fat paunches have lean pates, and dainty bits Make rich the ribs, but bankrupt quite the wits.

[He signs.]

DUMAINE. My loving lord, Dumaine is mortified. The grosser manner of these world’s delights He throws upon the gross world’s baser slaves. To love, to wealth, to pomp, I pine and die, With all these living in philosophy.

[He signs.]

BEROWNE. I can but say their protestation over. So much, dear liege, I have already sworn, That is, to live and study here three years. But there are other strict observances: As not to see a woman in that term, Which I hope well is not enrolled there; And one day in a week to touch no food, And but one meal on every day beside, The which I hope is not enrolled there; And then to sleep but three hours in the night, And not be seen to wink of all the day, When I was wont to think no harm all night, And make a dark night too of half the day, Which I hope well is not enrolled there. O, these are barren tasks, too hard to keep, Not to see ladies, study, fast, not sleep.

KING. Your oath is passed to pass away from these.

BEROWNE. Let me say no, my liege, an if you please. I only swore to study with your Grace And stay here in your court for three years’ space.

LONGAVILLE. You swore to that, Berowne, and to the rest.

BEROWNE. By yea and nay, sir, then I swore in jest. What is the end of study, let me know?

KING. Why, that to know which else we should not know.

BEROWNE. Things hid and barred, you mean, from common sense?

KING. Ay, that is study’s god-like recompense.

BEROWNE. Come on, then, I will swear to study so, To know the thing I am forbid to know: As thus, to study where I well may dine, When I to feast expressly am forbid; Or study where to meet some mistress fine, When mistresses from common sense are hid; Or, having sworn too hard-a-keeping oath, Study to break it, and not break my troth. If study’s gain be thus, and this be so, Study knows that which yet it doth not know. Swear me to this, and I will ne’er say no.

KING. These be the stops that hinder study quite, And train our intellects to vain delight.

BEROWNE. Why, all delights are vain, but that most vain Which, with pain purchased, doth inherit pain: As painfully to pore upon a book To seek the light of truth, while truth the while Doth falsely blind the eyesight of his look. Light seeking light doth light of light beguile; So, ere you find where light in darkness lies, Your light grows dark by losing of your eyes. Study me how to please the eye indeed By fixing it upon a fairer eye, Who dazzling so, that eye shall be his heed, And give him light that it was blinded by. Study is like the heaven’s glorious sun, That will not be deep-searched with saucy looks; Small have continual plodders ever won, Save base authority from others’ books. These earthly godfathers of heaven’s lights, That give a name to every fixed star, Have no more profit of their shining nights Than those that walk and wot not what they are. Too much to know is to know naught but fame, And every godfather can give a name.

KING. How well he’s read, to reason against reading.

DUMAINE. Proceeded well, to stop all good proceeding.

LONGAVILLE. He weeds the corn, and still lets grow the weeding.

BEROWNE. The spring is near when green geese are a-breeding.

DUMAINE. How follows that?

BEROWNE. Fit in his place and time.

DUMAINE. In reason nothing.

BEROWNE. Something then in rhyme.

LONGAVILLE. Berowne is like an envious sneaping frost That bites the first-born infants of the spring.

BEROWNE. Well, say I am. Why should proud summer boast Before the birds have any cause to sing? Why should I joy in any abortive birth? At Christmas I no more desire a rose Than wish a snow in May’s new-fangled shows, But like of each thing that in season grows. So you, to study now it is too late, Climb o’er the house to unlock the little gate.

KING. Well, sit you out. Go home, Berowne. Adieu.

BEROWNE. No, my good lord, I have sworn to stay with you, And though I have for barbarism spoke more Than for that angel knowledge you can say, Yet confident I’ll keep what I have sworn And bide the penance of each three years’ day. Give me the paper, let me read the same, And to the strictest decrees I’ll write my name.

KING. How well this yielding rescues thee from shame.

BEROWNE. [Reads.] Item, That no woman shall come within a mile of my court. Hath this been proclaimed?

LONGAVILLE. Four days ago.

BEROWNE. Let’s see the penalty. [Reads.] On pain of losing her tongue. Who devised this penalty?

LONGAVILLE. Marry, that did I.

BEROWNE. Sweet lord, and why?

LONGAVILLE. To fright them hence with that dread penalty.

BEROWNE. A dangerous law against gentility. [Reads.] _Item, If any man be seen to talk with a woman within the term of three years, he shall endure such public shame as the rest of the court can possibly devise._ This article, my liege, yourself must break, For well you know here comes in embassy The French King’s daughter, with yourself to speak— A mild of grace and complete majesty— About surrender up of Aquitaine To her decrepit, sick, and bedrid father. Therefore this article is made in vain, Or vainly comes th’ admired Princess hither.

KING. What say you, lords? Why, this was quite forgot.

BEROWNE. So study evermore is overshot. While it doth study to have what it would, It doth forget to do the thing it should; And when it hath the thing it hunteth most, ’Tis won as towns with fire: so won, so lost.

KING. We must of force dispense with this decree. She must lie here on mere necessity.

BEROWNE. Necessity will make us all forsworn Three thousand times within this three years’ space; For every man with his affects is born, Not by might mastered, but by special grace. If I break faith, this word shall speak for me: I am forsworn on mere necessity. So to the laws at large I write my name, And he that breaks them in the least degree Stands in attainder of eternal shame. Suggestions are to other as to me; But I believe, although I seem so loath, I am the last that will last keep his oath.

[He signs.]

But is there no quick recreation granted?

KING. Ay, that there is. Our court, you know, is haunted With a refined traveller of Spain, A man in all the world’s new fashion planted, That hath a mint of phrases in his brain; One who the music of his own vain tongue Doth ravish like enchanting harmony, A man of complements, whom right and wrong Have chose as umpire of their mutiny. This child of fancy, that Armado hight, For interim to our studies shall relate In high-born words the worth of many a knight From tawny Spain lost in the world’s debate. How you delight, my lords, I know not, I, But I protest I love to hear him lie, And I will use him for my minstrelsy.

BEROWNE. Armado is a most illustrious wight, A man of fire-new words, fashion’s own knight.

LONGAVILLE. Costard the swain and he shall be our sport, And so to study three years is but short.

Enter Dull, a Constable, with a letter, and Costard.

DULL. Which is the Duke’s own person?

BEROWNE. This, fellow. What wouldst?

DULL. I myself reprehend his own person, for I am his Grace’s farborough. But I would see his own person in flesh and blood.

BEROWNE. This is he.

DULL. Signior Arm… Arm… commends you. There’s villainy abroad. This letter will tell you more.

COSTARD. Sir, the contempts thereof are as touching me.

KING. A letter from the magnificent Armado.

BEROWNE. How long soever the matter, I hope in God for high words.

LONGAVILLE. A high hope for a low heaven. God grant us patience!

BEROWNE. To hear, or forbear laughing?

LONGAVILLE. To hear meekly, sir, and to laugh moderately, or to forbear both.

BEROWNE. Well, sir, be it as the style shall give us cause to climb in the merriness.

COSTARD. The matter is to me, sir, as concerning Jaquenetta. The manner of it is, I was taken with the manner.

BEROWNE. In what manner?

COSTARD. In manner and form following, sir, all those three. I was seen with her in the manor-house, sitting with her upon the form, and taken following her into the park, which, put together, is “in manner and form following”. Now, sir, for the manner. It is the manner of a man to speak to a woman. For the form—in some form.

BEROWNE. For the “following”, sir?

COSTARD. As it shall follow in my correction, and God defend the right!

KING. Will you hear this letter with attention?

BEROWNE. As we would hear an oracle.

COSTARD. Such is the simplicity of man to hearken after the flesh.

KING. [Reads.] _Great deputy, the welkin’s vicegerent and sole dominator of Navarre, my soul’s earth’s god and body’s fostering patron—_

COSTARD. Not a word of Costard yet.

KING. [Reads.] So it is—

COSTARD. It may be so; but if he say it is so, he is, in telling true, but so.

KING. Peace!

COSTARD. Be to me, and every man that dares not fight.

KING. No words!

COSTARD. Of other men’s secrets, I beseech you.

KING. [Reads.] So it is, besieged with sable-coloured melancholy, I did commend the black-oppressing humour to the most wholesome physic of thy health-giving air; and, as I am a gentleman, betook myself to walk. The time when? About the sixth hour, when beasts most graze, birds best peck, and men sit down to that nourishment which is called supper. So much for the time when. Now for the ground which? Which, I mean, I walked upon. It is ycleped thy park. Then for the place, where? Where, I mean, I did encounter that obscene and most preposterous event that draweth from my snow-white pen the ebon-coloured ink, which here thou viewest, beholdest, surveyest, or seest. But to the place where? It standeth north-north-east and by east from the west corner of thy curious-knotted garden. There did I see that low-spirited swain, that base minnow of thy mirth—

COSTARD. Me?

KING. [Reads.] That unlettered small-knowing soul—

COSTARD. Me?

KING. [Reads.] That shallow vassal—

COSTARD. Still me?

KING. [Reads.] Which, as I remember, hight Costard—

COSTARD. O me!

KING. [Reads.] Sorted and consorted, contrary to thy established proclaimed edict and continent canon, which with, O, with—but with this I passion to say wherewith—

COSTARD. With a wench.

KING. [Reads.] With a child of our grandmother Eve, a female; or, for thy more sweet understanding, a woman. Him, I, as my ever-esteemed duty pricks me on, have sent to thee, to receive the meed of punishment, by thy sweet Grace’s officer, Antony Dull, a man of good repute, carriage, bearing, and estimation.

DULL. Me, an’t shall please you; I am Antony Dull.

KING. [Reads.] For Jaquenetta, so is the weaker vessel called which I apprehended with the aforesaid swain, I keep her as a vessel of thy law’s fury, and shall, at the least of thy sweet notice, bring her to trial. Thine, in all compliments of devoted and heartburning heat of duty, Don Adriano de Armado.

BEROWNE. This is not so well as I looked for, but the best that ever I heard.

KING. Ay, the best for the worst. But, sirrah, what say you to this?

COSTARD. Sir, I confess the wench.

KING. Did you hear the proclamation?

COSTARD. I do confess much of the hearing it, but little of the marking of it.

KING. It was proclaimed a year’s imprisonment to be taken with a wench.

COSTARD. I was taken with none, sir. I was taken with a damsel.

KING. Well, it was proclaimed “damsel”.

COSTARD. This was no damsel neither, sir; she was a virgin.

KING. It is so varied too, for it was proclaimed “virgin”.

COSTARD. If it were, I deny her virginity. I was taken with a maid.

KING. This maid will not serve your turn, sir.

COSTARD. This maid will serve my turn, sir.

KING. Sir, I will pronounce your sentence: you shall fast a week with bran and water.

COSTARD. I had rather pray a month with mutton and porridge.

KING. And Don Armado shall be your keeper. My Lord Berowne, see him delivered o’er; And go we, lords, to put in practice that Which each to other hath so strongly sworn.

[Exeunt King, Longaville and Dumaine.]

BEROWNE. I’ll lay my head to any good man’s hat These oaths and laws will prove an idle scorn. Sirrah, come on.

COSTARD. I suffer for the truth, sir; for true it is I was taken with Jaquenetta, and Jaquenetta is a true girl. And therefore welcome the sour cup of prosperity! Affliction may one day smile again, and till then, sit thee down, sorrow.

[Exeunt.]

Act I, Scene II — The park

Enter Armado and Moth, his Page.

ARMADO. Boy, what sign is it when a man of great spirit grows melancholy?

MOTH. A great sign, sir, that he will look sad.

ARMADO. Why, sadness is one and the selfsame thing, dear imp.

MOTH. No, no, O Lord, sir, no.

ARMADO. How canst thou part sadness and melancholy, my tender juvenal?

MOTH. By a familiar demonstration of the working, my tough signior.

ARMADO. Why tough signior? Why tough signior?

MOTH. Why tender juvenal? Why tender juvenal?

ARMADO. I spoke it, tender juvenal, as a congruent epitheton appertaining to thy young days, which we may nominate tender.

MOTH. And I, tough signior, as an appertinent title to your old time, which we may name tough.

ARMADO. Pretty and apt.

MOTH. How mean you, sir? I pretty and my saying apt, or I apt, and my saying pretty?

ARMADO. Thou pretty, because little.

MOTH. Little pretty, because little. Wherefore apt?

ARMADO. And therefore apt, because quick.

MOTH. Speak you this in my praise, master?

ARMADO. In thy condign praise.

MOTH. I will praise an eel with the same praise.

ARMADO. What, that an eel is ingenious?

MOTH. That an eel is quick.

ARMADO. I do say thou art quick in answers. Thou heat’st my blood.

MOTH. I am answered, sir.

ARMADO. I love not to be crossed.

MOTH. [Aside.] He speaks the mere contrary; crosses love not him.

ARMADO. I have promised to study three years with the Duke.

MOTH. You may do it in an hour, sir.

ARMADO. Impossible.

MOTH. How many is one thrice told?

ARMADO. I am ill at reckoning. It fitteth the spirit of a tapster.

MOTH. You are a gentleman and a gamester, sir.

ARMADO. I confess both. They are both the varnish of a complete man.

MOTH. Then I am sure you know how much the gross sum of deuce-ace amounts to.

ARMADO. It doth amount to one more than two.

MOTH. Which the base vulgar do call three.

ARMADO. True.

MOTH. Why, sir, is this such a piece of study? Now here’s three studied ere ye’ll thrice wink. And how easy it is to put “years” to the word “three”, and study three years in two words, the dancing horse will tell you.

ARMADO. A most fine figure!

MOTH. [Aside.] To prove you a cipher.

ARMADO. I will hereupon confess I am in love; and as it is base for a soldier to love, so am I in love with a base wench. If drawing my sword against the humour of affection would deliver me from the reprobate thought of it, I would take desire prisoner, and ransom him to any French courtier for a new-devised curtsy. I think scorn to sigh; methinks I should outswear Cupid. Comfort me, boy. What great men have been in love?

MOTH. Hercules, master.

ARMADO. Most sweet Hercules! More authority, dear boy, name more; and, sweet my child, let them be men of good repute and carriage.

MOTH. Samson, master. He was a man of good carriage, great carriage, for he carried the town gates on his back like a porter, and he was in love.

ARMADO. O well-knit Samson, strong-jointed Samson! I do excel thee in my rapier as much as thou didst me in carrying gates. I am in love too. Who was Samson’s love, my dear Moth?

MOTH. A woman, master.

ARMADO. Of what complexion?

MOTH. Of all the four, or the three, or the two, or one of the four.

ARMADO. Tell me precisely of what complexion.

MOTH. Of the sea-water green, sir.

ARMADO. Is that one of the four complexions?

MOTH. As I have read, sir; and the best of them too.

ARMADO. Green indeed is the colour of lovers. But to have a love of that colour, methinks Samson had small reason for it. He surely affected her for her wit.

MOTH. It was so, sir, for she had a green wit.

ARMADO. My love is most immaculate white and red.

MOTH. Most maculate thoughts, master, are masked under such colours.

ARMADO. Define, define, well-educated infant.

MOTH. My father’s wit and my mother’s tongue assist me!

ARMADO. Sweet invocation of a child, most pretty, and pathetical!

MOTH. If she be made of white and red, Her faults will ne’er be known; For blushing cheeks by faults are bred, And fears by pale white shown. Then if she fear, or be to blame, By this you shall not know, For still her cheeks possess the same Which native she doth owe. A dangerous rhyme, master, against the reason of white and red.

ARMADO. Is there not a ballad, boy, of the King and the Beggar?

MOTH. The world was very guilty of such a ballad some three ages since, but I think now ’tis not to be found; or if it were, it would neither serve for the writing nor the tune.

ARMADO. I will have that subject newly writ o’er, that I may example my digression by some mighty precedent. Boy, I do love that country girl that I took in the park with the rational hind Costard. She deserves well.

MOTH. [Aside.] To be whipped: and yet a better love than my master.

ARMADO. Sing, boy. My spirit grows heavy in love.

MOTH. And that’s great marvel, loving a light wench.

ARMADO. I say, sing.

MOTH. Forbear till this company be past.

Enter Costard the Clown, Dull the Constable and Jaquenetta a Wench.

DULL. Sir, the Duke’s pleasure is that you keep Costard safe; and you must suffer him to take no delight, nor no penance, but he must fast three days a week. For this damsel, I must keep her at the park. She is allowed for the dey-woman. Fare you well.

ARMADO. I do betray myself with blushing.—Maid.

JAQUENETTA. Man.

ARMADO. I will visit thee at the lodge.

JAQUENETTA. That’s hereby.

ARMADO. I know where it is situate.

JAQUENETTA. Lord, how wise you are!

ARMADO. I will tell thee wonders.

JAQUENETTA. With that face?

ARMADO. I love thee.

JAQUENETTA. So I heard you say.

ARMADO. And so, farewell.

JAQUENETTA. Fair weather after you!

DULL. Come, Jaquenetta, away.

[Exeunt Dull and Jaquenetta.]

ARMADO. Villain, thou shalt fast for thy offences ere thou be pardoned.

COSTARD. Well, sir, I hope when I do it I shall do it on a full stomach.

ARMADO. Thou shalt be heavily punished.

COSTARD. I am more bound to you than your fellows, for they are but lightly rewarded.

ARMADO. Take away this villain. Shut him up.

MOTH. Come, you transgressing slave, away!

COSTARD. Let me not be pent up, sir. I will fast being loose.

MOTH. No, sir, that were fast and loose. Thou shalt to prison.

COSTARD. Well, if ever I do see the merry days of desolation that I have seen, some shall see.

MOTH. What shall some see?

COSTARD. Nay, nothing, Master Moth, but what they look upon. It is not for prisoners to be too silent in their words, and therefore I will say nothing. I thank God I have as little patience as another man, and therefore I can be quiet.

[Exeunt Moth and Costard.]

ARMADO. I do affect the very ground, which is base, where her shoe, which is baser, guided by her foot, which is basest, doth tread. I shall be forsworn, which is a great argument of falsehood, if I love. And how can that be true love which is falsely attempted? Love is a familiar; Love is a devil. There is no evil angel but Love. Yet was Samson so tempted, and he had an excellent strength; yet was Solomon so seduced, and he had a very good wit. Cupid’s butt-shaft is too hard for Hercules’ club, and therefore too much odds for a Spaniard’s rapier. The first and second cause will not serve my turn; the passado he respects not, the duello he regards not. His disgrace is to be called boy, but his glory is to subdue men. Adieu, valour; rust, rapier; be still, drum, for your manager is in love. Yea, he loveth. Assist me, some extemporal god of rhyme, for I am sure I shall turn sonnet. Devise, wit; write, pen; for I am for whole volumes in folio.

[Exit.]