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Act III, Scene I — Forres. A Room in the Palace…

Part 31 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 I — Forres. A Room in the Palace

Enter Banquo.

BANQUO. Thou hast it now, King, Cawdor, Glamis, all, As the Weird Women promis’d; and, I fear, Thou play’dst most foully for’t; yet it was said It should not stand in thy posterity; But that myself should be the root and father Of many kings. If there come truth from them (As upon thee, Macbeth, their speeches shine) Why, by the verities on thee made good, May they not be my oracles as well, And set me up in hope? But hush; no more.

Sennet sounded. Enter Macbeth as King, Lady Macbeth as Queen; Lennox, Ross, Lords, and Attendants.

MACBETH. Here’s our chief guest.

LADY MACBETH. If he had been forgotten, It had been as a gap in our great feast, And all-thing unbecoming.

MACBETH. Tonight we hold a solemn supper, sir, And I’ll request your presence.

BANQUO. Let your Highness Command upon me, to the which my duties Are with a most indissoluble tie For ever knit.

MACBETH. Ride you this afternoon?

BANQUO. Ay, my good lord.

MACBETH. We should have else desir’d your good advice (Which still hath been both grave and prosperous) In this day’s council; but we’ll take tomorrow. Is’t far you ride?

BANQUO. As far, my lord, as will fill up the time ’Twixt this and supper: go not my horse the better, I must become a borrower of the night, For a dark hour or twain.

MACBETH. Fail not our feast.

BANQUO. My lord, I will not.

MACBETH. We hear our bloody cousins are bestow’d In England and in Ireland; not confessing Their cruel parricide, filling their hearers With strange invention. But of that tomorrow, When therewithal we shall have cause of state Craving us jointly. Hie you to horse: adieu, Till you return at night. Goes Fleance with you?

BANQUO. Ay, my good lord: our time does call upon’s.

MACBETH. I wish your horses swift and sure of foot; And so I do commend you to their backs. Farewell.—

[Exit Banquo.]

Let every man be master of his time Till seven at night; to make society The sweeter welcome, we will keep ourself Till supper time alone: while then, God be with you.

[Exeunt Lady Macbeth, Lords, &c.]

Sirrah, a word with you. Attend those men Our pleasure?

SERVANT. They are, my lord, without the palace gate.

MACBETH. Bring them before us.

[Exit Servant.]

To be thus is nothing, But to be safely thus. Our fears in Banquo Stick deep, and in his royalty of nature Reigns that which would be fear’d: ’tis much he dares; And, to that dauntless temper of his mind, He hath a wisdom that doth guide his valour To act in safety. There is none but he Whose being I do fear: and under him My genius is rebuk’d; as, it is said, Mark Antony’s was by Caesar. He chid the sisters When first they put the name of king upon me, And bade them speak to him; then, prophet-like, They hail’d him father to a line of kings: Upon my head they plac’d a fruitless crown, And put a barren sceptre in my gripe, Thence to be wrench’d with an unlineal hand, No son of mine succeeding. If’t be so, For Banquo’s issue have I fil’d my mind; For them the gracious Duncan have I murder’d; Put rancours in the vessel of my peace Only for them; and mine eternal jewel Given to the common enemy of man, To make them kings, the seed of Banquo kings! Rather than so, come, fate, into the list, And champion me to th’ utterance!—Who’s there?—

Enter Servant with two Murderers.

Now go to the door, and stay there till we call.

[Exit Servant.]

Was it not yesterday we spoke together?

FIRST MURDERER. It was, so please your Highness.

MACBETH. Well then, now Have you consider’d of my speeches? Know That it was he, in the times past, which held you So under fortune, which you thought had been Our innocent self? This I made good to you In our last conference, pass’d in probation with you How you were borne in hand, how cross’d, the instruments, Who wrought with them, and all things else that might To half a soul and to a notion craz’d Say, “Thus did Banquo.”

FIRST MURDERER. You made it known to us.

MACBETH. I did so; and went further, which is now Our point of second meeting. Do you find Your patience so predominant in your nature, That you can let this go? Are you so gospell’d, To pray for this good man and for his issue, Whose heavy hand hath bow’d you to the grave, And beggar’d yours forever?

FIRST MURDERER. We are men, my liege.

MACBETH. Ay, in the catalogue ye go for men; As hounds, and greyhounds, mongrels, spaniels, curs, Shoughs, water-rugs, and demi-wolves are clept All by the name of dogs: the valu’d file Distinguishes the swift, the slow, the subtle, The housekeeper, the hunter, every one According to the gift which bounteous nature Hath in him clos’d; whereby he does receive Particular addition, from the bill That writes them all alike: and so of men. Now, if you have a station in the file, Not i’ th’ worst rank of manhood, say’t; And I will put that business in your bosoms, Whose execution takes your enemy off, Grapples you to the heart and love of us, Who wear our health but sickly in his life, Which in his death were perfect.

SECOND MURDERER. I am one, my liege, Whom the vile blows and buffets of the world Hath so incens’d that I am reckless what I do to spite the world.

FIRST MURDERER. And I another, So weary with disasters, tugg’d with fortune, That I would set my life on any chance, To mend it or be rid on’t.

MACBETH. Both of you Know Banquo was your enemy.

BOTH MURDERERS. True, my lord.

MACBETH. So is he mine; and in such bloody distance, That every minute of his being thrusts Against my near’st of life; and though I could With barefac’d power sweep him from my sight, And bid my will avouch it, yet I must not, For certain friends that are both his and mine, Whose loves I may not drop, but wail his fall Who I myself struck down: and thence it is That I to your assistance do make love, Masking the business from the common eye For sundry weighty reasons.

SECOND MURDERER. We shall, my lord, Perform what you command us.

FIRST MURDERER. Though our lives—

MACBETH. Your spirits shine through you. Within this hour at most, I will advise you where to plant yourselves, Acquaint you with the perfect spy o’ th’ time, The moment on’t; for’t must be done tonight And something from the palace; always thought That I require a clearness. And with him (To leave no rubs nor botches in the work) Fleance his son, that keeps him company, Whose absence is no less material to me Than is his father’s, must embrace the fate Of that dark hour. Resolve yourselves apart. I’ll come to you anon.

BOTH MURDERERS. We are resolv’d, my lord.

MACBETH. I’ll call upon you straight: abide within.

[Exeunt Murderers.]

It is concluded. Banquo, thy soul’s flight, If it find heaven, must find it out tonight.

[Exit.]

Act III, Scene II — The same. Another Room in the Palace

Enter Lady Macbeth and a Servant.

LADY MACBETH. Is Banquo gone from court?

SERVANT. Ay, madam, but returns again tonight.

LADY MACBETH. Say to the King, I would attend his leisure For a few words.

SERVANT. Madam, I will.

[Exit.]

LADY MACBETH. Naught’s had, all’s spent, Where our desire is got without content: ’Tis safer to be that which we destroy, Than by destruction dwell in doubtful joy.

Enter Macbeth.

How now, my lord, why do you keep alone, Of sorriest fancies your companions making, Using those thoughts which should indeed have died With them they think on? Things without all remedy Should be without regard: what’s done is done.

MACBETH. We have scorch’d the snake, not kill’d it. She’ll close, and be herself; whilst our poor malice Remains in danger of her former tooth. But let the frame of things disjoint, Both the worlds suffer, Ere we will eat our meal in fear, and sleep In the affliction of these terrible dreams That shake us nightly. Better be with the dead, Whom we, to gain our peace, have sent to peace, Than on the torture of the mind to lie In restless ecstasy. Duncan is in his grave; After life’s fitful fever he sleeps well; Treason has done his worst: nor steel, nor poison, Malice domestic, foreign levy, nothing Can touch him further.

LADY MACBETH. Come on, Gently my lord, sleek o’er your rugged looks; Be bright and jovial among your guests tonight.

MACBETH. So shall I, love; and so, I pray, be you. Let your remembrance apply to Banquo; Present him eminence, both with eye and tongue: Unsafe the while, that we Must lave our honours in these flattering streams, And make our faces vizards to our hearts, Disguising what they are.

LADY MACBETH. You must leave this.

MACBETH. O, full of scorpions is my mind, dear wife! Thou know’st that Banquo, and his Fleance, lives.

LADY MACBETH. But in them nature’s copy’s not eterne.

MACBETH. There’s comfort yet; they are assailable. Then be thou jocund. Ere the bat hath flown His cloister’d flight, ere to black Hecate’s summons The shard-born beetle, with his drowsy hums, Hath rung night’s yawning peal, there shall be done A deed of dreadful note.

LADY MACBETH. What’s to be done?

MACBETH. Be innocent of the knowledge, dearest chuck, Till thou applaud the deed. Come, seeling night, Scarf up the tender eye of pitiful day, And with thy bloody and invisible hand Cancel and tear to pieces that great bond Which keeps me pale!—Light thickens; and the crow Makes wing to th’ rooky wood. Good things of day begin to droop and drowse, Whiles night’s black agents to their preys do rouse. Thou marvell’st at my words: but hold thee still; Things bad begun make strong themselves by ill. So, pr’ythee, go with me.

[Exeunt.]

Act III, Scene III — The same. A Park or Lawn, with a gate leading to the Palace

Enter three Murderers.

FIRST MURDERER. But who did bid thee join with us?

THIRD MURDERER. Macbeth.

SECOND MURDERER. He needs not our mistrust; since he delivers Our offices and what we have to do To the direction just.

FIRST MURDERER. Then stand with us. The west yet glimmers with some streaks of day. Now spurs the lated traveller apace, To gain the timely inn; and near approaches The subject of our watch.

THIRD MURDERER. Hark! I hear horses.

BANQUO. [Within.] Give us a light there, ho!

SECOND MURDERER. Then ’tis he; the rest That are within the note of expectation Already are i’ th’ court.

FIRST MURDERER. His horses go about.

THIRD MURDERER. Almost a mile; but he does usually, So all men do, from hence to the palace gate Make it their walk.

Enter Banquo and Fleance with a torch.

SECOND MURDERER. A light, a light!

THIRD MURDERER. ’Tis he.

FIRST MURDERER. Stand to’t.

BANQUO. It will be rain tonight.

FIRST MURDERER. Let it come down.

[Assaults Banquo.]

BANQUO. O, treachery! Fly, good Fleance, fly, fly, fly! Thou mayst revenge—O slave!

[Dies. Fleance escapes.]

THIRD MURDERER. Who did strike out the light?

FIRST MURDERER. Was’t not the way?

THIRD MURDERER. There’s but one down: the son is fled.

SECOND MURDERER. We have lost best half of our affair.

FIRST MURDERER. Well, let’s away, and say how much is done.

[Exeunt.]

Act III, Scene IV — The same. A Room of state in the Palace

A banquet prepared. Enter Macbeth, Lady Macbeth, Ross, Lennox, Lords and Attendants.

MACBETH. You know your own degrees, sit down. At first And last the hearty welcome.

LORDS. Thanks to your Majesty.

MACBETH. Ourself will mingle with society, And play the humble host. Our hostess keeps her state; but, in best time, We will require her welcome.

LADY MACBETH. Pronounce it for me, sir, to all our friends; For my heart speaks they are welcome.

Enter first Murderer to the door.

MACBETH. See, they encounter thee with their hearts’ thanks. Both sides are even: here I’ll sit i’ th’ midst.

Be large in mirth; anon we’ll drink a measure The table round. There’s blood upon thy face.

MURDERER. ’Tis Banquo’s then.

MACBETH. ’Tis better thee without than he within. Is he dispatch’d?

MURDERER. My lord, his throat is cut. That I did for him.

MACBETH. Thou art the best o’ th’ cut-throats; Yet he’s good that did the like for Fleance: If thou didst it, thou art the nonpareil.

MURDERER. Most royal sir, Fleance is ’scap’d.

MACBETH. Then comes my fit again: I had else been perfect; Whole as the marble, founded as the rock, As broad and general as the casing air: But now I am cabin’d, cribb’d, confin’d, bound in To saucy doubts and fears. But Banquo’s safe?

MURDERER. Ay, my good lord. Safe in a ditch he bides, With twenty trenched gashes on his head; The least a death to nature.

MACBETH. Thanks for that. There the grown serpent lies; the worm that’s fled Hath nature that in time will venom breed, No teeth for th’ present.—Get thee gone; tomorrow We’ll hear, ourselves, again.

[Exit Murderer.]

LADY MACBETH. My royal lord, You do not give the cheer: the feast is sold That is not often vouch’d, while ’tis a-making, ’Tis given with welcome. To feed were best at home; From thence the sauce to meat is ceremony; Meeting were bare without it.

The Ghost of Banquo rises, and sits in Macbeth’s place.

MACBETH. Sweet remembrancer!— Now, good digestion wait on appetite, And health on both!

LENNOX. May’t please your Highness sit.

MACBETH. Here had we now our country’s honour roof’d, Were the grac’d person of our Banquo present; Who may I rather challenge for unkindness Than pity for mischance!

ROSS. His absence, sir, Lays blame upon his promise. Please’t your Highness To grace us with your royal company?

MACBETH. The table’s full.

LENNOX. Here is a place reserv’d, sir.

MACBETH. Where?

LENNOX. Here, my good lord. What is’t that moves your Highness?

MACBETH. Which of you have done this?

LORDS. What, my good lord?

MACBETH. Thou canst not say I did it. Never shake Thy gory locks at me.

ROSS. Gentlemen, rise; his Highness is not well.

LADY MACBETH. Sit, worthy friends. My lord is often thus, And hath been from his youth: pray you, keep seat; The fit is momentary; upon a thought He will again be well. If much you note him, You shall offend him, and extend his passion. Feed, and regard him not.—Are you a man?

MACBETH. Ay, and a bold one, that dare look on that Which might appal the devil.

LADY MACBETH. O proper stuff! This is the very painting of your fear: This is the air-drawn dagger which you said, Led you to Duncan. O, these flaws, and starts (Impostors to true fear), would well become A woman’s story at a winter’s fire, Authoris’d by her grandam. Shame itself! Why do you make such faces? When all’s done, You look but on a stool.

MACBETH. Pr’ythee, see there! Behold! look! lo! how say you? Why, what care I? If thou canst nod, speak too.— If charnel houses and our graves must send Those that we bury back, our monuments Shall be the maws of kites.

[Ghost disappears.]

LADY MACBETH. What, quite unmann’d in folly?

MACBETH. If I stand here, I saw him.

LADY MACBETH. Fie, for shame!

MACBETH. Blood hath been shed ere now, i’ th’ olden time, Ere humane statute purg’d the gentle weal; Ay, and since too, murders have been perform’d Too terrible for the ear: the time has been, That, when the brains were out, the man would die, And there an end; but now they rise again, With twenty mortal murders on their crowns, And push us from our stools. This is more strange Than such a murder is.

LADY MACBETH. My worthy lord, Your noble friends do lack you.

MACBETH. I do forget.— Do not muse at me, my most worthy friends. I have a strange infirmity, which is nothing To those that know me. Come, love and health to all; Then I’ll sit down.—Give me some wine, fill full.— I drink to the general joy o’ th’ whole table, And to our dear friend Banquo, whom we miss: Would he were here.

Ghost rises again.

To all, and him, we thirst, And all to all.

LORDS. Our duties, and the pledge.

MACBETH. Avaunt! and quit my sight! let the earth hide thee! Thy bones are marrowless, thy blood is cold; Thou hast no speculation in those eyes Which thou dost glare with!

LADY MACBETH. Think of this, good peers, But as a thing of custom: ’tis no other, Only it spoils the pleasure of the time.

MACBETH. What man dare, I dare: Approach thou like the rugged Russian bear, The arm’d rhinoceros, or th’ Hyrcan tiger; Take any shape but that, and my firm nerves Shall never tremble: or be alive again, And dare me to the desert with thy sword; If trembling I inhabit then, protest me The baby of a girl. Hence, horrible shadow! Unreal mock’ry, hence!

[Ghost disappears.]

Why, so;—being gone, I am a man again.—Pray you, sit still.

LADY MACBETH. You have displaced the mirth, broke the good meeting With most admir’d disorder.

MACBETH. Can such things be, And overcome us like a summer’s cloud, Without our special wonder? You make me strange Even to the disposition that I owe, When now I think you can behold such sights, And keep the natural ruby of your cheeks, When mine are blanch’d with fear.

ROSS. What sights, my lord?

LADY MACBETH. I pray you, speak not; he grows worse and worse; Question enrages him. At once, good night:— Stand not upon the order of your going, But go at once.

LENNOX. Good night; and better health Attend his Majesty!

LADY MACBETH. A kind good night to all!

[Exeunt all Lords and Attendants.]

MACBETH. It will have blood, they say, blood will have blood. Stones have been known to move, and trees to speak; Augurs, and understood relations, have By magot-pies, and choughs, and rooks, brought forth The secret’st man of blood.—What is the night?

LADY MACBETH. Almost at odds with morning, which is which.

MACBETH. How say’st thou, that Macduff denies his person At our great bidding?

LADY MACBETH. Did you send to him, sir?

MACBETH. I hear it by the way; but I will send. There’s not a one of them but in his house I keep a servant fee’d. I will tomorrow (And betimes I will) to the Weird Sisters: More shall they speak; for now I am bent to know, By the worst means, the worst. For mine own good, All causes shall give way: I am in blood Stepp’d in so far that, should I wade no more, Returning were as tedious as go o’er. Strange things I have in head, that will to hand, Which must be acted ere they may be scann’d.

LADY MACBETH. You lack the season of all natures, sleep.

MACBETH. Come, we’ll to sleep. My strange and self-abuse Is the initiate fear that wants hard use. We are yet but young in deed.

[Exeunt.]

Act III, Scene V — The heath

Thunder. Enter the three Witches meeting Hecate.

FIRST WITCH. Why, how now, Hecate? you look angerly.

HECATE. Have I not reason, beldams as you are, Saucy and overbold? How did you dare To trade and traffic with Macbeth In riddles and affairs of death; And I, the mistress of your charms, The close contriver of all harms, Was never call’d to bear my part, Or show the glory of our art? And, which is worse, all you have done Hath been but for a wayward son, Spiteful and wrathful; who, as others do, Loves for his own ends, not for you. But make amends now: get you gone, And at the pit of Acheron Meet me i’ th’ morning: thither he Will come to know his destiny. Your vessels and your spells provide, Your charms, and everything beside. I am for th’ air; this night I’ll spend Unto a dismal and a fatal end. Great business must be wrought ere noon. Upon the corner of the moon There hangs a vap’rous drop profound; I’ll catch it ere it come to ground: And that, distill’d by magic sleights, Shall raise such artificial sprites, As, by the strength of their illusion, Shall draw him on to his confusion. He shall spurn fate, scorn death, and bear His hopes ’bove wisdom, grace, and fear. And you all know, security Is mortals’ chiefest enemy.

[Music and song within, “Come away, come away” &c.]

Hark! I am call’d; my little spirit, see, Sits in a foggy cloud and stays for me.

[Exit.]

FIRST WITCH. Come, let’s make haste; she’ll soon be back again.

[Exeunt.]

Act III, Scene VI — Forres. A Room in the Palace

Enter Lennox and another Lord.

LENNOX. My former speeches have but hit your thoughts, Which can interpret farther: only, I say, Thing’s have been strangely borne. The gracious Duncan Was pitied of Macbeth:—marry, he was dead:— And the right valiant Banquo walk’d too late; Whom, you may say, if’t please you, Fleance kill’d, For Fleance fled. Men must not walk too late. Who cannot want the thought, how monstrous It was for Malcolm and for Donalbain To kill their gracious father? damned fact! How it did grieve Macbeth! did he not straight, In pious rage, the two delinquents tear That were the slaves of drink and thralls of sleep? Was not that nobly done? Ay, and wisely too; For ’twould have anger’d any heart alive, To hear the men deny’t. So that, I say, He has borne all things well: and I do think, That had he Duncan’s sons under his key (As, and’t please heaven, he shall not) they should find What ’twere to kill a father; so should Fleance. But, peace!—for from broad words, and ’cause he fail’d His presence at the tyrant’s feast, I hear, Macduff lives in disgrace. Sir, can you tell Where he bestows himself?

LORD. The son of Duncan, From whom this tyrant holds the due of birth, Lives in the English court and is receiv’d Of the most pious Edward with such grace That the malevolence of fortune nothing Takes from his high respect. Thither Macduff Is gone to pray the holy king, upon his aid To wake Northumberland, and warlike Siward That, by the help of these (with Him above To ratify the work), we may again Give to our tables meat, sleep to our nights; Free from our feasts and banquets bloody knives, Do faithful homage, and receive free honours, All which we pine for now. And this report Hath so exasperate the King that he Prepares for some attempt of war.

LENNOX. Sent he to Macduff?

LORD. He did: and with an absolute “Sir, not I,” The cloudy messenger turns me his back, And hums, as who should say, “You’ll rue the time That clogs me with this answer.”

LENNOX. And that well might Advise him to a caution, t’ hold what distance His wisdom can provide. Some holy angel Fly to the court of England, and unfold His message ere he come, that a swift blessing May soon return to this our suffering country Under a hand accurs’d!

LORD. I’ll send my prayers with him.

[Exeunt.]

Act IV, Scene I — A dark Cave. In the middle, a Cauldron Boiling

Thunder. Enter the three Witches.

FIRST WITCH. Thrice the brinded cat hath mew’d.

SECOND WITCH. Thrice, and once the hedge-pig whin’d.

THIRD WITCH. Harpier cries:—’Tis time, ’tis time.

FIRST WITCH. Round about the cauldron go; In the poison’d entrails throw.— Toad, that under cold stone Days and nights has thirty-one Swelter’d venom sleeping got, Boil thou first i’ th’ charmed pot!

ALL. Double, double, toil and trouble; Fire, burn; and cauldron, bubble.

SECOND WITCH. Fillet of a fenny snake, In the cauldron boil and bake; Eye of newt, and toe of frog, Wool of bat, and tongue of dog, Adder’s fork, and blind-worm’s sting, Lizard’s leg, and howlet’s wing, For a charm of powerful trouble, Like a hell-broth boil and bubble.

ALL. Double, double, toil and trouble; Fire, burn; and cauldron, bubble.

THIRD WITCH. Scale of dragon, tooth of wolf, Witch’s mummy, maw and gulf Of the ravin’d salt-sea shark, Root of hemlock digg’d i’ th’ dark, Liver of blaspheming Jew, Gall of goat, and slips of yew Sliver’d in the moon’s eclipse, Nose of Turk, and Tartar’s lips, Finger of birth-strangled babe Ditch-deliver’d by a drab, Make the gruel thick and slab: Add thereto a tiger’s chaudron, For th’ ingredients of our cauldron.

ALL. Double, double, toil and trouble; Fire, burn; and cauldron, bubble.

SECOND WITCH. Cool it with a baboon’s blood. Then the charm is firm and good.

Enter Hecate.

HECATE. O, well done! I commend your pains, And everyone shall share i’ th’ gains. And now about the cauldron sing, Like elves and fairies in a ring, Enchanting all that you put in.

[Music and a song: “Black Spirits,” &c.]

[Exit Hecate.]

SECOND WITCH. By the pricking of my thumbs, Something wicked this way comes. Open, locks, Whoever knocks!

Enter Macbeth.

MACBETH. How now, you secret, black, and midnight hags! What is’t you do?

ALL. A deed without a name.

MACBETH. I conjure you, by that which you profess, (Howe’er you come to know it) answer me: Though you untie the winds, and let them fight Against the churches; though the yesty waves Confound and swallow navigation up; Though bladed corn be lodg’d, and trees blown down; Though castles topple on their warders’ heads; Though palaces and pyramids do slope Their heads to their foundations; though the treasure Of nature’s germens tumble all together, Even till destruction sicken, answer me To what I ask you.

FIRST WITCH. Speak.

SECOND WITCH. Demand.

THIRD WITCH. We’ll answer.

FIRST WITCH. Say, if thou’dst rather hear it from our mouths, Or from our masters?

MACBETH. Call ’em, let me see ’em.

FIRST WITCH. Pour in sow’s blood, that hath eaten Her nine farrow; grease that’s sweaten From the murderer’s gibbet throw Into the flame.

ALL. Come, high or low; Thyself and office deftly show!

[Thunder. An Apparition of an armed Head rises.]

MACBETH. Tell me, thou unknown power,—

FIRST WITCH. He knows thy thought: Hear his speech, but say thou naught.

APPARITION. Macbeth! Macbeth! Macbeth! Beware Macduff; Beware the Thane of Fife.—Dismiss me.—Enough.

[Descends.]

MACBETH. Whate’er thou art, for thy good caution, thanks; Thou hast harp’d my fear aright.—But one word more.

FIRST WITCH. He will not be commanded. Here’s another, More potent than the first.

[Thunder. An Apparition of a bloody Child rises.]

APPARITION. Macbeth! Macbeth! Macbeth!

MACBETH. Had I three ears, I’d hear thee.

APPARITION. Be bloody, bold, and resolute. Laugh to scorn The power of man, for none of woman born Shall harm Macbeth.

[Descends.]

MACBETH. Then live, Macduff: what need I fear of thee? But yet I’ll make assurance double sure, And take a bond of fate. Thou shalt not live; That I may tell pale-hearted fear it lies, And sleep in spite of thunder.

[Thunder. An Apparition of a Child crowned, with a tree in his hand, rises.]

What is this, That rises like the issue of a king, And wears upon his baby brow the round And top of sovereignty?

ALL. Listen, but speak not to’t.

APPARITION. Be lion-mettled, proud, and take no care Who chafes, who frets, or where conspirers are: Macbeth shall never vanquish’d be, until Great Birnam wood to high Dunsinane hill Shall come against him.

[Descends.]

MACBETH. That will never be: Who can impress the forest; bid the tree Unfix his earth-bound root? Sweet bodements, good! Rebellious head, rise never till the wood Of Birnam rise, and our high-plac’d Macbeth Shall live the lease of nature, pay his breath To time and mortal custom.—Yet my heart Throbs to know one thing: tell me, if your art Can tell so much, shall Banquo’s issue ever Reign in this kingdom?

ALL. Seek to know no more.

MACBETH. I will be satisfied: deny me this, And an eternal curse fall on you! Let me know. Why sinks that cauldron? and what noise is this?

[Hautboys.]

FIRST WITCH. Show!

SECOND WITCH. Show!

THIRD WITCH. Show!

ALL. Show his eyes, and grieve his heart; Come like shadows, so depart!

[A show of eight kings appear, and pass over in order, the last with a glass in his hand; Banquo following.]

MACBETH. Thou are too like the spirit of Banquo. Down! Thy crown does sear mine eyeballs:—and thy hair, Thou other gold-bound brow, is like the first. A third is like the former.—Filthy hags! Why do you show me this?—A fourth!—Start, eyes! What, will the line stretch out to th’ crack of doom? Another yet!—A seventh!—I’ll see no more:— And yet the eighth appears, who bears a glass Which shows me many more; and some I see That twofold balls and treble sceptres carry. Horrible sight!—Now I see ’tis true; For the blood-bolter’d Banquo smiles upon me, And points at them for his.—What! is this so?

FIRST WITCH. Ay, sir, all this is so:—but why Stands Macbeth thus amazedly?— Come, sisters, cheer we up his sprites, And show the best of our delights. I’ll charm the air to give a sound, While you perform your antic round; That this great king may kindly say, Our duties did his welcome pay.

[Music. The Witches dance, and vanish.]

MACBETH. Where are they? Gone?—Let this pernicious hour Stand aye accursed in the calendar!— Come in, without there!

Enter Lennox.

LENNOX. What’s your Grace’s will?

MACBETH. Saw you the Weird Sisters?

LENNOX. No, my lord.

MACBETH. Came they not by you?

LENNOX. No, indeed, my lord.

MACBETH. Infected be the air whereon they ride; And damn’d all those that trust them!—I did hear The galloping of horse: who was’t came by?

LENNOX. ’Tis two or three, my lord, that bring you word Macduff is fled to England.

MACBETH. Fled to England!

LENNOX. Ay, my good lord.

MACBETH. Time, thou anticipat’st my dread exploits: The flighty purpose never is o’ertook Unless the deed go with it. From this moment The very firstlings of my heart shall be The firstlings of my hand. And even now, To crown my thoughts with acts, be it thought and done: The castle of Macduff I will surprise; Seize upon Fife; give to th’ edge o’ th’ sword His wife, his babes, and all unfortunate souls That trace him in his line. No boasting like a fool; This deed I’ll do before this purpose cool: But no more sights!—Where are these gentlemen? Come, bring me where they are.

[Exeunt.]

Act IV, Scene II — Fife. A Room in Macduff’s Castle

Enter Lady Macduff her Son and Ross.

LADY MACDUFF. What had he done, to make him fly the land?

ROSS. You must have patience, madam.

LADY MACDUFF. He had none: His flight was madness: when our actions do not, Our fears do make us traitors.

ROSS. You know not Whether it was his wisdom or his fear.

LADY MACDUFF. Wisdom! to leave his wife, to leave his babes, His mansion, and his titles, in a place From whence himself does fly? He loves us not: He wants the natural touch; for the poor wren, The most diminutive of birds, will fight, Her young ones in her nest, against the owl. All is the fear, and nothing is the love; As little is the wisdom, where the flight So runs against all reason.

ROSS. My dearest coz, I pray you, school yourself: but, for your husband, He is noble, wise, judicious, and best knows The fits o’ th’ season. I dare not speak much further: But cruel are the times, when we are traitors, And do not know ourselves; when we hold rumour From what we fear, yet know not what we fear, But float upon a wild and violent sea Each way and move—I take my leave of you: Shall not be long but I’ll be here again. Things at the worst will cease, or else climb upward To what they were before.—My pretty cousin, Blessing upon you!

LADY MACDUFF. Father’d he is, and yet he’s fatherless.

ROSS. I am so much a fool, should I stay longer, It would be my disgrace and your discomfort: I take my leave at once.

[Exit.]

LADY MACDUFF. Sirrah, your father’s dead. And what will you do now? How will you live?

SON. As birds do, mother.

LADY MACDUFF. What, with worms and flies?

SON. With what I get, I mean; and so do they.

LADY MACDUFF. Poor bird! thou’dst never fear the net nor lime, The pit-fall nor the gin.

SON. Why should I, mother? Poor birds they are not set for. My father is not dead, for all your saying.

LADY MACDUFF. Yes, he is dead: how wilt thou do for a father?

SON. Nay, how will you do for a husband?

LADY MACDUFF. Why, I can buy me twenty at any market.

SON. Then you’ll buy ’em to sell again.

LADY MACDUFF. Thou speak’st with all thy wit; And yet, i’ faith, with wit enough for thee.

SON. Was my father a traitor, mother?

LADY MACDUFF. Ay, that he was.

SON. What is a traitor?

LADY MACDUFF. Why, one that swears and lies.

SON. And be all traitors that do so?

LADY MACDUFF. Every one that does so is a traitor, and must be hanged.

SON. And must they all be hanged that swear and lie?

LADY MACDUFF. Every one.

SON. Who must hang them?

LADY MACDUFF. Why, the honest men.

SON. Then the liars and swearers are fools: for there are liars and swearers enow to beat the honest men and hang up them.

LADY MACDUFF. Now, God help thee, poor monkey! But how wilt thou do for a father?

SON. If he were dead, you’ld weep for him: if you would not, it were a good sign that I should quickly have a new father.

LADY MACDUFF. Poor prattler, how thou talk’st!

Enter a Messenger.

MESSENGER. Bless you, fair dame! I am not to you known, Though in your state of honour I am perfect. I doubt some danger does approach you nearly: If you will take a homely man’s advice, Be not found here; hence, with your little ones. To fright you thus, methinks, I am too savage; To do worse to you were fell cruelty, Which is too nigh your person. Heaven preserve you! I dare abide no longer.

[Exit.]

LADY MACDUFF. Whither should I fly? I have done no harm. But I remember now I am in this earthly world, where to do harm Is often laudable; to do good sometime Accounted dangerous folly: why then, alas, Do I put up that womanly defence, To say I have done no harm? What are these faces?

Enter Murderers.

FIRST MURDERER. Where is your husband?

LADY MACDUFF. I hope, in no place so unsanctified Where such as thou mayst find him.

FIRST MURDERER. He’s a traitor.

SON. Thou liest, thou shag-ear’d villain!

FIRST MURDERER. What, you egg!

[Stabbing him.]

Young fry of treachery!

SON. He has kill’d me, mother: Run away, I pray you!

[Dies. Exit Lady Macduff, crying “Murder!” and pursued by the Murderers.]

Act IV, Scene III — England. Before the King’s Palace

Enter Malcolm and Macduff.

MALCOLM. Let us seek out some desolate shade and there Weep our sad bosoms empty.

MACDUFF. Let us rather Hold fast the mortal sword, and, like good men, Bestride our down-fall’n birthdom. Each new morn New widows howl, new orphans cry; new sorrows Strike heaven on the face, that it resounds As if it felt with Scotland, and yell’d out Like syllable of dolour.

MALCOLM. What I believe, I’ll wail; What know, believe; and what I can redress, As I shall find the time to friend, I will. What you have spoke, it may be so, perchance. This tyrant, whose sole name blisters our tongues, Was once thought honest: you have loved him well; He hath not touch’d you yet. I am young; but something You may deserve of him through me; and wisdom To offer up a weak, poor, innocent lamb To appease an angry god.

MACDUFF. I am not treacherous.

MALCOLM. But Macbeth is. A good and virtuous nature may recoil In an imperial charge. But I shall crave your pardon. That which you are, my thoughts cannot transpose. Angels are bright still, though the brightest fell: Though all things foul would wear the brows of grace, Yet grace must still look so.

MACDUFF. I have lost my hopes.

MALCOLM. Perchance even there where I did find my doubts. Why in that rawness left you wife and child, Those precious motives, those strong knots of love, Without leave-taking?—I pray you, Let not my jealousies be your dishonours, But mine own safeties. You may be rightly just, Whatever I shall think.

MACDUFF. Bleed, bleed, poor country! Great tyranny, lay thou thy basis sure, For goodness dare not check thee! wear thou thy wrongs; The title is affeer’d.—Fare thee well, lord: I would not be the villain that thou think’st For the whole space that’s in the tyrant’s grasp And the rich East to boot.

MALCOLM. Be not offended: I speak not as in absolute fear of you. I think our country sinks beneath the yoke; It weeps, it bleeds; and each new day a gash Is added to her wounds. I think, withal, There would be hands uplifted in my right; And here, from gracious England, have I offer Of goodly thousands: but, for all this, When I shall tread upon the tyrant’s head, Or wear it on my sword, yet my poor country Shall have more vices than it had before, More suffer, and more sundry ways than ever, By him that shall succeed.

MACDUFF. What should he be?

MALCOLM. It is myself I mean; in whom I know All the particulars of vice so grafted That, when they shall be open’d, black Macbeth Will seem as pure as snow; and the poor state Esteem him as a lamb, being compar’d With my confineless harms.

MACDUFF. Not in the legions Of horrid hell can come a devil more damn’d In evils to top Macbeth.

MALCOLM. I grant him bloody, Luxurious, avaricious, false, deceitful, Sudden, malicious, smacking of every sin That has a name: but there’s no bottom, none, In my voluptuousness: your wives, your daughters, Your matrons, and your maids, could not fill up The cistern of my lust; and my desire All continent impediments would o’erbear, That did oppose my will: better Macbeth Than such an one to reign.

MACDUFF. Boundless intemperance In nature is a tyranny; it hath been Th’ untimely emptying of the happy throne, And fall of many kings. But fear not yet To take upon you what is yours: you may Convey your pleasures in a spacious plenty, And yet seem cold—the time you may so hoodwink. We have willing dames enough; there cannot be That vulture in you, to devour so many As will to greatness dedicate themselves, Finding it so inclin’d.

MALCOLM. With this there grows In my most ill-compos’d affection such A staunchless avarice, that, were I king, I should cut off the nobles for their lands; Desire his jewels, and this other’s house: And my more-having would be as a sauce To make me hunger more; that I should forge Quarrels unjust against the good and loyal, Destroying them for wealth.

MACDUFF. This avarice Sticks deeper; grows with more pernicious root Than summer-seeming lust; and it hath been The sword of our slain kings: yet do not fear; Scotland hath foisons to fill up your will, Of your mere own. All these are portable, With other graces weigh’d.

MALCOLM. But I have none: the king-becoming graces, As justice, verity, temp’rance, stableness, Bounty, perseverance, mercy, lowliness, Devotion, patience, courage, fortitude, I have no relish of them; but abound In the division of each several crime, Acting it many ways. Nay, had I power, I should Pour the sweet milk of concord into hell, Uproar the universal peace, confound All unity on earth.

MACDUFF. O Scotland, Scotland!

MALCOLM. If such a one be fit to govern, speak: I am as I have spoken.

MACDUFF. Fit to govern? No, not to live.—O nation miserable, With an untitled tyrant bloody-scepter’d, When shalt thou see thy wholesome days again, Since that the truest issue of thy throne By his own interdiction stands accus’d, And does blaspheme his breed? Thy royal father Was a most sainted king. The queen that bore thee, Oft’ner upon her knees than on her feet, Died every day she lived. Fare thee well! These evils thou repeat’st upon thyself Have banish’d me from Scotland.—O my breast, Thy hope ends here!

MALCOLM. Macduff, this noble passion, Child of integrity, hath from my soul Wiped the black scruples, reconcil’d my thoughts To thy good truth and honour. Devilish Macbeth By many of these trains hath sought to win me Into his power, and modest wisdom plucks me From over-credulous haste: but God above Deal between thee and me! for even now I put myself to thy direction, and Unspeak mine own detraction; here abjure The taints and blames I laid upon myself, For strangers to my nature. I am yet Unknown to woman; never was forsworn; Scarcely have coveted what was mine own; At no time broke my faith; would not betray The devil to his fellow; and delight No less in truth than life: my first false speaking Was this upon myself. What I am truly, Is thine and my poor country’s to command: Whither, indeed, before thy here-approach, Old Siward, with ten thousand warlike men, Already at a point, was setting forth. Now we’ll together, and the chance of goodness Be like our warranted quarrel. Why are you silent?

MACDUFF. Such welcome and unwelcome things at once ’Tis hard to reconcile.

Enter a Doctor.

MALCOLM. Well; more anon.—Comes the King forth, I pray you?

DOCTOR. Ay, sir. There are a crew of wretched souls That stay his cure: their malady convinces The great assay of art; but at his touch, Such sanctity hath heaven given his hand, They presently amend.

MALCOLM. I thank you, doctor.

[Exit Doctor.]

MACDUFF. What’s the disease he means?

MALCOLM. ’Tis call’d the evil: A most miraculous work in this good king; Which often, since my here-remain in England, I have seen him do. How he solicits heaven, Himself best knows, but strangely-visited people, All swoln and ulcerous, pitiful to the eye, The mere despair of surgery, he cures; Hanging a golden stamp about their necks, Put on with holy prayers: and ’tis spoken, To the succeeding royalty he leaves The healing benediction. With this strange virtue, He hath a heavenly gift of prophecy; And sundry blessings hang about his throne, That speak him full of grace.

Enter Ross.

MACDUFF. See, who comes here?

MALCOLM. My countryman; but yet I know him not.

MACDUFF. My ever-gentle cousin, welcome hither.

MALCOLM. I know him now. Good God, betimes remove The means that makes us strangers!

ROSS. Sir, amen.

MACDUFF. Stands Scotland where it did?

ROSS. Alas, poor country, Almost afraid to know itself! It cannot Be call’d our mother, but our grave, where nothing, But who knows nothing, is once seen to smile; Where sighs, and groans, and shrieks, that rent the air, Are made, not mark’d; where violent sorrow seems A modern ecstasy. The dead man’s knell Is there scarce ask’d for who; and good men’s lives Expire before the flowers in their caps, Dying or ere they sicken.

MACDUFF. O, relation Too nice, and yet too true!

MALCOLM. What’s the newest grief?

ROSS. That of an hour’s age doth hiss the speaker; Each minute teems a new one.

MACDUFF. How does my wife?

ROSS. Why, well.

MACDUFF. And all my children?

ROSS. Well too.

MACDUFF. The tyrant has not batter’d at their peace?

ROSS. No; they were well at peace when I did leave ’em.

MACDUFF. Be not a niggard of your speech: how goes’t?

ROSS. When I came hither to transport the tidings, Which I have heavily borne, there ran a rumour Of many worthy fellows that were out; Which was to my belief witness’d the rather, For that I saw the tyrant’s power afoot. Now is the time of help. Your eye in Scotland Would create soldiers, make our women fight, To doff their dire distresses.

MALCOLM. Be’t their comfort We are coming thither. Gracious England hath Lent us good Siward and ten thousand men; An older and a better soldier none That Christendom gives out.

ROSS. Would I could answer This comfort with the like! But I have words That would be howl’d out in the desert air, Where hearing should not latch them.

MACDUFF. What concern they? The general cause? or is it a fee-grief Due to some single breast?

ROSS. No mind that’s honest But in it shares some woe, though the main part Pertains to you alone.

MACDUFF. If it be mine, Keep it not from me, quickly let me have it.

ROSS. Let not your ears despise my tongue for ever, Which shall possess them with the heaviest sound That ever yet they heard.

MACDUFF. Humh! I guess at it.

ROSS. Your castle is surpris’d; your wife and babes Savagely slaughter’d. To relate the manner Were, on the quarry of these murder’d deer, To add the death of you.

MALCOLM. Merciful heaven!— What, man! ne’er pull your hat upon your brows. Give sorrow words. The grief that does not speak Whispers the o’er-fraught heart, and bids it break.

MACDUFF. My children too?

ROSS. Wife, children, servants, all That could be found.

MACDUFF. And I must be from thence! My wife kill’d too?

ROSS. I have said.

MALCOLM. Be comforted: Let’s make us med’cines of our great revenge, To cure this deadly grief.

MACDUFF. He has no children.—All my pretty ones? Did you say all?—O hell-kite!—All? What, all my pretty chickens and their dam At one fell swoop?

MALCOLM. Dispute it like a man.

MACDUFF. I shall do so; But I must also feel it as a man: I cannot but remember such things were, That were most precious to me.—Did heaven look on, And would not take their part? Sinful Macduff, They were all struck for thee! Naught that I am, Not for their own demerits, but for mine, Fell slaughter on their souls: heaven rest them now!

MALCOLM. Be this the whetstone of your sword. Let grief Convert to anger; blunt not the heart, enrage it.

MACDUFF. O, I could play the woman with mine eyes, And braggart with my tongue!—But, gentle heavens, Cut short all intermission; front to front, Bring thou this fiend of Scotland and myself; Within my sword’s length set him; if he ’scape, Heaven forgive him too!

MALCOLM. This tune goes manly. Come, go we to the King. Our power is ready; Our lack is nothing but our leave. Macbeth Is ripe for shaking, and the powers above Put on their instruments. Receive what cheer you may; The night is long that never finds the day.

[Exeunt.]

Act V, Scene I — Dunsinane. A Room in the Castle

Enter a Doctor of Physic and a Waiting-Gentlewoman.

DOCTOR. I have two nights watched with you, but can perceive no truth in your report. When was it she last walked?

GENTLEWOMAN. Since his Majesty went into the field, I have seen her rise from her bed, throw her nightgown upon her, unlock her closet, take forth paper, fold it, write upon’t, read it, afterwards seal it, and again return to bed; yet all this while in a most fast sleep.

DOCTOR. A great perturbation in nature, to receive at once the benefit of sleep, and do the effects of watching. In this slumbery agitation, besides her walking and other actual performances, what, at any time, have you heard her say?

GENTLEWOMAN. That, sir, which I will not report after her.

DOCTOR. You may to me; and ’tis most meet you should.

GENTLEWOMAN. Neither to you nor anyone; having no witness to confirm my speech.

Enter Lady Macbeth with a taper.

Lo you, here she comes! This is her very guise; and, upon my life, fast asleep. Observe her; stand close.

DOCTOR. How came she by that light?

GENTLEWOMAN. Why, it stood by her: she has light by her continually; ’tis her command.

DOCTOR. You see, her eyes are open.

GENTLEWOMAN. Ay, but their sense are shut.

DOCTOR. What is it she does now? Look how she rubs her hands.

GENTLEWOMAN. It is an accustomed action with her, to seem thus washing her hands. I have known her continue in this a quarter of an hour.

LADY MACBETH. Yet here’s a spot.

DOCTOR. Hark, she speaks. I will set down what comes from her, to satisfy my remembrance the more strongly.

LADY MACBETH. Out, damned spot! out, I say! One; two. Why, then ’tis time to do’t. Hell is murky! Fie, my lord, fie! a soldier, and afeard? What need we fear who knows it, when none can call our power to account? Yet who would have thought the old man to have had so much blood in him?

DOCTOR. Do you mark that?

LADY MACBETH. The Thane of Fife had a wife. Where is she now?—What, will these hands ne’er be clean? No more o’ that, my lord, no more o’ that: you mar all with this starting.

DOCTOR. Go to, go to. You have known what you should not.

GENTLEWOMAN. She has spoke what she should not, I am sure of that: heaven knows what she has known.

LADY MACBETH. Here’s the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh!

DOCTOR. What a sigh is there! The heart is sorely charged.

GENTLEWOMAN. I would not have such a heart in my bosom for the dignity of the whole body.

DOCTOR. Well, well, well.

GENTLEWOMAN. Pray God it be, sir.

DOCTOR. This disease is beyond my practice: yet I have known those which have walked in their sleep, who have died holily in their beds.

LADY MACBETH. Wash your hands, put on your nightgown; look not so pale. I tell you yet again, Banquo’s buried; he cannot come out on’s grave.

DOCTOR. Even so?

LADY MACBETH. To bed, to bed. There’s knocking at the gate. Come, come, come, come, give me your hand. What’s done cannot be undone. To bed, to bed, to bed.

[Exit.]

DOCTOR. Will she go now to bed?

GENTLEWOMAN. Directly.

DOCTOR. Foul whisp’rings are abroad. Unnatural deeds Do breed unnatural troubles: infected minds To their deaf pillows will discharge their secrets. More needs she the divine than the physician.— God, God, forgive us all! Look after her; Remove from her the means of all annoyance, And still keep eyes upon her. So, good night: My mind she has mated, and amaz’d my sight. I think, but dare not speak.

GENTLEWOMAN. Good night, good doctor.

[Exeunt.]

Act V, Scene II — The Country near Dunsinane

Enter, with drum and colours Menteith, Caithness, Angus, Lennox and Soldiers.

MENTEITH. The English power is near, led on by Malcolm, His uncle Siward, and the good Macduff. Revenges burn in them; for their dear causes Would to the bleeding and the grim alarm Excite the mortified man.

ANGUS. Near Birnam wood Shall we well meet them. That way are they coming.

CAITHNESS. Who knows if Donalbain be with his brother?

LENNOX. For certain, sir, he is not. I have a file Of all the gentry: there is Siward’s son And many unrough youths, that even now Protest their first of manhood.

MENTEITH. What does the tyrant?

CAITHNESS. Great Dunsinane he strongly fortifies. Some say he’s mad; others, that lesser hate him, Do call it valiant fury: but, for certain, He cannot buckle his distemper’d cause Within the belt of rule.

ANGUS. Now does he feel His secret murders sticking on his hands; Now minutely revolts upbraid his faith-breach; Those he commands move only in command, Nothing in love: now does he feel his title Hang loose about him, like a giant’s robe Upon a dwarfish thief.

MENTEITH. Who, then, shall blame His pester’d senses to recoil and start, When all that is within him does condemn Itself for being there?

CAITHNESS. Well, march we on, To give obedience where ’tis truly ow’d: Meet we the med’cine of the sickly weal; And with him pour we, in our country’s purge, Each drop of us.

LENNOX. Or so much as it needs To dew the sovereign flower, and drown the weeds. Make we our march towards Birnam.

[Exeunt, marching.]

Act V, Scene III — Dunsinane. A Room in the Castle

Enter Macbeth, Doctor and Attendants.

MACBETH. Bring me no more reports; let them fly all: Till Birnam wood remove to Dunsinane I cannot taint with fear. What’s the boy Malcolm? Was he not born of woman? The spirits that know All mortal consequences have pronounc’d me thus: “Fear not, Macbeth; no man that’s born of woman Shall e’er have power upon thee.”—Then fly, false thanes, And mingle with the English epicures: The mind I sway by, and the heart I bear, Shall never sag with doubt nor shake with fear.

Enter a Servant.

The devil damn thee black, thou cream-fac’d loon! Where gott’st thou that goose look?

SERVANT. There is ten thousand—

MACBETH. Geese, villain?

SERVANT. Soldiers, sir.

MACBETH. Go prick thy face and over-red thy fear, Thou lily-liver’d boy. What soldiers, patch? Death of thy soul! those linen cheeks of thine Are counsellors to fear. What soldiers, whey-face?

SERVANT. The English force, so please you.

MACBETH. Take thy face hence.

[Exit Servant.]

Seyton!—I am sick at heart, When I behold—Seyton, I say!—This push Will cheer me ever or disseat me now. I have liv’d long enough: my way of life Is fall’n into the sere, the yellow leaf; And that which should accompany old age, As honour, love, obedience, troops of friends, I must not look to have; but, in their stead, Curses, not loud but deep, mouth-honour, breath, Which the poor heart would fain deny, and dare not. Seyton!—

Enter Seyton.

SEYTON. What’s your gracious pleasure?

MACBETH. What news more?

SEYTON. All is confirm’d, my lord, which was reported.

MACBETH. I’ll fight till from my bones my flesh be hack’d. Give me my armour.

SEYTON. ’Tis not needed yet.

MACBETH. I’ll put it on. Send out more horses, skirr the country round; Hang those that talk of fear. Give me mine armour.— How does your patient, doctor?

DOCTOR. Not so sick, my lord, As she is troubled with thick-coming fancies, That keep her from her rest.

MACBETH. Cure her of that: Canst thou not minister to a mind diseas’d, Pluck from the memory a rooted sorrow, Raze out the written troubles of the brain, And with some sweet oblivious antidote Cleanse the stuff’d bosom of that perilous stuff Which weighs upon the heart?

DOCTOR. Therein the patient Must minister to himself.

MACBETH. Throw physic to the dogs, I’ll none of it. Come, put mine armour on; give me my staff: Seyton, send out.—Doctor, the Thanes fly from me.— Come, sir, despatch.—If thou couldst, doctor, cast The water of my land, find her disease, And purge it to a sound and pristine health, I would applaud thee to the very echo, That should applaud again.—Pull’t off, I say.— What rhubarb, senna, or what purgative drug, Would scour these English hence? Hear’st thou of them?

DOCTOR. Ay, my good lord. Your royal preparation Makes us hear something.

MACBETH. Bring it after me.— I will not be afraid of death and bane, Till Birnam forest come to Dunsinane.

[Exeunt all except Doctor.]

DOCTOR. Were I from Dunsinane away and clear, Profit again should hardly draw me here.

[Exit.]

Act V, Scene IV — Country near Dunsinane: a Wood in view

Enter, with drum and colours Malcolm, old Siward and his Son, Macduff, Menteith, Caithness, Angus, Lennox, Ross and Soldiers, marching.

MALCOLM. Cousins, I hope the days are near at hand That chambers will be safe.

MENTEITH. We doubt it nothing.

SIWARD. What wood is this before us?

MENTEITH. The wood of Birnam.

MALCOLM. Let every soldier hew him down a bough, And bear’t before him. Thereby shall we shadow The numbers of our host, and make discovery Err in report of us.

SOLDIERS. It shall be done.

SIWARD. We learn no other but the confident tyrant Keeps still in Dunsinane, and will endure Our setting down before’t.

MALCOLM. ’Tis his main hope; For where there is advantage to be given, Both more and less have given him the revolt, And none serve with him but constrained things, Whose hearts are absent too.

MACDUFF. Let our just censures Attend the true event, and put we on Industrious soldiership.

SIWARD. The time approaches, That will with due decision make us know What we shall say we have, and what we owe. Thoughts speculative their unsure hopes relate, But certain issue strokes must arbitrate; Towards which advance the war.

[Exeunt, marching.]

Act V, Scene V — Dunsinane. Within the castle

Enter with drum and colours, Macbeth, Seyton and Soldiers.

MACBETH. Hang out our banners on the outward walls; The cry is still, “They come!” Our castle’s strength Will laugh a siege to scorn: here let them lie Till famine and the ague eat them up. Were they not forc’d with those that should be ours, We might have met them dareful, beard to beard, And beat them backward home.

[A cry of women within.]

What is that noise?

SEYTON. It is the cry of women, my good lord.

[Exit.]

MACBETH. I have almost forgot the taste of fears. The time has been, my senses would have cool’d To hear a night-shriek; and my fell of hair Would at a dismal treatise rouse and stir As life were in’t. I have supp’d full with horrors; Direness, familiar to my slaughterous thoughts, Cannot once start me.

Enter Seyton.

Wherefore was that cry?

SEYTON. The Queen, my lord, is dead.

MACBETH. She should have died hereafter. There would have been a time for such a word. Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow; a poor player, That struts and frets his hour upon the stage, And then is heard no more: it is a tale Told by an idiot, full of sound and fury, Signifying nothing.

Enter a Messenger.

Thou com’st to use thy tongue; thy story quickly.

MESSENGER. Gracious my lord, I should report that which I say I saw, But know not how to do’t.

MACBETH. Well, say, sir.

MESSENGER. As I did stand my watch upon the hill, I look’d toward Birnam, and anon, methought, The wood began to move.

MACBETH. Liar, and slave!

MESSENGER. Let me endure your wrath, if’t be not so. Within this three mile may you see it coming; I say, a moving grove.

MACBETH. If thou speak’st false, Upon the next tree shalt thou hang alive, Till famine cling thee: if thy speech be sooth, I care not if thou dost for me as much.— I pull in resolution; and begin To doubt th’ equivocation of the fiend, That lies like truth. “Fear not, till Birnam wood Do come to Dunsinane;” and now a wood Comes toward Dunsinane.—Arm, arm, and out!— If this which he avouches does appear, There is nor flying hence nor tarrying here. I ’gin to be aweary of the sun, And wish th’ estate o’ th’ world were now undone.— Ring the alarum bell!—Blow, wind! come, wrack! At least we’ll die with harness on our back.

[Exeunt.]

Act V, Scene VI — The same. A Plain before the Castle

Enter, with drum and colours, Malcolm, old Siward, Macduff and their Army, with boughs.

MALCOLM. Now near enough. Your leafy screens throw down, And show like those you are.—You, worthy uncle, Shall with my cousin, your right noble son, Lead our first battle: worthy Macduff and we Shall take upon’s what else remains to do, According to our order.

SIWARD. Fare you well.— Do we but find the tyrant’s power tonight, Let us be beaten, if we cannot fight.

MACDUFF. Make all our trumpets speak; give them all breath, Those clamorous harbingers of blood and death.

[Exeunt.]

Act V, Scene VII — The same. Another part of the Plain

Alarums. Enter Macbeth.

MACBETH. They have tied me to a stake. I cannot fly, But, bear-like I must fight the course.—What’s he That was not born of woman? Such a one Am I to fear, or none.

Enter young Siward.

YOUNG SIWARD. What is thy name?

MACBETH. Thou’lt be afraid to hear it.

YOUNG SIWARD. No; though thou call’st thyself a hotter name Than any is in hell.

MACBETH. My name’s Macbeth.

YOUNG SIWARD. The devil himself could not pronounce a title More hateful to mine ear.

MACBETH. No, nor more fearful.

YOUNG SIWARD. Thou liest, abhorred tyrant. With my sword I’ll prove the lie thou speak’st.

[They fight, and young Siward is slain.]

MACBETH. Thou wast born of woman. But swords I smile at, weapons laugh to scorn, Brandish’d by man that’s of a woman born.

[Exit.]

Alarums. Enter Macduff.

MACDUFF. That way the noise is.—Tyrant, show thy face! If thou be’st slain and with no stroke of mine, My wife and children’s ghosts will haunt me still. I cannot strike at wretched kerns, whose arms Are hired to bear their staves. Either thou, Macbeth, Or else my sword, with an unbatter’d edge, I sheathe again undeeded. There thou shouldst be; By this great clatter, one of greatest note Seems bruited. Let me find him, Fortune! And more I beg not.

[Exit. Alarums.]

Enter Malcolm and old Siward.

SIWARD. This way, my lord;—the castle’s gently render’d: The tyrant’s people on both sides do fight; The noble thanes do bravely in the war, The day almost itself professes yours, And little is to do.

MALCOLM. We have met with foes That strike beside us.

SIWARD. Enter, sir, the castle.

[Exeunt. Alarums.]

Act V, Scene VIII — The same. Another part of the field

Enter Macbeth.

MACBETH. Why should I play the Roman fool, and die On mine own sword? whiles I see lives, the gashes Do better upon them.

Enter Macduff.

MACDUFF. Turn, hell-hound, turn!

MACBETH. Of all men else I have avoided thee: But get thee back; my soul is too much charg’d With blood of thine already.

MACDUFF. I have no words; My voice is in my sword: thou bloodier villain Than terms can give thee out!

[They fight.]

MACBETH. Thou losest labour: As easy mayst thou the intrenchant air With thy keen sword impress, as make me bleed: Let fall thy blade on vulnerable crests; I bear a charmed life, which must not yield To one of woman born.

MACDUFF. Despair thy charm; And let the angel whom thou still hast serv’d Tell thee, Macduff was from his mother’s womb Untimely ripp’d.

MACBETH. Accursed be that tongue that tells me so, For it hath cow’d my better part of man! And be these juggling fiends no more believ’d, That palter with us in a double sense; That keep the word of promise to our ear, And break it to our hope!—I’ll not fight with thee.

MACDUFF. Then yield thee, coward, And live to be the show and gaze o’ th’ time. We’ll have thee, as our rarer monsters are, Painted upon a pole, and underwrit, “Here may you see the tyrant.”

MACBETH. I will not yield, To kiss the ground before young Malcolm’s feet, And to be baited with the rabble’s curse. Though Birnam wood be come to Dunsinane, And thou oppos’d, being of no woman born, Yet I will try the last. Before my body I throw my warlike shield: lay on, Macduff; And damn’d be him that first cries, “Hold, enough!”

[Exeunt fighting. Alarums.]

Retreat. Flourish. Enter, with drum and colours, Malcolm, old Siward, Ross, Thanes and Soldiers.

MALCOLM. I would the friends we miss were safe arriv’d.

SIWARD. Some must go off; and yet, by these I see, So great a day as this is cheaply bought.

MALCOLM. Macduff is missing, and your noble son.

ROSS. Your son, my lord, has paid a soldier’s debt: He only liv’d but till he was a man; The which no sooner had his prowess confirm’d In the unshrinking station where he fought, But like a man he died.

SIWARD. Then he is dead?

ROSS. Ay, and brought off the field. Your cause of sorrow Must not be measur’d by his worth, for then It hath no end.

SIWARD. Had he his hurts before?

ROSS. Ay, on the front.

SIWARD. Why then, God’s soldier be he! Had I as many sons as I have hairs, I would not wish them to a fairer death: And so his knell is knoll’d.

MALCOLM. He’s worth more sorrow, And that I’ll spend for him.

SIWARD. He’s worth no more. They say he parted well and paid his score: And so, God be with him!—Here comes newer comfort.

Enter Macduff with Macbeth’s head.

MACDUFF. Hail, King, for so thou art. Behold, where stands Th’ usurper’s cursed head: the time is free. I see thee compass’d with thy kingdom’s pearl, That speak my salutation in their minds; Whose voices I desire aloud with mine,— Hail, King of Scotland!

ALL. Hail, King of Scotland!

[Flourish.]

MALCOLM. We shall not spend a large expense of time Before we reckon with your several loves, And make us even with you. My thanes and kinsmen, Henceforth be earls, the first that ever Scotland In such an honour nam’d. What’s more to do, Which would be planted newly with the time,— As calling home our exil’d friends abroad, That fled the snares of watchful tyranny; Producing forth the cruel ministers Of this dead butcher, and his fiend-like queen, Who, as ’tis thought, by self and violent hands Took off her life;—this, and what needful else That calls upon us, by the grace of Grace, We will perform in measure, time, and place. So thanks to all at once, and to each one, Whom we invite to see us crown’d at Scone.

[Flourish. Exeunt.]

MEASURE FOR MEASURE

Dramatis Personæ

Vincentio, DUKE of Vienna ESCALUS, an ancient Lord PROVOST ELBOW, a simple constable ABHORSON, an executioner A JUSTICE VARRIUS, a Gentleman, Servant to the Duke

ANGELO, Deputy to the Duke MARIANA, betrothed to Angelo BOY, singer SERVANT, to Angelo MESSENGER, from Angelo

ISABELLA, Sister to Claudio FRANCISCA, a nun

CLAUDIO, a young Gentleman JULIET, betrothed to Claudio LUCIO, a fantastic Two GENTLEMEN

FRIAR THOMAS FRIAR PETER

Mistress Overdone, a BAWD POMPEY, Servant to Mistress Overdone FROTH, a foolish gentleman BARNARDINE, a dissolute prisoner

Lords, Officers, Servants, Citizens and Attendants

SCENE: Vienna

Act I, Scene I — An apartment in the Duke’s palace

Enter Duke, Escalus, Lords and Attendants.

DUKE. Escalus.

ESCALUS. My lord.

DUKE. Of government the properties to unfold Would seem in me t’ affect speech and discourse, Since I am put to know that your own science Exceeds, in that, the lists of all advice My strength can give you. Then no more remains But that, to your sufficiency, as your worth is able, And let them work. The nature of our people, Our city’s institutions, and the terms For common justice, you’re as pregnant in As art and practice hath enriched any That we remember. There is our commission, From which we would not have you warp.—Call hither, I say, bid come before us, Angelo.

[Exit an Attendant.]

What figure of us think you he will bear? For you must know we have with special soul Elected him our absence to supply; Lent him our terror, drest him with our love, And given his deputation all the organs Of our own power. What think you of it?

ESCALUS. If any in Vienna be of worth To undergo such ample grace and honour, It is Lord Angelo.

Enter Angelo.

DUKE. Look where he comes.

ANGELO. Always obedient to your Grace’s will, I come to know your pleasure.

DUKE. Angelo, There is a kind of character in thy life That to th’ observer doth thy history Fully unfold. Thyself and thy belongings Are not thine own so proper as to waste Thyself upon thy virtues, they on thee. Heaven doth with us as we with torches do, Not light them for themselves; for if our virtues Did not go forth of us, ’twere all alike As if we had them not. Spirits are not finely touched But to fine issues; nor nature never lends The smallest scruple of her excellence But, like a thrifty goddess, she determines Herself the glory of a creditor, Both thanks and use. But I do bend my speech To one that can my part in him advertise. Hold, therefore, Angelo. In our remove be thou at full ourself. Mortality and mercy in Vienna Live in thy tongue and heart. Old Escalus, Though first in question, is thy secondary. Take thy commission.

ANGELO. Now, good my lord, Let there be some more test made of my metal, Before so noble and so great a figure Be stamped upon it.

DUKE. No more evasion. We have with a leavened and prepared choice Proceeded to you; therefore take your honours. Our haste from hence is of so quick condition That it prefers itself, and leaves unquestioned Matters of needful value. We shall write to you, As time and our concernings shall importune, How it goes with us; and do look to know What doth befall you here. So, fare you well. To th’ hopeful execution do I leave you Of your commissions.

ANGELO. Yet give leave, my lord, That we may bring you something on the way.

DUKE. My haste may not admit it; Nor need you, on mine honour, have to do With any scruple. Your scope is as mine own, So to enforce or qualify the laws As to your soul seems good. Give me your hand; I’ll privily away. I love the people, But do not like to stage me to their eyes. Though it do well, I do not relish well Their loud applause and Aves vehement; Nor do I think the man of safe discretion That does affect it. Once more, fare you well.

ANGELO. The heavens give safety to your purposes!

ESCALUS. Lead forth and bring you back in happiness.

DUKE. I thank you. Fare you well.

[Exit.]

ESCALUS. I shall desire you, sir, to give me leave To have free speech with you; and it concerns me To look into the bottom of my place. A power I have, but of what strength and nature I am not yet instructed.

ANGELO. ’Tis so with me. Let us withdraw together, And we may soon our satisfaction have Touching that point.

ESCALUS. I’ll wait upon your honour.

[Exeunt.]

Act I, Scene II — A street

Enter Lucio and two other Gentlemen.

LUCIO. If the Duke, with the other dukes, come not to composition with the King of Hungary, why then all the dukes fall upon the King.

FIRST GENTLEMAN. Heaven grant us its peace, but not the King of Hungary’s!

SECOND GENTLEMAN. Amen.

LUCIO. Thou conclud’st like the sanctimonious pirate that went to sea with the ten commandments, but scraped one out of the table.

SECOND GENTLEMAN. “Thou shalt not steal”?

LUCIO. Ay, that he razed.

FIRST GENTLEMAN. Why, ’twas a commandment to command the captain and all the rest from their functions! They put forth to steal. There’s not a soldier of us all that, in the thanksgiving before meat, do relish the petition well that prays for peace.

SECOND GENTLEMAN. I never heard any soldier dislike it.

LUCIO. I believe thee; for I think thou never wast where grace was said.

SECOND GENTLEMAN. No? A dozen times at least.

FIRST GENTLEMAN. What? In metre?

LUCIO. In any proportion or in any language.

FIRST GENTLEMAN. I think, or in any religion.

LUCIO. Ay, why not? Grace is grace, despite of all controversy; as, for example, thou thyself art a wicked villain, despite of all grace.

FIRST GENTLEMAN. Well, there went but a pair of shears between us.

LUCIO. I grant, as there may between the lists and the velvet. Thou art the list.

FIRST GENTLEMAN. And thou the velvet. Thou art good velvet; thou’rt a three-piled piece, I warrant thee. I had as lief be a list of an English kersey as be piled, as thou art piled, for a French velvet. Do I speak feelingly now?

LUCIO. I think thou dost, and indeed, with most painful feeling of thy speech. I will, out of thine own confession, learn to begin thy health; but, whilst I live, forget to drink after thee.

FIRST GENTLEMAN. I think I have done myself wrong, have I not?

SECOND GENTLEMAN. Yes, that thou hast, whether thou art tainted or free.

Enter Mistress Overdone, a Bawd.

LUCIO. Behold, behold, where Madam Mitigation comes! I have purchased as many diseases under her roof as come to—

SECOND GENTLEMAN. To what, I pray?

FIRST GENTLEMAN. Judge.

SECOND GENTLEMAN. To three thousand dolours a year.

FIRST GENTLEMAN. Ay, and more.

LUCIO. A French crown more.

FIRST GENTLEMAN. Thou art always figuring diseases in me, but thou art full of error; I am sound.

LUCIO. Nay, not, as one would say, healthy, but so sound as things that are hollow. Thy bones are hollow. Impiety has made a feast of thee.

FIRST GENTLEMAN. How now, which of your hips has the most profound sciatica?

BAWD. Well, well! There’s one yonder arrested and carried to prison was worth five thousand of you all.

FIRST GENTLEMAN. Who’s that, I pray thee?

BAWD. Marry, sir, that’s Claudio, Signior Claudio.

FIRST GENTLEMAN. Claudio to prison? ’Tis not so.

BAWD. Nay, but I know ’tis so. I saw him arrested, saw him carried away; and, which is more, within these three days his head to be chopped off.

LUCIO. But, after all this fooling, I would not have it so. Art thou sure of this?

BAWD. I am too sure of it. And it is for getting Madam Julietta with child.

LUCIO. Believe me, this may be. He promised to meet me two hours since, and he was ever precise in promise-keeping.

SECOND GENTLEMAN. Besides, you know, it draws something near to the speech we had to such a purpose.

FIRST GENTLEMAN. But most of all agreeing with the proclamation.

LUCIO. Away! Let’s go learn the truth of it.

[Exeunt Lucio and Gentlemen.]

BAWD. Thus, what with the war, what with the sweat, what with the gallows, and what with poverty, I am custom-shrunk.

Enter Pompey.

How now? What’s the news with you?

POMPEY. Yonder man is carried to prison.

BAWD. Well, what has he done?

POMPEY. A woman.

BAWD. But what’s his offence?

POMPEY. Groping for trouts in a peculiar river.

BAWD. What? Is there a maid with child by him?

POMPEY. No, but there’s a woman with maid by him. You have not heard of the proclamation, have you?

BAWD. What proclamation, man?

POMPEY. All houses in the suburbs of Vienna must be plucked down.

BAWD. And what shall become of those in the city?

POMPEY. They shall stand for seed. They had gone down too, but that a wise burgher put in for them.

BAWD. But shall all our houses of resort in the suburbs be pulled down?

POMPEY. To the ground, mistress.

BAWD. Why, here’s a change indeed in the commonwealth! What shall become of me?

POMPEY. Come, fear not you. Good counsellors lack no clients. Though you change your place, you need not change your trade. I’ll be your tapster still. Courage, there will be pity taken on you. You that have worn your eyes almost out in the service, you will be considered.

Enter Provost, Claudio, Juliet and Officers.

BAWD. What’s to do here, Thomas Tapster? Let’s withdraw.

POMPEY. Here comes Signior Claudio, led by the Provost to prison. And there’s Madam Juliet.

[Exeunt Bawd and Pompey.]

CLAUDIO. Fellow, why dost thou show me thus to the world? Bear me to prison, where I am committed.

PROVOST. I do it not in evil disposition, But from Lord Angelo by special charge.

CLAUDIO. Thus can the demi-god Authority Make us pay down for our offence by weight. The words of heaven; on whom it will, it will; On whom it will not, so; yet still ’tis just.

Enter Lucio and two Gentlemen.

LUCIO. Why, how now, Claudio? Whence comes this restraint?

CLAUDIO. From too much liberty, my Lucio, liberty. As surfeit is the father of much fast, So every scope by the immoderate use Turns to restraint. Our natures do pursue, Like rats that ravin down their proper bane, A thirsty evil; and when we drink, we die.

LUCIO. If I could speak so wisely under an arrest, I would send for certain of my creditors; and yet, to say the truth, I had as lief have the foppery of freedom as the morality of imprisonment. What’s thy offence, Claudio?

CLAUDIO. What but to speak of would offend again.

LUCIO. What, is’t murder?

CLAUDIO. No.

LUCIO. Lechery?

CLAUDIO. Call it so.

PROVOST. Away, sir; you must go.

CLAUDIO. One word, good friend.—Lucio, a word with you.

LUCIO. A hundred, if they’ll do you any good. Is lechery so looked after?

CLAUDIO. Thus stands it with me: upon a true contract I got possession of Julietta’s bed. You know the lady; she is fast my wife, Save that we do the denunciation lack Of outward order. This we came not to Only for propagation of a dower Remaining in the coffer of her friends, From whom we thought it meet to hide our love Till time had made them for us. But it chances The stealth of our most mutual entertainment With character too gross is writ on Juliet.

LUCIO. With child, perhaps?

CLAUDIO. Unhappily, even so. And the new deputy now for the Duke— Whether it be the fault and glimpse of newness, Or whether that the body public be A horse whereon the governor doth ride, Who, newly in the seat, that it may know He can command, lets it straight feel the spur; Whether the tyranny be in his place, Or in his eminence that fills it up, I stagger in—but this new governor Awakes me all the enrolled penalties Which have, like unscoured armour, hung by th’ wall So long that nineteen zodiacs have gone round, And none of them been worn; and for a name Now puts the drowsy and neglected act Freshly on me. ’Tis surely for a name.

LUCIO. I warrant it is. And thy head stands so tickle on thy shoulders that a milkmaid, if she be in love, may sigh it off. Send after the Duke, and appeal to him.

CLAUDIO. I have done so, but he’s not to be found. I prithee, Lucio, do me this kind service: This day my sister should the cloister enter, And there receive her approbation. Acquaint her with the danger of my state; Implore her, in my voice, that she make friends To the strict deputy; bid herself assay him. I have great hope in that. For in her youth There is a prone and speechless dialect Such as moves men; beside, she hath prosperous art When she will play with reason and discourse, And well she can persuade.

LUCIO. I pray she may, as well for the encouragement of the like, which else would stand under grievous imposition, as for the enjoying of thy life, who I would be sorry should be thus foolishly lost at a game of tick-tack. I’ll to her.

CLAUDIO. I thank you, good friend Lucio.

LUCIO. Within two hours.

CLAUDIO. Come, officer, away.

[Exeunt.]

Act I, Scene III — A monastery

Enter Duke and Friar Thomas.

DUKE. No, holy father, throw away that thought; Believe not that the dribbling dart of love Can pierce a complete bosom. Why I desire thee To give me secret harbour hath a purpose More grave and wrinkled than the aims and ends Of burning youth.

FRIAR THOMAS. May your Grace speak of it?

DUKE. My holy sir, none better knows than you How I have ever loved the life removed, And held in idle price to haunt assemblies Where youth, and cost, a witless bravery keeps. I have delivered to Lord Angelo, A man of stricture and firm abstinence, My absolute power and place here in Vienna, And he supposes me travelled to Poland; For so I have strewed it in the common ear, And so it is received. Now, pious sir, You will demand of me why I do this?

FRIAR THOMAS. Gladly, my lord.

DUKE. We have strict statutes and most biting laws, The needful bits and curbs to headstrong weeds, Which for this fourteen years we have let slip, Even like an o’ergrown lion in a cave That goes not out to prey. Now, as fond fathers, Having bound up the threat’ning twigs of birch, Only to stick it in their children’s sight For terror, not to use, in time the rod Becomes more mocked than feared: so our decrees, Dead to infliction, to themselves are dead, And liberty plucks justice by the nose, The baby beats the nurse, and quite athwart Goes all decorum.

FRIAR THOMAS. It rested in your Grace To unloose this tied-up justice when you pleased; And it in you more dreadful would have seemed Than in Lord Angelo.

DUKE. I do fear, too dreadful. Sith ’twas my fault to give the people scope, ’Twould be my tyranny to strike and gall them For what I bid them do; for we bid this be done When evil deeds have their permissive pass And not the punishment. Therefore, indeed, my father, I have on Angelo imposed the office; Who may in th’ ambush of my name strike home, And yet my nature never in the fight To do in slander. And to behold his sway, I will, as ’twere a brother of your order, Visit both prince and people. Therefore, I prithee, Supply me with the habit, and instruct me How I may formally in person bear Like a true friar. Moe reasons for this action At our more leisure shall I render you; Only, this one: Lord Angelo is precise; Stands at a guard with envy; scarce confesses That his blood flows or that his appetite Is more to bread than stone. Hence shall we see, If power change purpose, what our seemers be.

[Exeunt.]

Act I, Scene IV — A nunnery

Enter Isabella and Francisca, a Nun.

ISABELLA. And have you nuns no farther privileges?

FRANCISCA. Are not these large enough?

ISABELLA. Yes, truly; I speak not as desiring more, But rather wishing a more strict restraint Upon the sisterhood, the votarists of Saint Clare.

LUCIO. [Within.] Ho! Peace be in this place!

ISABELLA. Who’s that which calls?

FRANCISCA. It is a man’s voice. Gentle Isabella, Turn you the key, and know his business of him; You may, I may not; you are yet unsworn. When you have vowed, you must not speak with men But in the presence of the prioress; Then, if you speak, you must not show your face; Or if you show your face, you must not speak. He calls again. I pray you answer him.

[Exit Francisca.]

ISABELLA. Peace and prosperity! Who is’t that calls?

Enter Lucio.

LUCIO. Hail, virgin, if you be, as those cheek-roses Proclaim you are no less. Can you so stead me As bring me to the sight of Isabella, A novice of this place, and the fair sister To her unhappy brother Claudio?

ISABELLA. Why “her unhappy brother”? let me ask, The rather for I now must make you know I am that Isabella, and his sister.

LUCIO. Gentle and fair, your brother kindly greets you. Not to be weary with you, he’s in prison.

ISABELLA. Woe me! For what?

LUCIO. For that which, if myself might be his judge, He should receive his punishment in thanks: He hath got his friend with child.

ISABELLA. Sir, make me not your story.

LUCIO. ’Tis true. I would not, though ’tis my familiar sin With maids to seem the lapwing, and to jest, Tongue far from heart, play with all virgins so. I hold you as a thing enskied and sainted By your renouncement an immortal spirit, And to be talked with in sincerity, As with a saint.

ISABELLA. You do blaspheme the good in mocking me.

LUCIO. Do not believe it. Fewness and truth, ’tis thus: Your brother and his lover have embraced; As those that feed grow full, as blossoming time That from the seedness the bare fallow brings To teeming foison, even so her plenteous womb Expresseth his full tilth and husbandry.

ISABELLA. Someone with child by him? My cousin Juliet?

LUCIO. Is she your cousin?

ISABELLA. Adoptedly, as school-maids change their names By vain though apt affection.

LUCIO. She it is.

ISABELLA. O, let him marry her!

LUCIO. This is the point. The Duke is very strangely gone from hence; Bore many gentlemen, myself being one, In hand, and hope of action; but we do learn, By those that know the very nerves of state, His givings-out were of an infinite distance From his true-meant design. Upon his place, And with full line of his authority, Governs Lord Angelo; a man whose blood Is very snow-broth; one who never feels The wanton stings and motions of the sense; But doth rebate and blunt his natural edge With profits of the mind, study and fast. He, to give fear to use and liberty, Which have for long run by the hideous law As mice by lions, hath picked out an act, Under whose heavy sense your brother’s life Falls into forfeit. He arrests him on it, And follows close the rigour of the statute To make him an example. All hope is gone, Unless you have the grace by your fair prayer To soften Angelo. And that’s my pith of business ’Twixt you and your poor brother.

ISABELLA. Doth he so Seek his life?

LUCIO. Has censured him already; And, as I hear, the Provost hath a warrant For’s execution.

ISABELLA. Alas, what poor ability’s in me To do him good?

LUCIO. Assay the power you have.

ISABELLA. My power? Alas, I doubt.

LUCIO. Our doubts are traitors, And make us lose the good we oft might win By fearing to attempt. Go to Lord Angelo, And let him learn to know, when maidens sue, Men give like gods; but when they weep and kneel, All their petitions are as freely theirs As they themselves would owe them.

ISABELLA. I’ll see what I can do.

LUCIO. But speedily.

ISABELLA. I will about it straight; No longer staying but to give the Mother Notice of my affair. I humbly thank you. Commend me to my brother. Soon at night I’ll send him certain word of my success.

LUCIO. I take my leave of you.

ISABELLA. Good sir, adieu.

[Exeunt.]