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Act II, Scene I — A hall in Angelo’s house…

Part 32 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 II, Scene I — A hall in Angelo’s house

Enter Angelo, Escalus, Servants, and a Justice.

ANGELO. We must not make a scarecrow of the law, Setting it up to fear the birds of prey, And let it keep one shape till custom make it Their perch, and not their terror.

ESCALUS. Ay, but yet Let us be keen, and rather cut a little Than fall and bruise to death. Alas, this gentleman, Whom I would save, had a most noble father. Let but your honour know, Whom I believe to be most strait in virtue, That, in the working of your own affections, Had time cohered with place, or place with wishing, Or that the resolute acting of your blood Could have attained th’ effect of your own purpose, Whether you had not sometime in your life Erred in this point which now you censure him, And pulled the law upon you.

ANGELO. ’Tis one thing to be tempted, Escalus, Another thing to fall. I not deny The jury passing on the prisoner’s life May in the sworn twelve have a thief or two Guiltier than him they try. What’s open made to justice, That justice seizes. What knows the laws That thieves do pass on thieves? ’Tis very pregnant, The jewel that we find, we stoop and take ’t, Because we see it; but what we do not see, We tread upon, and never think of it. You may not so extenuate his offence For I have had such faults; but rather tell me, When I that censure him do so offend, Let mine own judgement pattern out my death, And nothing come in partial. Sir, he must die.

Enter Provost.

ESCALUS. Be it as your wisdom will.

ANGELO. Where is the Provost?

PROVOST. Here, if it like your honour.

ANGELO. See that Claudio Be executed by nine tomorrow morning. Bring him his confessor, let him be prepared, For that’s the utmost of his pilgrimage.

[Exit Provost.]

ESCALUS. Well, heaven forgive him; and forgive us all. Some rise by sin, and some by virtue fall. Some run from brakes of vice, and answer none, And some condemned for a fault alone.

Enter Elbow and Officers with Froth and Pompey.

ELBOW. Come, bring them away. If these be good people in a commonweal that do nothing but use their abuses in common houses, I know no law. Bring them away.

ANGELO. How now, sir, what’s your name? And what’s the matter?

ELBOW. If it please your honour, I am the poor Duke’s constable, and my name is Elbow. I do lean upon justice, sir, and do bring in here before your good honour two notorious benefactors.

ANGELO. Benefactors? Well, what benefactors are they? Are they not malefactors?

ELBOW. If it please your honour, I know not well what they are, but precise villains they are, that I am sure of, and void of all profanation in the world that good Christians ought to have.

ESCALUS. This comes off well. Here’s a wise officer.

ANGELO. Go to. What quality are they of? Elbow is your name? Why dost thou not speak, Elbow?

POMPEY. He cannot, sir. He’s out at elbow.

ANGELO. What are you, sir?

ELBOW. He, sir? A tapster, sir; parcel bawd; one that serves a bad woman; whose house, sir, was, as they say, plucked down in the suburbs; and now she professes a hot-house, which, I think is a very ill house too.

ESCALUS. How know you that?

ELBOW. My wife, sir, whom I detest before heaven and your honour—

ESCALUS. How? Thy wife?

ELBOW. Ay, sir, whom I thank heaven is an honest woman—

ESCALUS. Dost thou detest her therefore?

ELBOW. I say, sir, I will detest myself also, as well as she, that this house, if it be not a bawd’s house, it is pity of her life, for it is a naughty house.

ESCALUS. How dost thou know that, constable?

ELBOW. Marry, sir, by my wife, who, if she had been a woman cardinally given, might have been accused in fornication, adultery, and all uncleanliness there.

ESCALUS. By the woman’s means?

ELBOW. Ay, sir, by Mistress Overdone’s means; but as she spit in his face, so she defied him.

POMPEY. Sir, if it please your honour, this is not so.

ELBOW. Prove it before these varlets here, thou honourable man, prove it.

ESCALUS. [To Angelo.] Do you hear how he misplaces?

POMPEY. Sir, she came in great with child; and longing, saving your honour’s reverence, for stewed prunes; sir, we had but two in the house, which at that very distant time stood, as it were, in a fruit dish, a dish of some threepence; your honours have seen such dishes; they are not china dishes, but very good dishes—

ESCALUS. Go to, go to. No matter for the dish, sir.

POMPEY. No, indeed, sir, not of a pin; you are therein in the right. But to the point. As I say, this Mistress Elbow, being, as I say, with child, and being great-bellied, and longing, as I said, for prunes; and having but two in the dish, as I said, Master Froth here, this very man, having eaten the rest, as I said, and, as I say, paying for them very honestly; for, as you know, Master Froth, I could not give you threepence again—

FROTH. No, indeed.

POMPEY. Very well. You being then, if you be remembered, cracking the stones of the foresaid prunes—

FROTH. Ay, so I did indeed.

POMPEY. Why, very well. I telling you then, if you be remembered, that such a one and such a one were past cure of the thing you wot of, unless they kept very good diet, as I told you—

FROTH. All this is true.

POMPEY. Why, very well then—

ESCALUS. Come, you are a tedious fool. To the purpose. What was done to Elbow’s wife that he hath cause to complain of? Come me to what was done to her.

POMPEY. Sir, your honour cannot come to that yet.

ESCALUS. No, sir, nor I mean it not.

POMPEY. Sir, but you shall come to it, by your honour’s leave. And I beseech you, look into Master Froth here, sir, a man of fourscore pound a year; whose father died at Hallowmas—was’t not at Hallowmas, Master Froth?

FROTH. All-hallond Eve.

POMPEY. Why, very well. I hope here be truths. He, sir, sitting, as I say, in a lower chair, sir—’twas in the Bunch of Grapes, where, indeed, you have a delight to sit, have you not?

FROTH. I have so, because it is an open room, and good for winter.

POMPEY. Why, very well then. I hope here be truths.

ANGELO. This will last out a night in Russia When nights are longest there. I’ll take my leave, And leave you to the hearing of the cause; Hoping you’ll find good cause to whip them all.

ESCALUS. I think no less. Good morrow to your lordship.

[Exit Angelo.]

Now, sir, come on. What was done to Elbow’s wife, once more?

POMPEY. Once, sir? There was nothing done to her once.

ELBOW. I beseech you, sir, ask him what this man did to my wife.

POMPEY. I beseech your honour, ask me.

ESCALUS. Well, sir, what did this gentleman to her?

POMPEY. I beseech you, sir, look in this gentleman’s face. Good Master Froth, look upon his honour; ’tis for a good purpose.—Doth your honour mark his face?

ESCALUS. Ay, sir, very well.

POMPEY. Nay, I beseech you, mark it well.

ESCALUS. Well, I do so.

POMPEY. Doth your honour see any harm in his face?

ESCALUS. Why, no.

POMPEY. I’ll be supposed upon a book, his face is the worst thing about him. Good, then, if his face be the worst thing about him, how could Master Froth do the constable’s wife any harm? I would know that of your honour.

ESCALUS. He’s in the right. Constable. What say you to it?

ELBOW. First, an it like you, the house is a respected house; next, this is a respected fellow; and his mistress is a respected woman.

POMPEY. By this hand, sir, his wife is a more respected person than any of us all.

ELBOW. Varlet, thou liest; thou liest, wicked varlet! The time is yet to come that she was ever respected with man, woman, or child.

POMPEY. Sir, she was respected with him before he married with her.

ESCALUS. Which is the wiser here, Justice or Iniquity? Is this true?

ELBOW. O thou caitiff! O thou varlet! O thou wicked Hannibal! I respected with her before I was married to her? If ever I was respected with her, or she with me, let not your worship think me the poor Duke’s officer. Prove this, thou wicked Hannibal, or I’ll have mine action of battery on thee.

ESCALUS. If he took you a box o’ th’ ear, you might have your action of slander too.

ELBOW. Marry, I thank your good worship for it. What is’t your worship’s pleasure I shall do with this wicked caitiff?

ESCALUS. Truly, officer, because he hath some offences in him that thou wouldst discover if thou couldst, let him continue in his courses till thou know’st what they are.

ELBOW. Marry, I thank your worship for it.—Thou seest, thou wicked varlet, now, what’s come upon thee. Thou art to continue now, thou varlet, thou art to continue.

ESCALUS. [To Froth.] Where were you born, friend?

FROTH. Here in Vienna, sir.

ESCALUS. Are you of fourscore pounds a year?

FROTH. Yes, an’t please you, sir.

ESCALUS. So. [To Pompey.] What trade are you of, sir?

POMPEY. A tapster, a poor widow’s tapster.

ESCALUS. Your mistress’ name?

POMPEY. Mistress Overdone.

ESCALUS. Hath she had any more than one husband?

POMPEY. Nine, sir; Overdone by the last.

ESCALUS. Nine?—Come hither to me, Master Froth. Master Froth, I would not have you acquainted with tapsters; they will draw you, Master Froth, and you will hang them. Get you gone, and let me hear no more of you.

FROTH. I thank your worship. For mine own part, I never come into any room in a taphouse but I am drawn in.

ESCALUS. Well, no more of it, Master Froth. Farewell.

[Exit Froth.]

Come you hither to me, Master tapster. What’s your name, Master tapster?

POMPEY. Pompey.

ESCALUS. What else?

POMPEY. Bum, sir.

ESCALUS. Troth, and your bum is the greatest thing about you; so that, in the beastliest sense, you are Pompey the great. Pompey, you are partly a bawd, Pompey, howsoever you colour it in being a tapster, are you not? Come, tell me true, it shall be the better for you.

POMPEY. Truly, sir, I am a poor fellow that would live.

ESCALUS. How would you live, Pompey? By being a bawd? What do you think of the trade, Pompey? Is it a lawful trade?

POMPEY. If the law would allow it, sir.

ESCALUS. But the law will not allow it, Pompey; nor it shall not be allowed in Vienna.

POMPEY. Does your worship mean to geld and splay all the youth of the city?

ESCALUS. No, Pompey.

POMPEY. Truly, sir, in my poor opinion, they will to’t then. If your worship will take order for the drabs and the knaves, you need not to fear the bawds.

ESCALUS. There is pretty orders beginning, I can tell you. It is but heading and hanging.

POMPEY. If you head and hang all that offend that way but for ten year together, you’ll be glad to give out a commission for more heads. If this law hold in Vienna ten year, I’ll rent the fairest house in it after threepence a bay. If you live to see this come to pass, say Pompey told you so.

ESCALUS. Thank you, good Pompey; and, in requital of your prophecy, hark you: I advise you, let me not find you before me again upon any complaint whatsoever; no, not for dwelling where you do. If I do, Pompey, I shall beat you to your tent, and prove a shrewd Caesar to you. In plain dealing, Pompey, I shall have you whipped. So for this time, Pompey, fare you well.

POMPEY. I thank your worship for your good counsel. [Aside.] But I shall follow it as the flesh and fortune shall better determine. Whip me? No, no; let carman whip his jade; The valiant heart’s not whipped out of his trade.

[Exit.]

ESCALUS. Come hither to me, Master Elbow. Come hither, Master Constable. How long have you been in this place of constable?

ELBOW. Seven year and a half, sir.

ESCALUS. I thought, by the readiness in the office, you had continued in it sometime. You say seven years together?

ELBOW. And a half, sir.

ESCALUS. Alas, it hath been great pains to you. They do you wrong to put you so oft upon’t. Are there not men in your ward sufficient to serve it?

ELBOW. Faith, sir, few of any wit in such matters. As they are chosen, they are glad to choose me for them; I do it for some piece of money, and go through with all.

ESCALUS. Look you bring me in the names of some six or seven, the most sufficient of your parish.

ELBOW. To your worship’s house, sir?

ESCALUS. To my house. Fare you well.

[Exit Elbow.]

What’s o’clock, think you?

JUSTICE. Eleven, sir.

ESCALUS. I pray you home to dinner with me.

JUSTICE. I humbly thank you.

ESCALUS. It grieves me for the death of Claudio, But there’s no remedy.

JUSTICE. Lord Angelo is severe.

ESCALUS. It is but needful. Mercy is not itself that oft looks so; Pardon is still the nurse of second woe. But yet, Poor Claudio! There’s no remedy. Come, sir.

[Exeunt.]

Act II, Scene II — Another room in the same

Enter Provost and a Servant.

SERVANT. He’s hearing of a cause. He will come straight. I’ll tell him of you.

PROVOST. Pray you do.

[Exit Servant.]

I’ll know His pleasure, may be he will relent. Alas, He hath but as offended in a dream; All sects, all ages, smack of this vice, and he To die for ’t!

Enter Angelo.

ANGELO. Now, what’s the matter, Provost?

PROVOST. Is it your will Claudio shall die tomorrow?

ANGELO. Did not I tell thee yea? Hadst thou not order? Why dost thou ask again?

PROVOST. Lest I might be too rash. Under your good correction, I have seen When, after execution, judgement hath Repented o’er his doom.

ANGELO. Go to; let that be mine. Do you your office, or give up your place, And you shall well be spared.

PROVOST. I crave your honour’s pardon. What shall be done, sir, with the groaning Juliet? She’s very near her hour.

ANGELO. Dispose of her To some more fitter place; and that with speed.

Enter Servant.

SERVANT. Here is the sister of the man condemned Desires access to you.

ANGELO. Hath he a sister?

PROVOST. Ay, my good lord, a very virtuous maid, And to be shortly of a sisterhood, If not already.

ANGELO. Well, let her be admitted.

[Exit Servant.]

See you the fornicatress be removed; Let her have needful but not lavish means; There shall be order for it.

Enter Lucio and Isabella.

PROVOST. [Offering to retire.] Save your honour!

ANGELO. Stay a little while. [To Isabella.] You are welcome. What’s your will?

ISABELLA. I am a woeful suitor to your honour, Please but your honour hear me.

ANGELO. Well, what’s your suit?

ISABELLA. There is a vice that most I do abhor, And most desire should meet the blow of justice; For which I would not plead, but that I must; For which I must not plead, but that I am At war ’twixt will and will not.

ANGELO. Well, the matter?

ISABELLA. I have a brother is condemned to die; I do beseech you, let it be his fault, And not my brother.

PROVOST. Heaven give thee moving graces.

ANGELO. Condemn the fault, and not the actor of it? Why, every fault’s condemned ere it be done. Mine were the very cipher of a function To find the faults whose fine stands in record, And let go by the actor.

ISABELLA. O just but severe law! I had a brother, then. Heaven keep your honour!

[Going.]

LUCIO. [To Isabella.] Give’t not o’er so. To him again, entreat him, Kneel down before him, hang upon his gown; You are too cold. If you should need a pin, You could not with more tame a tongue desire it. To him, I say.

ISABELLA. Must he needs die?

ANGELO. Maiden, no remedy.

ISABELLA. Yes, I do think that you might pardon him, And neither heaven nor man grieve at the mercy.

ANGELO. I will not do’t.

ISABELLA. But can you if you would?

ANGELO. Look, what I will not, that I cannot do.

ISABELLA. But might you do’t, and do the world no wrong, If so your heart were touched with that remorse As mine is to him?

ANGELO. He’s sentenced, ’tis too late.

LUCIO. [To Isabella.] You are too cold.

ISABELLA. Too late? Why, no. I that do speak a word May call it back again. Well, believe this: No ceremony that to great ones longs, Not the king’s crown, nor the deputed sword, The marshal’s truncheon, nor the judge’s robe, Become them with one half so good a grace As mercy does. If he had been as you, and you as he, You would have slipped like him, but he like you Would not have been so stern.

ANGELO. Pray you be gone.

ISABELLA. I would to heaven I had your potency, And you were Isabel! Should it then be thus? No; I would tell what ’twere to be a judge And what a prisoner.

LUCIO. [Aside.] Ay, touch him; there’s the vein.

ANGELO. Your brother is a forfeit of the law, And you but waste your words.

ISABELLA. Alas, alas! Why, all the souls that were were forfeit once, And He that might the vantage best have took Found out the remedy. How would you be If He, which is the top of judgement, should But judge you as you are? O, think on that, And mercy then will breathe within your lips, Like man new made.

ANGELO. Be you content, fair maid. It is the law, not I, condemns your brother. Were he my kinsman, brother, or my son, It should be thus with him. He must die tomorrow.

ISABELLA. Tomorrow? O, that’s sudden! Spare him, spare him! He’s not prepared for death. Even for our kitchens We kill the fowl of season. Shall we serve heaven With less respect than we do minister To our gross selves? Good, good my lord, bethink you. Who is it that hath died for this offence? There’s many have committed it.

LUCIO. Ay, well said.

ANGELO. The law hath not been dead, though it hath slept. Those many had not dared to do that evil If the first that did th’ edict infringe Had answered for his deed. Now ’tis awake, Takes note of what is done, and, like a prophet, Looks in a glass that shows what future evils, Either now, or by remissness new conceived, And so in progress to be hatched and born, Are now to have no successive degrees, But, where they live, to end.

ISABELLA. Yet show some pity.

ANGELO. I show it most of all when I show justice; For then I pity those I do not know, Which a dismissed offence would after gall, And do him right that, answering one foul wrong, Lives not to act another. Be satisfied; Your brother dies tomorrow; be content.

ISABELLA. So you must be the first that gives this sentence, And he that suffers. O, it is excellent To have a giant’s strength; but it is tyrannous To use it like a giant.

LUCIO. That’s well said.

ISABELLA. Could great men thunder As Jove himself does, Jove would ne’er be quiet, For every pelting petty officer Would use his heaven for thunder. Nothing but thunder. Merciful Heaven, Thou rather with thy sharp and sulphurous bolt Splits the unwedgeable and gnarled oak, Than the soft myrtle. But man, proud man, Dressed in a little brief authority, Most ignorant of what he’s most assured, His glassy essence, like an angry ape Plays such fantastic tricks before high heaven As makes the angels weep; who, with our spleens, Would all themselves laugh mortal.

LUCIO. O, to him, to him, wench! He will relent; He’s coming. I perceive ’t.

PROVOST. Pray heaven she win him.

ISABELLA. We cannot weigh our brother with ourself. Great men may jest with saints; ’tis wit in them, But in the less, foul profanation.

LUCIO. Thou’rt i’ th’ right, girl; more o’ that.

ISABELLA. That in the captain’s but a choleric word Which in the soldier is flat blasphemy.

LUCIO. Art advised o’ that? More on’t.

ANGELO. Why do you put these sayings upon me?

ISABELLA. Because authority, though it err like others, Hath yet a kind of medicine in itself That skins the vice o’ th’ top. Go to your bosom, Knock there, and ask your heart what it doth know That’s like my brother’s fault. If it confess A natural guiltiness such as is his, Let it not sound a thought upon your tongue Against my brother’s life.

ANGELO. She speaks, and ’tis such sense That my sense breeds with it. [Going.] Fare you well.

ISABELLA. Gentle my lord, turn back.

ANGELO. I will bethink me. Come again tomorrow.

ISABELLA. Hark how I’ll bribe you. Good my lord, turn back.

ANGELO. How? Bribe me?

ISABELLA. Ay, with such gifts that heaven shall share with you.

LUCIO. You had marred all else.

ISABELLA. Not with fond shekels of the tested gold, Or stones, whose rates are either rich or poor As fancy values them, but with true prayers, That shall be up at heaven and enter there Ere sunrise, prayers from preserved souls, From fasting maids, whose minds are dedicate To nothing temporal.

ANGELO. Well; come to me tomorrow.

LUCIO. [Aside to Isabella.] Go to, ’tis well; away.

ISABELLA. Heaven keep your honour safe.

ANGELO. [Aside.] Amen. For I am that way going to temptation, Where prayers cross.

ISABELLA. At what hour tomorrow Shall I attend your lordship?

ANGELO. At any time ’fore noon.

ISABELLA. Save your honour.

[Exeunt Isabella, Lucio and Provost.]

ANGELO. From thee, even from thy virtue! What’s this? What’s this? Is this her fault or mine? The tempter or the tempted, who sins most, ha? Not she; nor doth she tempt; but it is I That, lying by the violet in the sun, Do as the carrion does, not as the flower, Corrupt with virtuous season. Can it be That modesty may more betray our sense Than woman’s lightness? Having waste ground enough, Shall we desire to raze the sanctuary And pitch our evils there? O, fie, fie, fie! What dost thou, or what art thou, Angelo? Dost thou desire her foully for those things That make her good? O, let her brother live. Thieves for their robbery have authority When judges steal themselves. What, do I love her, That I desire to hear her speak again And feast upon her eyes? What is’t I dream on? O cunning enemy, that, to catch a saint, With saints dost bait thy hook! Most dangerous Is that temptation that doth goad us on To sin in loving virtue. Never could the strumpet With all her double vigour, art, and nature, Once stir my temper, but this virtuous maid Subdues me quite. Ever till now When men were fond, I smiled and wondered how.

[Exit.]

Act II, Scene III — A room in a prison

Enter Duke disguised as a Friar, and Provost.

DUKE. Hail to you, Provost, so I think you are.

PROVOST. I am the Provost. What’s your will, good friar?

DUKE. Bound by my charity and my blessed order, I come to visit the afflicted spirits Here in the prison. Do me the common right To let me see them, and to make me know The nature of their crimes, that I may minister To them accordingly.

PROVOST. I would do more than that, if more were needful.

Enter Juliet.

Look, here comes one, a gentlewoman of mine, Who, falling in the flaws of her own youth, Hath blistered her report. She is with child, And he that got it, sentenced: a young man More fit to do another such offence Than die for this.

DUKE. When must he die?

PROVOST. As I do think, tomorrow. [To Juliet.] I have provided for you; stay a while And you shall be conducted.

DUKE. Repent you, fair one, of the sin you carry?

JULIET. I do; and bear the shame most patiently.

DUKE. I’ll teach you how you shall arraign your conscience, And try your penitence, if it be sound Or hollowly put on.

JULIET. I’ll gladly learn.

DUKE. Love you the man that wronged you?

JULIET. Yes, as I love the woman that wronged him.

DUKE. So then it seems your most offenceful act Was mutually committed?

JULIET. Mutually.

DUKE. Then was your sin of heavier kind than his.

JULIET. I do confess it, and repent it, father.

DUKE. ’Tis meet so, daughter; but lest you do repent As that the sin hath brought you to this shame, Which sorrow is always toward ourselves, not heaven, Showing we would not spare heaven as we love it, But as we stand in fear—

JULIET. I do repent me as it is an evil, And take the shame with joy.

DUKE. There rest. Your partner, as I hear, must die tomorrow, And I am going with instruction to him. Grace go with you! Benedicite!

[Exit.]

JULIET. Must die tomorrow? O, injurious love That respites me a life, whose very comfort Is still a dying horror!

PROVOST. ’Tis pity of him.

[Exeunt.]

Act II, Scene IV — A room in Angelo’s house

Enter Angelo.

ANGELO. When I would pray and think, I think and pray To several subjects. Heaven hath my empty words, Whilst my invention, hearing not my tongue, Anchors on Isabel. Heaven in my mouth, As if I did but only chew his name, And in my heart the strong and swelling evil Of my conception. The state whereon I studied Is, like a good thing being often read, Grown sere and tedious; yea, my gravity, Wherein—let no man hear me—I take pride, Could I with boot change for an idle plume Which the air beats for vain. O place, O form, How often dost thou with thy case, thy habit, Wrench awe from fools, and tie the wiser souls To thy false seeming! Blood, thou art blood. Let’s write good angel on the devil’s horn. ’Tis not the devil’s crest.

[Knock within.]

How now, who’s there?

Enter Servant.

SERVANT. One Isabel, a sister, desires access to you.

ANGELO. Teach her the way.

[Exit Servant.]

O heavens, Why does my blood thus muster to my heart, Making both it unable for itself And dispossessing all my other parts Of necessary fitness? So play the foolish throngs with one that swoons, Come all to help him, and so stop the air By which he should revive. And even so The general subject to a well-wished king Quit their own part, and in obsequious fondness Crowd to his presence, where their untaught love Must needs appear offence.

Enter Isabella.

How now, fair maid?

ISABELLA. I am come to know your pleasure.

ANGELO. That you might know it, would much better please me Than to demand what ’tis. Your brother cannot live.

ISABELLA. Even so. Heaven keep your honour.

ANGELO. Yet may he live a while. And, it may be, As long as you or I. Yet he must die.

ISABELLA. Under your sentence?

ANGELO. Yea.

ISABELLA. When, I beseech you? That in his reprieve, Longer or shorter, he may be so fitted That his soul sicken not.

ANGELO. Ha! Fie, these filthy vices! It were as good To pardon him that hath from nature stolen A man already made, as to remit Their saucy sweetness that do coin heaven’s image In stamps that are forbid. ’Tis all as easy Falsely to take away a life true made As to put metal in restrained means To make a false one.

ISABELLA. ’Tis set down so in heaven, but not in earth.

ANGELO. Say you so? Then I shall pose you quickly. Which had you rather, that the most just law Now took your brother’s life; or, to redeem him, Give up your body to such sweet uncleanness As she that he hath stained?

ISABELLA. Sir, believe this: I had rather give my body than my soul.

ANGELO. I talk not of your soul. Our compelled sins Stand more for number than for accompt.

ISABELLA. How say you?

ANGELO. Nay, I’ll not warrant that, for I can speak Against the thing I say. Answer to this: I, now the voice of the recorded law, Pronounce a sentence on your brother’s life. Might there not be a charity in sin To save this brother’s life?

ISABELLA. Please you to do’t, I’ll take it as a peril to my soul; It is no sin at all, but charity.

ANGELO. Pleased you to do’t at peril of your soul, Were equal poise of sin and charity.

ISABELLA. That I do beg his life, if it be sin, Heaven let me bear it. You granting of my suit, If that be sin, I’ll make it my morn prayer To have it added to the faults of mine, And nothing of your answer.

ANGELO. Nay, but hear me. Your sense pursues not mine. Either you are ignorant, Or seem so, crafty; and that’s not good.

ISABELLA. Let me be ignorant, and in nothing good, But graciously to know I am no better.

ANGELO. Thus wisdom wishes to appear most bright When it doth tax itself, as these black masks Proclaim an enshield beauty ten times louder Than beauty could, displayed. But mark me; To be received plain, I’ll speak more gross. Your brother is to die.

ISABELLA. So.

ANGELO. And his offence is so, as it appears, Accountant to the law upon that pain.

ISABELLA. True.

ANGELO. Admit no other way to save his life— As I subscribe not that, nor any other, But, in the loss of question, that you, his sister, Finding yourself desired of such a person Whose credit with the judge, or own great place, Could fetch your brother from the manacles Of the all-binding law; and that there were No earthly mean to save him but that either You must lay down the treasures of your body To this supposed, or else to let him suffer, What would you do?

ISABELLA. As much for my poor brother as myself. That is, were I under the terms of death, Th’ impression of keen whips I’d wear as rubies, And strip myself to death as to a bed That longing have been sick for, ere I’d yield My body up to shame.

ANGELO. Then must your brother die.

ISABELLA. And ’twere the cheaper way. Better it were a brother died at once Than that a sister, by redeeming him, Should die for ever.

ANGELO. Were not you then as cruel as the sentence That you have slandered so?

ISABELLA. Ignominy in ransom and free pardon Are of two houses. Lawful mercy Is nothing kin to foul redemption.

ANGELO. You seemed of late to make the law a tyrant, And rather proved the sliding of your brother A merriment than a vice.

ISABELLA. O, pardon me, my lord. It oft falls out, To have what we would have, we speak not what we mean. I something do excuse the thing I hate For his advantage that I dearly love.

ANGELO. We are all frail.

ISABELLA. Else let my brother die, If not a feodary but only he Owe and succeed by weakness.

ANGELO. Nay, women are frail too.

ISABELLA. Ay, as the glasses where they view themselves, Which are as easy broke as they make forms. Women?—Help, heaven! Men their creation mar In profiting by them. Nay, call us ten times frail; For we are soft as our complexions are, And credulous to false prints.

ANGELO. I think it well. And from this testimony of your own sex, Since I suppose we are made to be no stronger Than faults may shake our frames, let me be bold. I do arrest your words. Be that you are, That is, a woman. If you be more, you’re none. If you be one, as you are well expressed By all external warrants, show it now By putting on the destined livery.

ISABELLA. I have no tongue but one. Gentle my lord, Let me intreat you speak the former language.

ANGELO. Plainly conceive, I love you.

ISABELLA. My brother did love Juliet, And you tell me that he shall die for ’t.

ANGELO. He shall not, Isabel, if you give me love.

ISABELLA. I know your virtue hath a license in’t, Which seems a little fouler than it is, To pluck on others.

ANGELO. Believe me, on mine honour, My words express my purpose.

ISABELLA. Ha! Little honour to be much believed, And most pernicious purpose! Seeming, seeming! I will proclaim thee, Angelo, look for’t. Sign me a present pardon for my brother Or with an outstretched throat I’ll tell the world aloud What man thou art.

ANGELO. Who will believe thee, Isabel? My unsoiled name, th’ austereness of my life, My vouch against you, and my place i’ th’ state Will so your accusation overweigh That you shall stifle in your own report, And smell of calumny. I have begun, And now I give my sensual race the rein. Fit thy consent to my sharp appetite; Lay by all nicety and prolixious blushes That banish what they sue for. Redeem thy brother By yielding up thy body to my will; Or else he must not only die the death, But thy unkindness shall his death draw out To ling’ring sufferance. Answer me tomorrow, Or, by the affection that now guides me most, I’ll prove a tyrant to him. As for you, Say what you can, my false o’erweighs your true.

[Exit.]

ISABELLA. To whom should I complain? Did I tell this, Who would believe me? O perilous mouths, That bear in them one and the self-same tongue Either of condemnation or approof, Bidding the law make curtsy to their will, Hooking both right and wrong to th’ appetite, To follow as it draws! I’ll to my brother. Though he hath fall’n by prompture of the blood, Yet hath he in him such a mind of honour That, had he twenty heads to tender down On twenty bloody blocks, he’d yield them up Before his sister should her body stoop To such abhorred pollution. Then, Isabel, live chaste, and, brother, die. More than our brother is our chastity. I’ll tell him yet of Angelo’s request, And fit his mind to death, for his soul’s rest.

[Exit.]

Act III, Scene I — A room in the prison

Enter Duke, Claudio and Provost.

DUKE. So then you hope of pardon from Lord Angelo?

CLAUDIO. The miserable have no other medicine But only hope. I have hope to live, and am prepared to die.

DUKE. Be absolute for death. Either death or life Shall thereby be the sweeter. Reason thus with life: If I do lose thee, I do lose a thing That none but fools would keep. A breath thou art, Servile to all the skyey influences That dost this habitation where thou keep’st Hourly afflict. Merely, thou art death’s fool; For him thou labour’st by thy flight to shun, And yet runn’st toward him still. Thou art not noble; For all th’ accommodations that thou bear’st Are nursed by baseness. Thou’rt by no means valiant; For thou dost fear the soft and tender fork Of a poor worm. Thy best of rest is sleep, And that thou oft provok’st, yet grossly fear’st Thy death, which is no more. Thou art not thyself; For thou exists on many a thousand grains That issue out of dust. Happy thou art not; For what thou hast not, still thou striv’st to get, And what thou hast, forget’st. Thou art not certain; For thy complexion shifts to strange effects After the moon. If thou art rich, thou’rt poor; For, like an ass whose back with ingots bows, Thou bear’st thy heavy riches but a journey, And death unloads thee. Friend hast thou none; For thine own bowels which do call thee sire, The mere effusion of thy proper loins, Do curse the gout, serpigo, and the rheum For ending thee no sooner. Thou hast nor youth nor age, But as it were an after-dinner’s sleep Dreaming on both; for all thy blessed youth Becomes as aged, and doth beg the alms Of palsied eld; and when thou art old and rich, Thou hast neither heat, affection, limb, nor beauty To make thy riches pleasant. What’s yet in this That bears the name of life? Yet in this life Lie hid more thousand deaths; yet death we fear, That makes these odds all even.

CLAUDIO. I humbly thank you. To sue to live, I find I seek to die, And seeking death, find life. Let it come on.

ISABELLA. [Within.] What ho! Peace here; grace and good company!

PROVOST. Who’s there? Come in. The wish deserves a welcome.

DUKE. Dear sir, ere long I’ll visit you again.

CLAUDIO. Most holy sir, I thank you.

Enter Isabella.

ISABELLA. My business is a word or two with Claudio.

PROVOST. And very welcome. Look, signior, here’s your sister.

DUKE. Provost, a word with you.

PROVOST. As many as you please.

DUKE. Bring me to hear them speak, where I may be concealed.

[Exeunt Duke and Provost.]

CLAUDIO. Now, sister, what’s the comfort?

ISABELLA. Why, As all comforts are, most good, most good indeed. Lord Angelo, having affairs to heaven, Intends you for his swift ambassador, Where you shall be an everlasting leiger. Therefore your best appointment make with speed; Tomorrow you set on.

CLAUDIO. Is there no remedy?

ISABELLA. None, but such remedy as, to save a head, To cleave a heart in twain.

CLAUDIO. But is there any?

ISABELLA. Yes, brother, you may live. There is a devilish mercy in the judge, If you’ll implore it, that will free your life, But fetter you till death.

CLAUDIO. Perpetual durance?

ISABELLA. Ay, just; perpetual durance; a restraint, Though all the world’s vastidity you had, To a determined scope.

CLAUDIO. But in what nature?

ISABELLA. In such a one as, you consenting to’t, Would bark your honour from that trunk you bear, And leave you naked.

CLAUDIO. Let me know the point.

ISABELLA. O, I do fear thee, Claudio, and I quake, Lest thou a feverous life shouldst entertain, And six or seven winters more respect Than a perpetual honour. Dar’st thou die? The sense of death is most in apprehension; And the poor beetle that we tread upon In corporal sufferance finds a pang as great As when a giant dies.

CLAUDIO. Why give you me this shame? Think you I can a resolution fetch From flowery tenderness? If I must die, I will encounter darkness as a bride And hug it in mine arms.

ISABELLA. There spake my brother! There my father’s grave Did utter forth a voice. Yes, thou must die. Thou art too noble to conserve a life In base appliances. This outward-sainted deputy, Whose settled visage and deliberate word Nips youth i’ th’ head, and follies doth enew As falcon doth the fowl, is yet a devil. His filth within being cast, he would appear A pond as deep as hell.

CLAUDIO. The precise Angelo?

ISABELLA. O, ’tis the cunning livery of hell The damned’st body to invest and cover In precise guards! Dost thou think, Claudio, If I would yield him my virginity Thou mightst be freed?

CLAUDIO. O heavens, it cannot be.

ISABELLA. Yes, he would give it thee, from this rank offence, So to offend him still. This night’s the time That I should do what I abhor to name, Or else thou diest tomorrow.

CLAUDIO. Thou shalt not do’t.

ISABELLA. O, were it but my life, I’d throw it down for your deliverance As frankly as a pin.

CLAUDIO. Thanks, dear Isabel.

ISABELLA. Be ready, Claudio, for your death tomorrow.

CLAUDIO. Yes. Has he affections in him That thus can make him bite the law by th’ nose When he would force it? Sure it is no sin; Or of the deadly seven it is the least.

ISABELLA. Which is the least?

CLAUDIO. If it were damnable, he being so wise, Why would he for the momentary trick Be perdurably fined? O Isabel!

ISABELLA. What says my brother?

CLAUDIO. Death is a fearful thing.

ISABELLA. And shamed life a hateful.

CLAUDIO. Ay, but to die, and go we know not where; To lie in cold obstruction, and to rot; This sensible warm motion to become A kneaded clod; and the delighted spirit To bathe in fiery floods, or to reside In thrilling regions of thick-ribbed ice; To be imprisoned in the viewless winds And blown with restless violence round about The pendent world; or to be worse than worst Of those that lawless and incertain thought Imagine howling—’tis too horrible. The weariest and most loathed worldly life That age, ache, penury, and imprisonment Can lay on nature is a paradise To what we fear of death.

ISABELLA. Alas, alas!

CLAUDIO. Sweet sister, let me live. What sin you do to save a brother’s life, Nature dispenses with the deed so far That it becomes a virtue.

ISABELLA. O, you beast! O faithless coward! O dishonest wretch! Wilt thou be made a man out of my vice? Is’t not a kind of incest to take life From thine own sister’s shame? What should I think? Heaven shield my mother played my father fair, For such a warped slip of wilderness Ne’er issued from his blood. Take my defiance, Die, perish! Might but my bending down Reprieve thee from thy fate, it should proceed. I’ll pray a thousand prayers for thy death, No word to save thee.

CLAUDIO. Nay, hear me, Isabel.

ISABELLA. O fie, fie, fie! Thy sin’s not accidental, but a trade. Mercy to thee would prove itself a bawd. ’Tis best that thou diest quickly.

[Going.]

CLAUDIO. O, hear me, Isabella.

Enter Duke as a Friar.

DUKE. Vouchsafe a word, young sister, but one word.

ISABELLA. What is your will?

DUKE. Might you dispense with your leisure, I would by and by have some speech with you. The satisfaction I would require is likewise your own benefit.

ISABELLA. I have no superfluous leisure, my stay must be stolen out of other affairs, but I will attend you a while.

DUKE. [To Claudio aside.] Son, I have overheard what hath passed between you and your sister. Angelo had never the purpose to corrupt her; only he hath made an assay of her virtue, to practise his judgement with the disposition of natures. She, having the truth of honour in her, hath made him that gracious denial which he is most glad to receive. I am confessor to Angelo, and I know this to be true; therefore prepare yourself to death. Do not satisfy your resolution with hopes that are fallible. Tomorrow you must die; go to your knees and make ready.

CLAUDIO. Let me ask my sister pardon. I am so out of love with life that I will sue to be rid of it.

DUKE. Hold you there. Farewell.

[Exit Claudio.]

Enter Provost.

Provost, a word with you.

PROVOST. What’s your will, father?

DUKE. That, now you are come, you will be gone. Leave me a while with the maid; my mind promises with my habit no loss shall touch her by my company.

PROVOST. In good time.

[Exit Provost.]

DUKE. The hand that hath made you fair hath made you good. The goodness that is cheap in beauty makes beauty brief in goodness; but grace, being the soul of your complexion, shall keep the body of it ever fair. The assault that Angelo hath made to you, fortune hath conveyed to my understanding; and, but that frailty hath examples for his falling, I should wonder at Angelo. How will you do to content this substitute, and to save your brother?

ISABELLA. I am now going to resolve him. I had rather my brother die by the law than my son should be unlawfully born. But, O, how much is the good Duke deceived in Angelo! If ever he return, and I can speak to him, I will open my lips in vain, or discover his government.

DUKE. That shall not be much amiss. Yet, as the matter now stands, he will avoid your accusation: he made trial of you only. Therefore fasten your ear on my advisings, to the love I have in doing good, a remedy presents itself. I do make myself believe that you may most uprighteously do a poor wronged lady a merited benefit; redeem your brother from the angry law; do no stain to your own gracious person; and much please the absent Duke, if peradventure he shall ever return to have hearing of this business.

ISABELLA. Let me hear you speak farther. I have spirit to do anything that appears not foul in the truth of my spirit.

DUKE. Virtue is bold, and goodness never fearful. Have you not heard speak of Mariana, the sister of Frederick, the great soldier who miscarried at sea?

ISABELLA. I have heard of the lady, and good words went with her name.

DUKE. She should this Angelo have married, was affianced to her oath, and the nuptial appointed. Between which time of the contract and limit of the solemnity, her brother Frederick was wrecked at sea, having in that perished vessel the dowry of his sister. But mark how heavily this befell to the poor gentlewoman. There she lost a noble and renowned brother, in his love toward her ever most kind and natural; with him, the portion and sinew of her fortune, her marriage dowry; with both, her combinate husband, this well-seeming Angelo.

ISABELLA. Can this be so? Did Angelo so leave her?

DUKE. Left her in her tears, and dried not one of them with his comfort, swallowed his vows whole, pretending in her discoveries of dishonour; in few, bestowed her on her own lamentation, which she yet wears for his sake; and he, a marble to her tears, is washed with them, but relents not.

ISABELLA. What a merit were it in death to take this poor maid from the world! What corruption in this life, that it will let this man live! But how out of this can she avail?

DUKE. It is a rupture that you may easily heal, and the cure of it not only saves your brother, but keeps you from dishonour in doing it.

ISABELLA. Show me how, good father.

DUKE. This forenamed maid hath yet in her the continuance of her first affection. His unjust unkindness, that in all reason should have quenched her love, hath, like an impediment in the current, made it more violent and unruly. Go you to Angelo; answer his requiring with a plausible obedience; agree with his demands to the point. Only refer yourself to this advantage: first, that your stay with him may not be long; that the time may have all shadow and silence in it; and the place answer to convenience. This being granted in course, and now follows all. We shall advise this wronged maid to stead up your appointment, go in your place. If the encounter acknowledge itself hereafter, it may compel him to her recompense; and here, by this, is your brother saved, your honour untainted, the poor Mariana advantaged, and the corrupt deputy scaled. The maid will I frame and make fit for his attempt. If you think well to carry this as you may, the doubleness of the benefit defends the deceit from reproof. What think you of it?

ISABELLA. The image of it gives me content already, and I trust it will grow to a most prosperous perfection.

DUKE. It lies much in your holding up. Haste you speedily to Angelo; if for this night he entreat you to his bed, give him promise of satisfaction. I will presently to Saint Luke’s; there at the moated grange resides this dejected Mariana. At that place call upon me; and dispatch with Angelo, that it may be quickly.

ISABELLA. I thank you for this comfort. Fare you well, good father.

[Exit Isabella.]

Act III, Scene II — The street before the prison

Enter Elbow, Pompey and Officers.

ELBOW. Nay, if there be no remedy for it, but that you will needs buy and sell men and women like beasts, we shall have all the world drink brown and white bastard.

DUKE. O heavens, what stuff is here?

POMPEY. ’Twas never merry world since, of two usuries, the merriest was put down, and the worser allowed by order of law a furred gown to keep him warm; and furred with fox on lambskins too, to signify that craft, being richer than innocency, stands for the facing.

ELBOW. Come your way, sir.—Bless you, good father friar.

DUKE. And you, good brother father. What offence hath this man made you, sir?

ELBOW. Marry, sir, he hath offended the law; and, sir, we take him to be a thief too, sir; for we have found upon him, sir, a strange picklock, which we have sent to the deputy.

DUKE. Fie, sirrah, a bawd, a wicked bawd; The evil that thou causest to be done, That is thy means to live. Do thou but think What ’tis to cram a maw or clothe a back From such a filthy vice. Say to thyself, From their abominable and beastly touches I drink, I eat, array myself, and live. Canst thou believe thy living is a life, So stinkingly depending? Go mend, go mend.

POMPEY. Indeed, it does stink in some sort, sir. But yet, sir, I would prove—

DUKE. Nay, if the devil have given thee proofs for sin, Thou wilt prove his. Take him to prison, officer. Correction and instruction must both work Ere this rude beast will profit.

ELBOW. He must before the deputy, sir; he has given him warning. The deputy cannot abide a whoremaster. If he be a whoremonger and comes before him, he were as good go a mile on his errand.

DUKE. That we were all, as some would seem to be, Free from our faults, as faults from seeming, free!

ELBOW. His neck will come to your waist—a cord, sir.

Enter Lucio.

POMPEY. I spy comfort, I cry bail! Here’s a gentleman, and a friend of mine.

LUCIO. How now, noble Pompey? What, at the wheels of Caesar? Art thou led in triumph? What, is there none of Pygmalion’s images, newly made woman, to be had now, for putting the hand in the pocket and extracting it clutched? What reply, ha? What say’st thou to this tune, matter, and method? Is’t not drowned i’ th’ last rain, ha? What say’st thou, trot? Is the world as it was, man? Which is the way? Is it sad and few words? Or how? The trick of it?

DUKE. Still thus, and thus; still worse!

LUCIO. How doth my dear morsel, thy mistress? Procures she still, ha?

POMPEY. Troth, sir, she hath eaten up all her beef, and she is herself in the tub.

LUCIO. Why, ’tis good. It is the right of it. It must be so. Ever your fresh whore and your powdered bawd; an unshunned consequence; it must be so. Art going to prison, Pompey?

POMPEY. Yes, faith, sir.

LUCIO. Why, ’tis not amiss, Pompey. Farewell. Go, say I sent thee thither. For debt, Pompey? Or how?

ELBOW. For being a bawd, for being a bawd.

LUCIO. Well, then, imprison him. If imprisonment be the due of a bawd, why, ’tis his right. Bawd is he doubtless, and of antiquity, too. Bawd born. Farewell, good Pompey. Commend me to the prison, Pompey. You will turn good husband now, Pompey; you will keep the house.

POMPEY. I hope, sir, your good worship will be my bail.

LUCIO. No, indeed, will I not, Pompey; it is not the wear. I will pray, Pompey, to increase your bondage. If you take it not patiently, why, your mettle is the more. Adieu, trusty Pompey.—Bless you, friar.

DUKE. And you.

LUCIO. Does Bridget paint still, Pompey, ha?

ELBOW. Come your ways, sir, come.

POMPEY. You will not bail me then, sir?

LUCIO. Then, Pompey, nor now.—What news abroad, friar? What news?

ELBOW. Come your ways, sir, come.

LUCIO. Go to kennel, Pompey, go.

[Exeunt Elbow, Pompey and Officers.]

What news, friar, of the Duke?

DUKE. I know none. Can you tell me of any?

LUCIO. Some say he is with the Emperor of Russia; other some, he is in Rome. But where is he, think you?

DUKE. I know not where, but wheresoever, I wish him well.

LUCIO. It was a mad fantastical trick of him to steal from the state and usurp the beggary he was never born to. Lord Angelo dukes it well in his absence. He puts transgression to’t.

DUKE. He does well in’t.

LUCIO. A little more lenity to lechery would do no harm in him. Something too crabbed that way, friar.

DUKE. It is too general a vice, and severity must cure it.

LUCIO. Yes, in good sooth, the vice is of a great kindred; it is well allied; but it is impossible to extirp it quite, friar, till eating and drinking be put down. They say this Angelo was not made by man and woman after this downright way of creation. Is it true, think you?

DUKE. How should he be made, then?

LUCIO. Some report a sea-maid spawned him; some, that he was begot between two stockfishes. But it is certain that when he makes water, his urine is congealed ice; that I know to be true. And he is a motion ungenerative; that’s infallible.

DUKE. You are pleasant, sir, and speak apace.

LUCIO. Why, what a ruthless thing is this in him, for the rebellion of a codpiece to take away the life of a man! Would the Duke that is absent have done this? Ere he would have hanged a man for the getting a hundred bastards, he would have paid for the nursing a thousand. He had some feeling of the sport; he knew the service, and that instructed him to mercy.

DUKE. I never heard the absent Duke much detected for women; he was not inclined that way.

LUCIO. O, sir, you are deceived.

DUKE. ’Tis not possible.

LUCIO. Who, not the Duke? Yes, your beggar of fifty; and his use was to put a ducat in her clack-dish. The Duke had crotchets in him. He would be drunk too, that let me inform you.

DUKE. You do him wrong, surely.

LUCIO. Sir, I was an inward of his. A shy fellow was the Duke; and I believe I know the cause of his withdrawing.

DUKE. What, I prithee, might be the cause?

LUCIO. No, pardon. ’Tis a secret must be locked within the teeth and the lips. But this I can let you understand: the greater file of the subject held the Duke to be wise.

DUKE. Wise? Why, no question but he was.

LUCIO. A very superficial, ignorant, unweighing fellow.

DUKE. Either this is envy in you, folly, or mistaking. The very stream of his life, and the business he hath helmed, must upon a warranted need give him a better proclamation. Let him be but testimonied in his own bringings-forth, and he shall appear to the envious a scholar, a statesman, and a soldier. Therefore you speak unskilfully. Or, if your knowledge be more, it is much darkened in your malice.

LUCIO. Sir, I know him, and I love him.

DUKE. Love talks with better knowledge, and knowledge with dearer love.

LUCIO. Come, sir, I know what I know.

DUKE. I can hardly believe that, since you know not what you speak. But, if ever the Duke return, as our prayers are he may, let me desire you to make your answer before him. If it be honest you have spoke, you have courage to maintain it. I am bound to call upon you, and I pray you your name?

LUCIO. Sir, my name is Lucio, well known to the Duke.

DUKE. He shall know you better, sir, if I may live to report you.

LUCIO. I fear you not.

DUKE. O, you hope the Duke will return no more; or you imagine me too unhurtful an opposite. But indeed, I can do you little harm. You’ll forswear this again.

LUCIO. I’ll be hanged first! Thou art deceived in me, friar. But no more of this. Canst thou tell if Claudio die tomorrow or no?

DUKE. Why should he die, sir?

LUCIO. Why? For filling a bottle with a tun-dish. I would the Duke we talk of were returned again. This ungenitured agent will unpeople the province with continency. Sparrows must not build in his house-eaves because they are lecherous. The Duke yet would have dark deeds darkly answered. He would never bring them to light. Would he were returned! Marry, this Claudio is condemned for untrussing. Farewell, good friar, I prithee pray for me. The Duke, I say to thee again, would eat mutton on Fridays. He’s now past it; yet, and, I say to thee, he would mouth with a beggar though she smelt brown bread and garlic. Say that I said so. Farewell.

[Exit.]

DUKE. No might nor greatness in mortality Can censure ’scape. Back-wounding calumny The whitest virtue strikes. What king so strong Can tie the gall up in the slanderous tongue? But who comes here?

Enter Escalus, Provost and Officers with Mistress Overdone, a Bawd.

ESCALUS. Go, away with her to prison.

BAWD. Good my lord, be good to me. Your honour is accounted a merciful man, good my lord.

ESCALUS. Double and treble admonition, and still forfeit in the same kind? This would make mercy swear and play the tyrant.

PROVOST. A bawd of eleven years’ continuance, may it please your honour.

BAWD. My lord, this is one Lucio’s information against me. Mistress Kate Keepdown was with child by him in the Duke’s time; he promised her marriage. His child is a year and a quarter old come Philip and Jacob. I have kept it myself; and see how he goes about to abuse me.

ESCALUS. That fellow is a fellow of much license. Let him be called before us. Away with her to prison. Go to, no more words.

[Exeunt Officers with Bawd.]

Provost, my brother Angelo will not be altered; Claudio must die tomorrow. Let him be furnished with divines, and have all charitable preparation. If my brother wrought by my pity, it should not be so with him.

PROVOST. So please you, this friar hath been with him, and advised him for th’ entertainment of death.

ESCALUS. Good even, good father.

DUKE. Bliss and goodness on you!

ESCALUS. Of whence are you?

DUKE. Not of this country, though my chance is now To use it for my time. I am a brother Of gracious order, late come from the See In special business from his Holiness.

ESCALUS. What news abroad i’ th’ world?

DUKE. None, but that there is so great a fever on goodness that the dissolution of it must cure it. Novelty is only in request, and as it is as dangerous to be aged in any kind of course as it is virtuous to be constant in any undertaking. There is scarce truth enough alive to make societies secure; but security enough to make fellowships accursed. Much upon this riddle runs the wisdom of the world. This news is old enough, yet it is every day’s news. I pray you, sir, of what disposition was the Duke?

ESCALUS. One that, above all other strifes, contended especially to know himself.

DUKE. What pleasure was he given to?

ESCALUS. Rather rejoicing to see another merry, than merry at anything which professed to make him rejoice. A gentleman of all temperance. But leave we him to his events, with a prayer they may prove prosperous, and let me desire to know how you find Claudio prepared. I am made to understand that you have lent him visitation.

DUKE. He professes to have received no sinister measure from his judge, but most willingly humbles himself to the determination of justice. Yet had he framed to himself, by the instruction of his frailty, many deceiving promises of life, which I, by my good leisure, have discredited to him, and now he is resolved to die.

ESCALUS. You have paid the heavens your function, and the prisoner the very debt of your calling. I have laboured for the poor gentleman to the extremest shore of my modesty, but my brother justice have I found so severe that he hath forced me to tell him he is indeed Justice.

DUKE. If his own life answer the straitness of his proceeding, it shall become him well; wherein if he chance to fail, he hath sentenced himself.

ESCALUS. I am going to visit the prisoner. Fare you well.

DUKE. Peace be with you.

[Exeunt Escalus and Provost.]

He who the sword of heaven will bear Should be as holy as severe, Pattern in himself to know, Grace to stand, and virtue go; More nor less to others paying Than by self-offences weighing. Shame to him whose cruel striking Kills for faults of his own liking! Twice treble shame on Angelo, To weed my vice, and let his grow! O, what may man within him hide, Though angel on the outward side! How may likeness, made in crimes, Make practice on the times, To draw with idle spiders’ strings Most ponderous and substantial things! Craft against vice I must apply. With Angelo tonight shall lie His old betrothed but despised. So disguise shall, by th’ disguised, Pay with falsehood false exacting, And perform an old contracting.

[Exit.]

Act IV, Scene I — A room in Mariana’s house

Enter Mariana and a Boy singing.

SONG _ Take, O take those lips away, That so sweetly were forsworn, And those eyes, the break of day, Lights that do mislead the morn. But my kisses bring again, Bring again; Seals of love, but sealed in vain, Sealed in vain._

Enter Duke as a Friar.

MARIANA. Break off thy song, and haste thee quick away; Here comes a man of comfort, whose advice Hath often stilled my brawling discontent.

[Exit Boy.]

I cry you mercy, sir, and well could wish You had not found me here so musical. Let me excuse me, and believe me so, My mirth it much displeased, but pleased my woe.

DUKE. ’Tis good; though music oft hath such a charm To make bad good and good provoke to harm. I pray you tell me, hath anybody inquired for me here today? Much upon this time have I promised here to meet.

MARIANA. You have not been inquired after. I have sat here all day.

Enter Isabella.

DUKE. I do constantly believe you. The time is come even now. I shall crave your forbearance a little. Maybe I will call upon you anon for some advantage to yourself.

MARIANA. I am always bound to you.

[Exit.]

DUKE. Very well met, and welcome. What is the news from this good deputy?

ISABELLA. He hath a garden circummured with brick, Whose western side is with a vineyard backed; And to that vineyard is a planched gate That makes his opening with this bigger key. This other doth command a little door Which from the vineyard to the garden leads; There have I made my promise, upon the Heavy middle of the night to call on him.

DUKE. But shall you on your knowledge find this way?

ISABELLA. I have ta’en a due and wary note upon’t; With whispering and most guilty diligence, In action all of precept, he did show me The way twice o’er.

DUKE. Are there no other tokens Between you ’greed concerning her observance?

ISABELLA. No, none, but only a repair i’ th’ dark, And that I have possessed him my most stay Can be but brief, for I have made him know I have a servant comes with me along, That stays upon me; whose persuasion is I come about my brother.

DUKE. ’Tis well borne up. I have not yet made known to Mariana A word of this.—What ho, within! Come forth.

Enter Mariana.

I pray you be acquainted with this maid; She comes to do you good.

ISABELLA. I do desire the like.

DUKE. Do you persuade yourself that I respect you?

MARIANA. Good friar, I know you do, and have found it.

DUKE. Take, then, this your companion by the hand, Who hath a story ready for your ear. I shall attend your leisure; but make haste. The vaporous night approaches.

MARIANA. Will’t please you walk aside?

[Exeunt Mariana and Isabella.]

DUKE. O place and greatness, millions of false eyes Are stuck upon thee; volumes of report Run with these false, and most contrarious quest Upon thy doings; thousand escapes of wit Make thee the father of their idle dream And rack thee in their fancies.

Enter Mariana and Isabella.

Welcome; how agreed?

ISABELLA. She’ll take the enterprise upon her, father, If you advise it.

DUKE. It is not my consent, But my entreaty too.

ISABELLA. Little have you to say When you depart from him, but, soft and low, “Remember now my brother.”

MARIANA. Fear me not.

DUKE. Nor, gentle daughter, fear you not at all. He is your husband on a pre-contract. To bring you thus together ’tis no sin, Sith that the justice of your title to him Doth flourish the deceit. Come, let us go; Our corn’s to reap, for yet our tithe’s to sow.

[Exeunt.]

Act IV, Scene II — A room in the prison

Enter Provost and Pompey.

PROVOST. Come hither, sirrah. Can you cut off a man’s head?

POMPEY. If the man be a bachelor, sir, I can; but if he be a married man, he’s his wife’s head, and I can never cut off a woman’s head.

PROVOST. Come, sir, leave me your snatches, and yield me a direct answer. Tomorrow morning are to die Claudio and Barnardine. Here is in our prison a common executioner, who in his office lacks a helper; if you will take it on you to assist him, it shall redeem you from your gyves; if not, you shall have your full time of imprisonment, and your deliverance with an unpitied whipping; for you have been a notorious bawd.

POMPEY. Sir, I have been an unlawful bawd time out of mind, but yet I will be content to be a lawful hangman. I would be glad to receive some instruction from my fellow-partner.

PROVOST. What ho, Abhorson! Where’s Abhorson, there?

Enter Abhorson.

ABHORSON. Do you call, sir?

PROVOST. Sirrah, here’s a fellow will help you tomorrow in your execution. If you think it meet, compound with him by the year, and let him abide here with you; if not, use him for the present, and dismiss him. He cannot plead his estimation with you; he hath been a bawd.

ABHORSON. A bawd, sir? Fie upon him, he will discredit our mystery.

PROVOST. Go to, sir; you weigh equally. A feather will turn the scale.

[Exit.]

POMPEY. Pray, sir, by your good favour—for surely, sir, a good favour you have, but that you have a hanging look—do you call, sir, your occupation a mystery?

ABHORSON. Ay, sir, a mystery.

POMPEY. Painting, sir, I have heard say, is a mystery; and your whores, sir, being members of my occupation, using painting, do prove my occupation a mystery. But what mystery there should be in hanging, if I should be hanged, I cannot imagine.

ABHORSON. Sir, it is a mystery.

POMPEY. Proof.

ABHORSON. Every true man’s apparel fits your thief. If it be too little for your thief, your true man thinks it big enough; if it be too big for your thief, your thief thinks it little enough. So every true man’s apparel fits your thief.

Enter Provost.

PROVOST. Are you agreed?

POMPEY. Sir, I will serve him; for I do find your hangman is a more penitent trade than your bawd. He doth oftener ask forgiveness.

PROVOST. You, sirrah, provide your block and your axe tomorrow four o’clock.

ABHORSON. Come on, bawd. I will instruct thee in my trade. Follow.

POMPEY. I do desire to learn, sir; and I hope, if you have occasion to use me for your own turn, you shall find me yare. For truly, sir, for your kindness I owe you a good turn.

PROVOST. Call hither Barnardine and Claudio.

[Exeunt Abhorson and Pompey.]

Th’ one has my pity; not a jot the other, Being a murderer, though he were my brother.

Enter Claudio.

Look, here’s the warrant, Claudio, for thy death. ’Tis now dead midnight, and by eight tomorrow Thou must be made immortal. Where’s Barnardine?

CLAUDIO. As fast locked up in sleep as guiltless labour When it lies starkly in the traveller’s bones. He will not wake.

PROVOST. Who can do good on him? Well, go, prepare yourself. [Knocking within.] But hark, what noise? Heaven give your spirits comfort!

[Exit Claudio. Knock within.]

By and by!— I hope it is some pardon or reprieve For the most gentle Claudio.

Enter Duke.

Welcome, father.

DUKE. The best and wholesom’st spirits of the night Envelop you, good Provost! Who called here of late?

PROVOST. None, since the curfew rung.

DUKE. Not Isabel?

PROVOST. No.

DUKE. They will then, ere’t be long.

PROVOST. What comfort is for Claudio?

DUKE. There’s some in hope.

PROVOST. It is a bitter deputy.

DUKE. Not so, not so. His life is paralleled Even with the stroke and line of his great justice. He doth with holy abstinence subdue That in himself which he spurs on his power To qualify in others. Were he mealed with that Which he corrects, then were he tyrannous; But this being so, he’s just.

[Knocking within. Provost goes to the door.]

Now are they come. This is a gentle provost. Seldom when The steeled gaoler is the friend of men.

[Knocking within.]

How now? What noise? That spirit’s possessed with haste That wounds th’ unsisting postern with these strokes.

Provost returns.

PROVOST. There he must stay until the officer Arise to let him in. He is called up.

DUKE. Have you no countermand for Claudio yet, But he must die tomorrow?

PROVOST. None, sir, none.

DUKE. As near the dawning, Provost, as it is, You shall hear more ere morning.

PROVOST. Happily You something know, yet I believe there comes No countermand. No such example have we. Besides, upon the very siege of justice Lord Angelo hath to the public ear Professed the contrary.

Enter a Messenger.

This is his Lordship’s man.

DUKE. And here comes Claudio’s pardon.

MESSENGER. My lord hath sent you this note, and by me this further charge: that you swerve not from the smallest article of it, neither in time, matter, or other circumstance. Good morrow; for, as I take it, it is almost day.

PROVOST. I shall obey him.

[Exit Messenger.]

DUKE. [Aside.] This is his pardon, purchased by such sin For which the pardoner himself is in. Hence hath offence his quick celerity, When it is borne in high authority. When vice makes mercy, mercy’s so extended That for the fault’s love is th’ offender friended. Now, sir, what news?

PROVOST. I told you: Lord Angelo, belike thinking me remiss in mine office, awakens me with this unwonted putting-on; methinks strangely, for he hath not used it before.

DUKE. Pray you, let’s hear.

PROVOST. [Reads.] Whatsoever you may hear to the contrary, let Claudio be executed by four of the clock, and in the afternoon, Barnardine. For my better satisfaction, let me have Claudio’s head sent me by five. Let this be duly performed, with a thought that more depends on it than we must yet deliver. Thus fail not to do your office, as you will answer it at your peril. What say you to this, sir?

DUKE. What is that Barnardine who is to be executed in th’ afternoon?

PROVOST. A Bohemian born, but here nursed up and bred; one that is a prisoner nine years old.

DUKE. How came it that the absent Duke had not either delivered him to his liberty, or executed him? I have heard it was ever his manner to do so.

PROVOST. His friends still wrought reprieves for him; and indeed, his fact till now in the government of Lord Angelo, came not to an undoubtful proof.

DUKE. It is now apparent?

PROVOST. Most manifest, and not denied by himself.

DUKE. Hath he borne himself penitently in prison? How seems he to be touched?

PROVOST. A man that apprehends death no more dreadfully but as a drunken sleep; careless, reckless, and fearless of what’s past, present, or to come; insensible of mortality and desperately mortal.

DUKE. He wants advice.

PROVOST. He will hear none. He hath evermore had the liberty of the prison; give him leave to escape hence, he would not. Drunk many times a day, if not many days entirely drunk. We have very oft awaked him, as if to carry him to execution, and showed him a seeming warrant for it. It hath not moved him at all.

DUKE. More of him anon. There is written in your brow, Provost, honesty and constancy; if I read it not truly, my ancient skill beguiles me. But in the boldness of my cunning I will lay myself in hazard. Claudio, whom here you have warrant to execute, is no greater forfeit to the law than Angelo who hath sentenced him. To make you understand this in a manifested effect, I crave but four days’ respite, for the which you are to do me both a present and a dangerous courtesy.

PROVOST. Pray, sir, in what?

DUKE. In the delaying death.

PROVOST. Alack, how may I do it? Having the hour limited, and an express command, under penalty, to deliver his head in the view of Angelo? I may make my case as Claudio’s, to cross this in the smallest.

DUKE. By the vow of mine order, I warrant you, if my instructions may be your guide. Let this Barnardine be this morning executed, and his head borne to Angelo.

PROVOST. Angelo hath seen them both, and will discover the favour.

DUKE. O, death’s a great disguiser, and you may add to it. Shave the head and tie the beard, and say it was the desire of the penitent to be so bared before his death. You know the course is common. If anything fall to you upon this, more than thanks and good fortune, by the saint whom I profess, I will plead against it with my life.

PROVOST. Pardon me, good father; it is against my oath.

DUKE. Were you sworn to the Duke, or to the Deputy?

PROVOST. To him and to his substitutes.

DUKE. You will think you have made no offence if the Duke avouch the justice of your dealing?

PROVOST. But what likelihood is in that?

DUKE. Not a resemblance, but a certainty. Yet since I see you fearful, that neither my coat, integrity, nor persuasion, can with ease attempt you, I will go further than I meant, to pluck all fears out of you. Look you, sir, here is the hand and seal of the Duke. You know the character, I doubt not, and the signet is not strange to you.

PROVOST. I know them both.

DUKE. The contents of this is the return of the Duke; you shall anon over-read it at your pleasure, where you shall find within these two days he will be here. This is a thing that Angelo knows not; for he this very day receives letters of strange tenour, perchance of the Duke’s death, perchance entering into some monastery; but, by chance, nothing of what is writ. Look, th’ unfolding star calls up the shepherd. Put not yourself into amazement how these things should be. All difficulties are but easy when they are known. Call your executioner, and off with Barnardine’s head. I will give him a present shrift, and advise him for a better place. Yet you are amazed; but this shall absolutely resolve you. Come away; it is almost clear dawn.

[Exeunt.]

Act IV, Scene III — Another room in the same

Enter Pompey.

POMPEY. I am as well acquainted here as I was in our house of profession. One would think it were Mistress Overdone’s own house, for here be many of her old customers. First, here’s young Master Rash; he’s in for a commodity of brown paper and old ginger, nine score and seventeen pounds; of which he made five marks ready money. Marry, then ginger was not much in request, for the old women were all dead. Then is there here one Master Caper, at the suit of Master Three-pile the mercer, for some four suits of peach-coloured satin, which now peaches him a beggar. Then have we here young Dizie, and young Master Deep-vow, and Master Copperspur, and Master Starve-lackey, the rapier and dagger man, and young Drop-heir that killed lusty Pudding, and Master Forthright the tilter, and brave Master Shoe-tie the great traveller, and wild Half-can that stabbed Pots, and I think forty more, all great doers in our trade, and are now “for the Lord’s sake.”

Enter Abhorson.

ABHORSON. Sirrah, bring Barnardine hither.

POMPEY. Master Barnardine! You must rise and be hanged, Master Barnardine.

ABHORSON. What ho, Barnardine!

BARNARDINE. [Within.] A pox o’ your throats! Who makes that noise there? What are you?

POMPEY. Your friends, sir; the hangman. You must be so good, sir, to rise and be put to death.

BARNARDINE. [Within.] Away, you rogue, away; I am sleepy.

ABHORSON. Tell him he must awake, and that quickly too.

POMPEY. Pray, Master Barnardine, awake till you are executed, and sleep afterwards.

ABHORSON. Go in to him, and fetch him out.

POMPEY. He is coming, sir, he is coming. I hear his straw rustle.

Enter Barnardine.

ABHORSON. Is the axe upon the block, sirrah?

POMPEY. Very ready, sir.

BARNARDINE. How now, Abhorson? What’s the news with you?

ABHORSON. Truly, sir, I would desire you to clap into your prayers; for, look you, the warrant’s come.

BARNARDINE. You rogue, I have been drinking all night; I am not fitted for’t.

POMPEY. O, the better, sir; for he that drinks all night and is hanged betimes in the morning may sleep the sounder all the next day.

Enter Duke.

ABHORSON. Look you, sir, here comes your ghostly father. Do we jest now, think you?

DUKE. Sir, induced by my charity, and hearing how hastily you are to depart, I am come to advise you, comfort you, and pray with you.

BARNARDINE. Friar, not I. I have been drinking hard all night, and I will have more time to prepare me, or they shall beat out my brains with billets. I will not consent to die this day, that’s certain.

DUKE. O, sir, you must; and therefore I beseech you Look forward on the journey you shall go.

BARNARDINE. I swear I will not die today for any man’s persuasion.

DUKE. But hear you—

BARNARDINE. Not a word. If you have anything to say to me, come to my ward, for thence will not I today.

[Exit.]

DUKE. Unfit to live or die. O gravel heart! After him, fellows; bring him to the block.

[Exeunt Abhorson and Pompey.]

Enter Provost.

PROVOST. Now, sir, how do you find the prisoner?

DUKE. A creature unprepared, unmeet for death; And to transport him in the mind he is Were damnable.

PROVOST. Here in the prison, father, There died this morning of a cruel fever One Ragozine, a most notorious pirate, A man of Claudio’s years; his beard and head Just of his colour. What if we do omit This reprobate till he were well inclined, And satisfy the Deputy with the visage Of Ragozine, more like to Claudio?

DUKE. O, ’tis an accident that heaven provides! Dispatch it presently; the hour draws on Prefixed by Angelo. See this be done, And sent according to command, whiles I Persuade this rude wretch willingly to die.

PROVOST. This shall be done, good father, presently. But Barnardine must die this afternoon; And how shall we continue Claudio, To save me from the danger that might come If he were known alive?

DUKE. Let this be done: Put them in secret holds, both Barnardine and Claudio. Ere twice the sun hath made his journal greeting To yonder generation, you shall find Your safety manifested.

PROVOST. I am your free dependant.

DUKE. Quick, dispatch, and send the head to Angelo.

[Exit Provost.]

Now will I write letters to Angelo, The Provost, he shall bear them, whose contents Shall witness to him I am near at home; And that by great injunctions I am bound To enter publicly. Him I’ll desire To meet me at the consecrated fount, A league below the city; and from thence, By cold gradation and well-balanced form. We shall proceed with Angelo.

Enter Provost.

PROVOST. Here is the head; I’ll carry it myself.

DUKE. Convenient is it. Make a swift return; For I would commune with you of such things That want no ear but yours.

PROVOST. I’ll make all speed.

[Exit.]

ISABELLA. [Within.] Peace, ho, be here!

DUKE. The tongue of Isabel. She’s come to know If yet her brother’s pardon be come hither. But I will keep her ignorant of her good, To make her heavenly comforts of despair When it is least expected.

Enter Isabella.

ISABELLA. Ho, by your leave!

DUKE. Good morning to you, fair and gracious daughter.

ISABELLA. The better, given me by so holy a man. Hath yet the Deputy sent my brother’s pardon?

DUKE. He hath released him, Isabel, from the world. His head is off, and sent to Angelo.

ISABELLA. Nay, but it is not so.

DUKE. It is no other. Show your wisdom, daughter, in your close patience.

ISABELLA. O, I will to him and pluck out his eyes!

DUKE. You shall not be admitted to his sight.

ISABELLA. Unhappy Claudio! Wretched Isabel! Injurious world! Most damned Angelo!

DUKE. This nor hurts him nor profits you a jot. Forbear it, therefore; give your cause to heaven. Mark what I say, which you shall find By every syllable a faithful verity. The Duke comes home tomorrow;—nay, dry your eyes. One of our convent, and his confessor, Gives me this instance. Already he hath carried Notice to Escalus and Angelo, Who do prepare to meet him at the gates, There to give up their power. If you can, pace your wisdom In that good path that I would wish it go, And you shall have your bosom on this wretch, Grace of the Duke, revenges to your heart, And general honour.

ISABELLA. I am directed by you.

DUKE. This letter, then, to Friar Peter give; ’Tis that he sent me of the Duke’s return. Say, by this token, I desire his company At Mariana’s house tonight. Her cause and yours I’ll perfect him withal, and he shall bring you Before the Duke; and to the head of Angelo Accuse him home and home. For my poor self, I am combined by a sacred vow, And shall be absent. Wend you with this letter. Command these fretting waters from your eyes With a light heart; trust not my holy order, If I pervert your course.—Who’s here?

Enter Lucio.

LUCIO. Good even. Friar, where is the Provost?

DUKE. Not within, sir.

LUCIO. O pretty Isabella, I am pale at mine heart to see thine eyes so red. Thou must be patient. I am fain to dine and sup with water and bran. I dare not for my head fill my belly. One fruitful meal would set me to’t. But they say the Duke will be here tomorrow. By my troth, Isabel, I loved thy brother. If the old fantastical duke of dark corners had been at home, he had lived.

[Exit Isabella.]

DUKE. Sir, the Duke is marvellous little beholding to your reports; but the best is, he lives not in them.

LUCIO. Friar, thou knowest not the Duke so well as I do. He’s a better woodman than thou tak’st him for.

DUKE. Well, you’ll answer this one day. Fare ye well.

LUCIO. Nay, tarry, I’ll go along with thee. I can tell thee pretty tales of the Duke.

DUKE. You have told me too many of him already, sir, if they be true; if not true, none were enough.

LUCIO. I was once before him for getting a wench with child.

DUKE. Did you such a thing?

LUCIO. Yes, marry, did I; but I was fain to forswear it. They would else have married me to the rotten medlar.

DUKE. Sir, your company is fairer than honest. Rest you well.

LUCIO. By my troth, I’ll go with thee to the lane’s end. If bawdy talk offend you, we’ll have very little of it. Nay, friar, I am a kind of burr; I shall stick.

[Exeunt.]

Act IV, Scene IV — A room in Angelo’s house

Enter Angelo and Escalus.

ESCALUS. Every letter he hath writ hath disvouched other.

ANGELO. In most uneven and distracted manner. His actions show much like to madness; pray heaven his wisdom be not tainted. And why meet him at the gates and redeliver our authorities there?

ESCALUS. I guess not.

ANGELO. And why should we proclaim it in an hour before his entering, that if any crave redress of injustice, they should exhibit their petitions in the street?

ESCALUS. He shows his reason for that: to have a dispatch of complaints, and to deliver us from devices hereafter, which shall then have no power to stand against us.

ANGELO. Well, I beseech you, let it be proclaimed. Betimes i’ th’ morn I’ll call you at your house. Give notice to such men of sort and suit As are to meet him.

ESCALUS. I shall, sir. Fare you well.

[Exit.]

ANGELO. Good night. This deed unshapes me quite, makes me unpregnant And dull to all proceedings. A deflowered maid; And by an eminent body that enforced The law against it! But that her tender shame Will not proclaim against her maiden loss, How might she tongue me! Yet reason dares her no, For my authority bears so credent bulk That no particular scandal once can touch But it confounds the breather. He should have lived, Save that his riotous youth, with dangerous sense, Might in the times to come have ta’en revenge By so receiving a dishonoured life With ransom of such shame. Would yet he had lived. Alack, when once our grace we have forgot, Nothing goes right; we would, and we would not.

[Exit.]

Act IV, Scene V — Fields without the town

Enter Duke, in his own habit, and Friar Peter.

DUKE. These letters at fit time deliver me. The Provost knows our purpose and our plot. The matter being afoot, keep your instruction And hold you ever to our special drift, Though sometimes you do blench from this to that As cause doth minister. Go call at Flavius’ house, And tell him where I stay. Give the like notice To Valencius, Rowland, and to Crassus, And bid them bring the trumpets to the gate. But send me Flavius first.

FRIAR PETER. It shall be speeded well.

[Exit Friar Peter.]

Enter Varrius.

DUKE. I thank thee, Varrius, thou hast made good haste. Come, we will walk. There’s other of our friends Will greet us here anon. My gentle Varrius.

[Exeunt.]

Act IV, Scene VI — Street near the city gate

Enter Isabella and Mariana.

ISABELLA. To speak so indirectly I am loath; I would say the truth, but to accuse him so That is your part; yet I am advised to do it, He says, to veil full purpose.

MARIANA. Be ruled by him.

ISABELLA. Besides, he tells me that, if peradventure He speak against me on the adverse side, I should not think it strange, for ’tis a physic That’s bitter to sweet end.

MARIANA. I would Friar Peter—

Enter Friar Peter.

ISABELLA. O, peace, the friar is come.

FRIAR PETER. Come, I have found you out a stand most fit, Where you may have such vantage on the Duke He shall not pass you. Twice have the trumpets sounded. The generous and gravest citizens Have hent the gates, and very near upon The Duke is entering. Therefore hence, away.

[Exeunt.]