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Act I, Scene I — Before Leonato’s House…

Part 37 of 60 · William Shakespeare · Public domain text

About this edition

Source: Project Gutenberg e-text #100, public domain in the United States · text not rewritten or summarized · How RedLectern is built

 

Contents (798)
  1. Opening about 1 h 16 min
  2. Act I, Scene I — Rossillon. A room in the Countess’s palace about 8 min
  3. Act I, Scene II — Paris. A room in the King’s palace about 3 min
  4. Act I, Scene III — Rossillon. A Room in the Palace about 9 min
  5. Act II, Scene I — Paris. A room in the King’s palace about 7 min
  6. Act II, Scene II — Rossillon. A room in the Countess’s palace about 2 min
  7. Act II, Scene III — Paris. The King’s palace about 11 min
  8. Act II, Scene IV — Paris. The King’s palace about 2 min
  9. Act II, Scene V — Another room in the same about 3 min
  10. Act III, Scene I — Florence. A room in the Duke’s palace about 1 min
  11. Act III, Scene II — Rossillon. A room in the Countess’s palace about 5 min
  12. Act III, Scene III — Florence. Before the Duke’s palace under 1 min
  13. Act III, Scene IV — Rossillon. A room in the Countess’s palace about 1 min
  14. Act III, Scene V — Without the walls of Florence about 4 min
  15. Act III, Scene VI — Camp before Florence about 4 min
  16. Act III, Scene VII — Florence. A room in the Widow’s house about 2 min
  17. Act IV, Scene I — Without the Florentine camp about 3 min
  18. Act IV, Scene II — Florence. A room in the Widow’s house about 3 min
  19. Act IV, Scene III — The Florentine camp about 12 min
  20. Act IV, Scene IV — Florence. A room in the Widow’s house about 1 min
  21. Act IV, Scene V — Rossillon. A room in the Countess’s palace about 4 min
  22. Act V, Scene I — Marseilles. A street about 1 min
  23. Act V, Scene II — Rossillon. The inner court of the Countess’s palace about 2 min
  24. Act V, Scene III — The same. A room in the Countess’s palace about 13 min
  25. Act I, Scene I — Alexandria. A Room in Cleopatra’s palace about 2 min
  26. Act I, Scene II — Alexandria. Another Room in Cleopatra’s palace about 7 min
  27. Act I, Scene III — Alexandria. A Room in Cleopatra’s palace about 4 min
  28. Act I, Scene IV — Rome. An Apartment in Caesar’s House about 3 min
  29. Act I, Scene V — Alexandria. A Room in the Palace about 3 min
  30. Act II, Scene I — Messina. A Room in Pompey’s house about 2 min
  31. Act II, Scene II — Rome. A Room in the House of Lepidus about 8 min
  32. Act II, Scene III — Rome. A Room in Caesar’s House about 2 min
  33. Act II, Scene IV — Rome. A street under 1 min
  34. Act II, Scene V — Alexandria. A Room in the Palace about 5 min
  35. Act II, Scene VI — Near Misenum about 5 min
  36. Act II, Scene VII — On board Pompey’s Galley, lying near Misenum about 5 min
  37. Act III, Scene I — A plain in Syria about 1 min
  38. Act III, Scene II — Rome. An Ante-chamber in Caesar’s house about 3 min
  39. Act III, Scene III — Alexandria. A Room in the Palace about 2 min
  40. Act III, Scene IV — Athens. A Room in Antony’s House about 1 min
  41. Act III, Scene V — Athens. Another Room in Antony’s House about 1 min
  42. Act III, Scene VI — Rome. A Room in Caesar’s House about 3 min
  43. Act III, Scene VII — Antony’s Camp near the Promontory of Actium about 3 min
  44. Act III, Scene VIII — A plain near Actium under 1 min
  45. Act III, Scene IX — Another part of the Plain under 1 min
  46. Act III, Scene X — Another part of the Plain about 1 min
  47. Act III, Scene XI — Alexandria. A Room in the Palace about 3 min
  48. Act III, Scene XII — Caesar’s camp in Egypt about 1 min
  49. Act III, Scene XIII — Alexandria. A Room in the Palace about 7 min
  50. Act IV, Scene I — Caesar’s Camp at Alexandria about 1 min
  51. Act IV, Scene II — Alexandria. A Room in the Palace about 2 min
  52. Act IV, Scene III — Alexandria. Before the Palace about 1 min
  53. Act IV, Scene IV — Alexandria. A Room in the Palace about 1 min
  54. Act IV, Scene V — Antony’s camp near Alexandria about 1 min
  55. Act IV, Scene VI — Alexandria. Caesar’s camp about 1 min
  56. Act IV, Scene VII — Field of battle between the Camps about 1 min
  57. Act IV, Scene VIII — Under the Walls of Alexandria about 1 min
  58. Act IV, Scene IX — Caesar’s camp about 1 min
  59. Act IV, Scene X — Ground between the two Camps under 1 min
  60. Act IV, Scene XI — Another part of the Ground under 1 min
  61. Act IV, Scene XII — Another part of the Ground about 2 min
  62. Act IV, Scene XIII — Alexandria. A Room in the Palace under 1 min
  63. Act IV, Scene XIV — Alexandria. Another Room about 5 min
  64. Act IV, Scene XV — Alexandria. A monument about 3 min
  65. Act V, Scene I — Caesar’s Camp before Alexandria about 3 min
  66. Act V, Scene II — Alexandria. A Room in the Monument about 14 min
  67. Act I, Scene I — An Orchard near Oliver’s house about 6 min
  68. Act I, Scene II — A Lawn before the Duke’s Palace about 10 min
  69. Act I, Scene III — A Room in the Palace about 5 min
  70. Act II, Scene I — The Forest of Arden about 2 min
  71. Act II, Scene II — A Room in the Palace about 1 min
  72. Act II, Scene III — Before Oliver’s House about 3 min
  73. Act II, Scene IV — The Forest of Arden about 4 min
  74. Act II, Scene V — Another part of the Forest about 2 min
  75. Act II, Scene VI — Another part of the Forest about 1 min
  76. Act II, Scene VII — Another part of the Forest about 7 min
  77. Act III, Scene I — A Room in the Palace about 1 min
  78. Act III, Scene II — The Forest of Arden about 14 min
  79. Act III, Scene III — Another part of the Forest about 4 min
  80. Act III, Scene IV — Another part of the Forest. Before a Cottage about 2 min
  81. Act III, Scene V — Another part of the Forest about 5 min
  82. Act IV, Scene I — The Forest of Arden about 7 min
  83. Act IV, Scene II — Another part of the Forest about 1 min
  84. Act IV, Scene III — Another part of the Forest about 6 min
  85. Act V, Scene I — The Forest of Arden about 2 min
  86. Act V, Scene II — Another part of the Forest about 4 min
  87. Act V, Scene III — Another part of the Forest about 2 min
  88. Act V, Scene IV — Another part of the Forest about 7 min
  89. Epilogue about 1 min
  90. Act I, Scene I — A hall in the Duke’s palace about 5 min
  91. Act I, Scene II — A public place about 4 min
  92. Act II, Scene I — A public place about 4 min
  93. Act II, Scene II — The same about 8 min
  94. Act III, Scene I — The same about 6 min
  95. Act III, Scene II — The same about 7 min
  96. Act IV, Scene I — The same about 5 min
  97. Act IV, Scene II — The same about 3 min
  98. Act IV, Scene III — The same about 4 min
  99. Act IV, Scene IV — The same about 7 min
  100. Act V, Scene I — The same about 16 min
  101. Act I, Scene I — Rome. A street about 10 min
  102. Act I, Scene II — Corioles. The Senate House about 1 min
  103. Act I, Scene III — Rome. An apartment in Martius’ house about 4 min
  104. Act I, Scene IV — Before Corioles about 3 min
  105. Act I, Scene V — Within Corioles. A street about 1 min
  106. Act I, Scene VI — Near the camp of Cominius about 3 min
  107. Act I, Scene VII — The gates of Corioles under 1 min
  108. Act I, Scene VIII — A field of battle between the Roman and the Volscian camps about 1 min
  109. Act I, Scene IX — The Roman camp about 3 min
  110. Act I, Scene X — The camp of the Volsces about 1 min
  111. Act II, Scene I — Rome. A public place about 10 min
  112. Act II, Scene II — Rome. The Capitol about 6 min
  113. Act II, Scene III — Rome. The Forum about 9 min
  114. Act III, Scene I — Rome. A street about 12 min
  115. Act III, Scene II — Rome. A room in Coriolanus’s house about 5 min
  116. Act III, Scene III — Rome. The Forum about 5 min
  117. Act IV, Scene I — Rome. Before a gate of the city about 2 min
  118. Act IV, Scene II — Rome. A street near the gate about 2 min
  119. Act IV, Scene III — A highway between Rome and Antium about 2 min
  120. Act IV, Scene IV — Antium. Before Aufidius’s house about 1 min
  121. Act IV, Scene V — Antium. A hall in Aufidius’s house about 8 min
  122. Act IV, Scene VI — Rome. A public place about 6 min
  123. Act IV, Scene VII — A camp at a short distance from Rome about 2 min
  124. Act V, Scene I — Rome. A public place about 3 min
  125. Act V, Scene II — An Advanced post of the Volscian camp before Rome about 4 min
  126. Act V, Scene III — The tent of Coriolanus about 7 min
  127. Act V, Scene IV — Rome. A public place about 2 min
  128. Act V, Scene V — Rome. A street near the gate under 1 min
  129. Act V, Scene VI — Antium. A public place about 6 min
  130. Act I, Scene I — Britain. The garden of Cymbeline’s palace about 3 min
  131. Act I, Scene II — The same about 4 min
  132. Act I, Scene III — Britain. A public place about 1 min
  133. Act I, Scene IV — Britain. Cymbeline’s palace about 2 min
  134. Act I, Scene V — Rome. Philario’s house about 6 min
  135. Act I, Scene VI — Britain. Cymbeline’s palace about 3 min
  136. Act I, Scene VII — Britain. The palace about 7 min
  137. Act II, Scene I — Britain. Before Cymbeline’s palace about 2 min
  138. Act II, Scene II — Britain. Imogen’s bedchamber in Cymbeline’s palace; a trunk in one corner about 2 min
  139. Act II, Scene III — Cymbeline’s palace. An ante-chamber adjoining Imogen’s apartments about 6 min
  140. Act II, Scene IV — Rome. Philario’s house about 6 min
  141. Act II, Scene V — Rome. Another room in Philario’s house about 1 min
  142. Act III, Scene I — Britain. A hall in Cymbeline’s palace about 3 min
  143. Act III, Scene II — Britain. Another room in Cymbeline’s palace about 3 min
  144. Act III, Scene III — Wales. A mountainous country with a cave about 4 min
  145. Act III, Scene IV — Wales, near Milford Haven about 7 min
  146. Act III, Scene V — Britain. Cymbeline’s palace about 6 min
  147. Act III, Scene VI — Wales. Before the cave of Belarius about 1 min
  148. Act III, Scene VII — The same about 3 min
  149. Act III, Scene VIII — Rome. A public place about 1 min
  150. Act IV, Scene I — Wales. Near the cave of Belarius about 1 min
  151. Act IV, Scene II — Wales. Before the cave of Belarius about 15 min
  152. Act IV, Scene III — Britain. Cymbeline’s palace about 2 min
  153. Act IV, Scene IV — Wales. Before the cave of Belarius about 2 min
  154. Act V, Scene I — Britain. The Roman camp about 1 min
  155. Act V, Scene II — Britain. A field of battle between the British and Roman camps about 1 min
  156. Act V, Scene III — Another part of the field about 4 min
  157. Act V, Scene IV — Britain. A prison about 7 min
  158. Act V, Scene V — Britain. Cymbeline’s tent about 18 min
  159. Act I, Scene I — Elsinore. A platform before the Castle about 6 min
  160. Act I, Scene II — Elsinore. A room of state in the Castle about 9 min
  161. Act I, Scene III — A room in Polonius’s house about 5 min
  162. Act I, Scene IV — The platform about 3 min
  163. Act I, Scene V — A more remote part of the Castle about 6 min
  164. Act II, Scene I — A room in Polonius’s house about 4 min
  165. Act II, Scene II — A room in the Castle about 21 min
  166. Act III, Scene I — A room in the Castle about 7 min
  167. Act III, Scene II — A hall in the Castle about 14 min
  168. Act III, Scene III — A room in the Castle about 3 min
  169. Act III, Scene IV — Another room in the Castle about 8 min
  170. Act IV, Scene I — A room in the Castle about 2 min
  171. Act IV, Scene II — Another room in the Castle about 1 min
  172. Act IV, Scene III — Another room in the Castle about 2 min
  173. Act IV, Scene IV — A plain in Denmark about 2 min
  174. Act IV, Scene V — Elsinore. A room in the Castle about 7 min
  175. Act IV, Scene VI — Another room in the Castle about 1 min
  176. Act IV, Scene VII — Another room in the Castle about 7 min
  177. Act V, Scene I — A churchyard about 10 min
  178. Act V, Scene II — A hall in the Castle about 15 min
  179. Act I, Scene I — London. A Room in the Palace about 3 min
  180. Act I, Scene II — The same. An Apartment of Prince Henry’s about 8 min
  181. Act I, Scene III — The Same. A Room in the Palace about 10 min
  182. Act II, Scene I — Rochester. An Inn-Yard about 4 min
  183. Act II, Scene II — The Road by Gads-hill about 4 min
  184. Act II, Scene III — Warkworth. A Room in the Castle about 4 min
  185. Act II, Scene IV — Eastcheap. A Room in the Boar’s Head Tavern about 20 min
  186. Act III, Scene I — Bangor. A Room in the Archdeacon’s House about 9 min
  187. Act III, Scene II — London. A Room in the Palace about 6 min
  188. Act III, Scene III — Eastcheap. A Room in the Boar’s Head Tavern about 8 min
  189. Act IV, Scene I — The Rebel Camp near Shrewsbury about 5 min
  190. Act IV, Scene II — A public Road near Coventry about 3 min
  191. Act IV, Scene III — The Rebel Camp near Shrewsbury about 4 min
  192. Act IV, Scene IV — York. A Room in the Archbishop’s Palace about 1 min
  193. Act V, Scene I — The King’s Camp near Shrewsbury about 5 min
  194. Act V, Scene II — The Rebel Camp about 3 min
  195. Act V, Scene III — Plain between the Camps about 2 min
  196. Act V, Scene IV — Another Part of the Field about 6 min
  197. Act V, Scene V — Another Part of the Field about 2 min
  198. Induction about 1 min
  199. Act I, Scene I — The same about 8 min
  200. Act I, Scene II — London. A street about 10 min
  201. Act I, Scene III — York. The Archbishop’s palace about 4 min
  202. Act II, Scene I — London. A street about 7 min
  203. Act II, Scene II — London. Another street about 6 min
  204. Act II, Scene III — Warkworth. Before the castle about 2 min
  205. Act II, Scene IV — London. The Boar’s head Tavern in Eastcheap about 13 min
  206. Act III, Scene I — Westminster. The palace about 4 min
  207. Act III, Scene II — Gloucestershire. Before Justice Shallow’s house about 12 min
  208. Act IV, Scene I — Yorkshire. Gaultree Forest about 8 min
  209. Act IV, Scene II — Another part of the forest about 4 min
  210. Act IV, Scene III — Another part of the forest about 5 min
  211. Act IV, Scene IV — Westminster. The Jerusalem Chamber about 5 min
  212. Act IV, Scene V — Another chamber about 8 min
  213. Act V, Scene I — Gloucestershire. Shallow’s house about 3 min
  214. Act V, Scene II — Westminster. The palace about 5 min
  215. Act V, Scene III — Gloucestershire. Shallow’s orchard about 4 min
  216. Act V, Scene IV — London. A street about 1 min
  217. Act V, Scene V — A public place near Westminster Abbey about 4 min
  218. Epilogue about 2 min
  219. Prologue about 1 min
  220. Act I, Scene I — London. An ante-chamber in the King’s palace about 3 min
  221. Act I, Scene II — The same. The presence chamber about 10 min
  222. Act II about 1 min
  223. Act II, Scene I — London. A street about 4 min
  224. Act II, Scene II — Southampton. A council-chamber about 6 min
  225. Act II, Scene III — London. Before a tavern about 2 min
  226. Act II, Scene IV — France. The King’s palace about 5 min
  227. Act III about 1 min
  228. Act III, Scene I — France. Before Harfleur about 1 min
  229. Act III, Scene II — The same about 5 min
  230. Act III, Scene III — Before the gates about 2 min
  231. Act III, Scene IV — The French King’s palace about 2 min
  232. Act III, Scene V — The same about 2 min
  233. Act III, Scene VI — The English camp in Picardy about 6 min
  234. Act III, Scene VII — The French camp, near Agincourt about 5 min
  235. Act IV about 2 min
  236. Act IV, Scene I — The English camp at Agincourt about 11 min
  237. Act IV, Scene II — The French camp about 2 min
  238. Act IV, Scene III — The English camp about 5 min
  239. Act IV, Scene IV — The field of battle about 2 min
  240. Act IV, Scene V — Another part of the field about 1 min
  241. Act IV, Scene VI — Another part of the field about 1 min
  242. Act IV, Scene VII — Another part of the field about 7 min
  243. Act IV, Scene VIII — Before King Henry’s pavilion about 4 min
  244. Act V about 1 min
  245. Act V, Scene I — France. The English camp about 3 min
  246. Act V, Scene II — France. A royal palace about 14 min
  247. Epilogue about 1 min
  248. Act I, Scene I — Westminster Abbey about 6 min
  249. Act I, Scene II — France. Before Orleans about 5 min
  250. Act I, Scene III — London. Before the Tower about 3 min
  251. Act I, Scene IV — Orleans about 4 min
  252. Act I, Scene V — Before Orleans about 2 min
  253. Act I, Scene VI — Orleans about 1 min
  254. Act II, Scene I — Before Orleans about 3 min
  255. Act II, Scene II — Orleans. Within the town about 2 min
  256. Act II, Scene III — Auvergne. The Countess’s castle about 3 min
  257. Act II, Scene IV — London. The Temple Garden about 5 min
  258. Act II, Scene V — The Tower of London about 4 min
  259. Act III, Scene I — London. The Parliament House about 7 min
  260. Act III, Scene II — France. Before Rouen about 5 min
  261. Act III, Scene III — The plains near Rouen about 3 min
  262. Act III, Scene IV — Paris. The Palace about 2 min
  263. Act IV, Scene I — Paris. The Palace about 7 min
  264. Act IV, Scene II — Before Bordeaux about 2 min
  265. Act IV, Scene III — Plains in Gascony about 2 min
  266. Act IV, Scene IV — Other plains in Gascony about 2 min
  267. Act IV, Scene V — The English camp near Bordeaux about 2 min
  268. Act IV, Scene VI — A field of battle about 2 min
  269. Act IV, Scene VII — Another part of the field about 3 min
  270. Act V, Scene I — London. The Palace about 2 min
  271. Act V, Scene II — France. Plains in Anjou about 1 min
  272. Act V, Scene III — Before Angiers about 7 min
  273. Act V, Scene IV — Camp of the Duke of York in Anjou about 6 min
  274. Act V, Scene V — London. The royal palace about 4 min
  275. Act I, Scene I — London. The palace about 9 min
  276. Act I, Scene II — The Duke of Gloucester’s House about 4 min
  277. Act I, Scene III — London. The palace about 8 min
  278. Act I, Scene IV — Gloucester’s Garden about 3 min
  279. Act II, Scene I — Saint Albans about 7 min
  280. Act II, Scene II — London. The Duke of York’s Garden about 3 min
  281. Act II, Scene III — A Hall of Justice about 4 min
  282. Act II, Scene IV — A Street about 4 min
  283. Act III, Scene I — The Abbey at Bury St. Edmund’s about 13 min
  284. Act III, Scene II — Bury St. Edmund’s. A Room of State about 15 min
  285. Act III, Scene III — A Bedchamber about 1 min
  286. Act IV, Scene I — The Coast of Kent about 5 min
  287. Act IV, Scene II — Blackheath about 6 min
  288. Act IV, Scene III — Another part of Blackheath about 1 min
  289. Act IV, Scene IV — London. The Palace about 2 min
  290. Act IV, Scene V — London. The Tower about 1 min
  291. Act IV, Scene VI — London. Cannon Street about 1 min
  292. Act IV, Scene VII — London. Smithfield about 5 min
  293. Act IV, Scene VIII — Southwark about 3 min
  294. Act IV, Scene IX — Kenilworth Castle about 2 min
  295. Act IV, Scene X — Kent. Iden’s Garden about 3 min
  296. Act V, Scene I — Fields between Dartford and Blackheath about 8 min
  297. Act V, Scene II — Saint Albans about 3 min
  298. Act V, Scene III — Fields near Saint Albans about 2 min
  299. Act I, Scene I — London. The Parliament House about 10 min
  300. Act I, Scene II — Sandal Castle about 3 min
  301. Act I, Scene III — Plains near Sandal Castle about 2 min
  302. Act I, Scene IV — The Same about 7 min
  303. Act II, Scene I — A plain near Mortimer’s Cross in Herefordshire about 7 min
  304. Act II, Scene II — Before York about 6 min
  305. Act II, Scene III — A field of battle between Towton and Saxton, in Yorkshire about 2 min
  306. Act II, Scene IV — Another Part of the Field under 1 min
  307. Act II, Scene V — Another Part of the Field about 5 min
  308. Act II, Scene VI — Another Part of the Field about 4 min
  309. Act III, Scene I — A Forest in the North of England about 4 min
  310. Act III, Scene II — The Palace about 8 min
  311. Act III, Scene III — France. The King’s Palace about 10 min
  312. Act IV, Scene I — London. The Palace about 5 min
  313. Act IV, Scene II — A Plain in Warwickshire about 1 min
  314. Act IV, Scene III — Edward’s Camp near Warwick about 3 min
  315. Act IV, Scene IV — London. The Palace about 1 min
  316. Act IV, Scene V — A park near Middleham Castle in Yorkshire about 1 min
  317. Act IV, Scene VI — London. The Tower about 4 min
  318. Act IV, Scene VII — Before York about 3 min
  319. Act IV, Scene VIII — London. The Palace about 2 min
  320. Act V, Scene I — Coventry about 4 min
  321. Act V, Scene II — A Field of Battle near Barnet about 2 min
  322. Act V, Scene III — Another Part of the Field about 1 min
  323. Act V, Scene IV — Plains near Tewkesbury about 3 min
  324. Act V, Scene V — Another part of the Field about 3 min
  325. Act V, Scene VI — London. The Tower about 3 min
  326. Act V, Scene VII — London. The Palace about 4 min
  327. Act I, Scene I — London. An ante-chamber in the palace about 8 min
  328. Act I, Scene II — The same. The council-chamber about 8 min
  329. Act I, Scene III — An ante-chamber in the palace about 3 min
  330. Act I, Scene IV — A Hall in York Place about 5 min
  331. Act II, Scene I — Westminster. A street about 7 min
  332. Act II, Scene II — An ante-chamber in the palace about 6 min
  333. Act II, Scene III — An ante-chamber of the Queen’s apartments about 4 min
  334. Act II, Scene IV — A hall in Blackfriars about 9 min
  335. Act III, Scene I — London. The Queen’s apartments about 7 min
  336. Act III, Scene II — Ante-chamber to the King’s apartment about 17 min
  337. Act IV, Scene I — A street in Westminster about 5 min
  338. Act IV, Scene II — Kimbolton about 7 min
  339. Act V, Scene I — A gallery in the palace about 7 min
  340. Act V, Scene II — Lobby before the council-chamber about 8 min
  341. Act V, Scene III — The palace yard about 3 min
  342. Act V, Scene IV — The palace about 3 min
  343. Epilogue about 1 min
  344. Act I, Scene I — Northampton. A Room of State in the Palace about 10 min
  345. Act II, Scene I — France. Before the walls of Angiers about 21 min
  346. Act III, Scene I — France. The French King’s tent about 12 min
  347. Act III, Scene II — The same. Plains near Angiers under 1 min
  348. Act III, Scene III — The same about 3 min
  349. Act III, Scene IV — The same. The French King’s tent about 6 min
  350. Act IV, Scene I — Northampton. A Room in the Castle about 5 min
  351. Act IV, Scene II — The same. A Room of State in the Palace about 9 min
  352. Act IV, Scene III — The same. Before the castle about 6 min
  353. Act V, Scene I — Northampton. A Room in the Palace about 3 min
  354. Act V, Scene II — Near Saint Edmundsbury. The French Camp about 6 min
  355. Act V, Scene III — The same. The Field of Battle about 1 min
  356. Act V, Scene IV — The same. Another part of the same about 2 min
  357. Act V, Scene V — The same. The French camp about 1 min
  358. Act V, Scene VI — An open place in the neighborhood of Swinstead Abbey about 2 min
  359. Act V, Scene VII — The orchard of Swinstead Abbey about 5 min
  360. Act I, Scene I — Rome. A street about 3 min
  361. Act I, Scene II — The same. A public place about 11 min
  362. Act I, Scene III — The same. A street about 6 min
  363. Act II, Scene I — Rome. Brutus’ orchard about 12 min
  364. Act II, Scene II — A room in Caesar’s palace about 5 min
  365. Act II, Scene III — A street near the Capitol about 1 min
  366. Act II, Scene IV — Another part of the same street, before the house of Brutus about 2 min
  367. Act III, Scene I — Rome. Before the Capitol; the Senate sitting about 11 min
  368. Act III, Scene II — The same. The Forum about 10 min
  369. Act III, Scene III — The same. A street about 1 min
  370. Act IV, Scene I — Rome. A room in Antony’s house about 2 min
  371. Act IV, Scene II — Before Brutus’ tent, in the camp near Sardis about 2 min
  372. Act IV, Scene III — Within the tent of Brutus about 11 min
  373. Act V, Scene I — The plains of Philippi about 4 min
  374. Act V, Scene II — The same. The field of battle under 1 min
  375. Act V, Scene III — Another part of the field about 4 min
  376. Act V, Scene IV — Another part of the field about 1 min
  377. Act V, Scene V — Another part of the field about 3 min
  378. Act I, Scene I — A Room of State in King Lear’s Palace about 11 min
  379. Act I, Scene II — A Hall in the Earl of Gloucester’s Castle about 6 min
  380. Act I, Scene III — A Room in the Duke of Albany’s Palace about 1 min
  381. Act I, Scene IV — A Hall in Albany’s Palace about 11 min
  382. Act I, Scene V — Court before the Duke of Albany’s Palace about 2 min
  383. Act II, Scene I — A court within the Castle of the Earl of Gloucester about 5 min
  384. Act II, Scene II — Before Gloucester’s Castle about 6 min
  385. Act II, Scene III — The open Country about 1 min
  386. Act II, Scene IV — Before Gloucester’s Castle; Kent in the stocks about 11 min
  387. Act III, Scene I — A Heath about 2 min
  388. Act III, Scene II — Another part of the heath about 3 min
  389. Act III, Scene III — A Room in Gloucester’s Castle about 1 min
  390. Act III, Scene IV — A part of the Heath with a Hovel about 6 min
  391. Act III, Scene V — A Room in Gloucester’s Castle about 1 min
  392. Act III, Scene VI — A Chamber in a Farmhouse adjoining the Castle about 4 min
  393. Act III, Scene VII — A Room in Gloucester’s Castle about 4 min
  394. Act IV, Scene I — The heath about 3 min
  395. Act IV, Scene II — Before the Duke of Albany’s Palace about 3 min
  396. Act IV, Scene III — The French camp near Dover about 2 min
  397. Act IV, Scene IV — The French camp. A Tent about 1 min
  398. Act IV, Scene V — A Room in Gloucester’s Castle about 1 min
  399. Act IV, Scene VI — The country near Dover about 10 min
  400. Act IV, Scene VII — A Tent in the French Camp about 4 min
  401. Act V, Scene I — The Camp of the British Forces near Dover about 3 min
  402. Act V, Scene II — A field between the two Camps about 1 min
  403. Act V, Scene III — The British Camp near Dover about 13 min
  404. Act I, Scene I — The King of Navarre’s park about 10 min
  405. Act I, Scene II — The park about 6 min
  406. Act II, Scene I — The King of Navarre’s park. A pavilion and tents at a distance about 9 min
  407. Act III, Scene I — The King of Navarre’s park about 7 min
  408. Act IV, Scene I — The King of Navarre’s park about 6 min
  409. Act IV, Scene II — The same about 6 min
  410. Act IV, Scene III — The same about 13 min
  411. Act V, Scene I — The King of Navarre’s park about 5 min
  412. Act V, Scene II — The same. Before the Princess’s pavilion about 33 min
  413. Act I, Scene I — An open Place under 1 min
  414. Act I, Scene II — A Camp near Forres about 2 min
  415. Act I, Scene III — A heath about 5 min
  416. Act I, Scene IV — Forres. A Room in the Palace about 2 min
  417. Act I, Scene V — Inverness. A Room in Macbeth’s Castle about 3 min
  418. Act I, Scene VI — The same. Before the Castle about 1 min
  419. Act I, Scene VII — The same. A Lobby in the Castle about 3 min
  420. Act II, Scene I — Inverness. Court within the Castle about 2 min
  421. Act II, Scene II — The same about 3 min
  422. Act II, Scene III — The same about 5 min
  423. Act II, Scene IV — The same. Without the Castle about 2 min
  424. Act III, Scene I — Forres. A Room in the Palace about 5 min
  425. Act III, Scene II — The same. Another Room in the Palace about 2 min
  426. Act III, Scene III — The same. A Park or Lawn, with a gate leading to the Palace about 1 min
  427. Act III, Scene IV — The same. A Room of state in the Palace about 5 min
  428. Act III, Scene V — The heath about 1 min
  429. Act III, Scene VI — Forres. A Room in the Palace about 2 min
  430. Act IV, Scene I — A dark Cave. In the middle, a Cauldron Boiling about 5 min
  431. Act IV, Scene II — Fife. A Room in Macduff’s Castle about 3 min
  432. Act IV, Scene III — England. Before the King’s Palace about 8 min
  433. Act V, Scene I — Dunsinane. A Room in the Castle about 3 min
  434. Act V, Scene II — The Country near Dunsinane about 1 min
  435. Act V, Scene III — Dunsinane. A Room in the Castle about 2 min
  436. Act V, Scene IV — Country near Dunsinane: a Wood in view about 1 min
  437. Act V, Scene V — Dunsinane. Within the castle about 2 min
  438. Act V, Scene VI — The same. A Plain before the Castle under 1 min
  439. Act V, Scene VII — The same. Another part of the Plain about 1 min
  440. Act V, Scene VIII — The same. Another part of the field about 3 min
  441. Act I, Scene I — An apartment in the Duke’s palace about 3 min
  442. Act I, Scene II — A street about 6 min
  443. Act I, Scene III — A monastery about 2 min
  444. Act I, Scene IV — A nunnery about 3 min
  445. Act II, Scene I — A hall in Angelo’s house about 10 min
  446. Act II, Scene II — Another room in the same about 7 min
  447. Act II, Scene III — A room in a prison about 2 min
  448. Act II, Scene IV — A room in Angelo’s house about 6 min
  449. Act III, Scene I — A room in the prison about 10 min
  450. Act III, Scene II — The street before the prison about 10 min
  451. Act IV, Scene I — A room in Mariana’s house about 3 min
  452. Act IV, Scene II — A room in the prison about 7 min
  453. Act IV, Scene III — Another room in the same about 6 min
  454. Act IV, Scene IV — A room in Angelo’s house about 1 min
  455. Act IV, Scene V — Fields without the town about 1 min
  456. Act IV, Scene VI — Street near the city gate about 1 min
  457. Act V, Scene I — A public place near the city gate about 19 min
  458. Act I, Scene I — Venice. A street about 6 min
  459. Act I, Scene II — Belmont. A room in Portia’s house about 5 min
  460. Act I, Scene III — Venice. A public place about 6 min
  461. Act II, Scene I — Belmont. A room in Portia’s house about 2 min
  462. Act II, Scene II — Venice. A street about 7 min
  463. Act II, Scene III — The same. A room in Shylock’s house about 1 min
  464. Act II, Scene IV — The same. A street about 1 min
  465. Act II, Scene V — The same. Before Shylock’s house about 2 min
  466. Act II, Scene VI — The same about 2 min
  467. Act II, Scene VII — Belmont. A room in Portia’s house about 3 min
  468. Act II, Scene VIII — Venice. A street about 2 min
  469. Act II, Scene IX — Belmont. A room in Portia’s house about 3 min
  470. Act III, Scene I — Venice. A street about 5 min
  471. Act III, Scene II — Belmont. A room in Portia’s house about 11 min
  472. Act III, Scene III — Venice. A street about 1 min
  473. Act III, Scene IV — Belmont. A room in Portia’s house about 3 min
  474. Act III, Scene V — The same. A garden about 3 min
  475. Act IV, Scene I — Venice. A court of justice about 16 min
  476. Act IV, Scene II — The same. A street about 1 min
  477. Act V, Scene I — Belmont. The avenue to Portia’s house about 12 min
  478. Act I, Scene I — Windsor. Before Page’s house about 10 min
  479. Act I, Scene II — The same under 1 min
  480. Act I, Scene III — A room in the Garter Inn about 3 min
  481. Act I, Scene IV — A room in Doctor Caius’s house about 6 min
  482. Act II, Scene I — Before Page’s house about 8 min
  483. Act II, Scene II — A room in the Garter Inn about 11 min
  484. Act II, Scene III — A field near Windsor about 3 min
  485. Act III, Scene I — A field near Frogmore about 4 min
  486. Act III, Scene II — A street in Windsor about 3 min
  487. Act III, Scene III — A room in Ford’s house about 8 min
  488. Act III, Scene IV — A room in Page’s house about 4 min
  489. Act III, Scene V — A room in the Garter Inn about 5 min
  490. Act IV, Scene I — The street about 2 min
  491. Act IV, Scene II — A room in Ford’s house about 7 min
  492. Act IV, Scene III — A room in the Garter Inn under 1 min
  493. Act IV, Scene IV — A room in Ford’s house about 3 min
  494. Act IV, Scene V — A room in the Garter Inn about 4 min
  495. Act IV, Scene VI — Another room in the Garter Inn about 2 min
  496. Act V, Scene I — A room in the Garter Inn about 1 min
  497. Act V, Scene II — Windsor Park about 1 min
  498. Act V, Scene III — The street in Windsor about 1 min
  499. Act V, Scene IV — Windsor Park under 1 min
  500. Act V, Scene V — Another part of the Park about 10 min
  501. Act I, Scene I — Athens. A room in the Palace of Theseus about 8 min
  502. Act I, Scene II — The Same. A Room in a Cottage about 3 min
  503. Act II, Scene I — A wood near Athens about 9 min
  504. Act II, Scene II — Another part of the wood about 5 min
  505. Act III, Scene I — The Wood about 7 min
  506. Act III, Scene II — Another part of the wood about 16 min
  507. Act IV, Scene I — The Wood about 8 min
  508. Act IV, Scene II — Athens. A Room in Quince’s House about 2 min
  509. Act V, Scene I — Athens. An Apartment in the Palace of Theseus about 14 min
  510. Act I, Scene I — Before Leonato’s House about 11 min
  511. Act I, Scene II — A room in Leonato’s house about 1 min
  512. Act I, Scene III — Another room in Leonato’s house about 3 min
  513. Act II, Scene I — A hall in Leonato’s house about 13 min
  514. Act II, Scene II — Another room in Leonato’s house about 2 min
  515. Act II, Scene III — Leonato’s Garden about 10 min
  516. Act III, Scene I — Leonato’s Garden about 4 min
  517. Act III, Scene II — A Room in Leonato’s House about 4 min
  518. Act III, Scene III — A Street about 6 min
  519. Act III, Scene IV — A Room in Leonato’s House about 3 min
  520. Act III, Scene V — Another Room in Leonato’s House about 2 min
  521. Act IV, Scene I — The Inside of a Church about 11 min
  522. Act IV, Scene II — A Prison about 3 min
  523. Act V, Scene I — Before Leonato’s House about 12 min
  524. Act V, Scene II — Leonato’s Garden about 3 min
  525. Act V, Scene III — The Inside of a Church about 1 min
  526. Act V, Scene IV — A Room in Leonato’s House about 5 min
  527. Act I, Scene I — Venice. A street about 6 min
  528. Act I, Scene II — Venice. Another street about 4 min
  529. Act I, Scene III — Venice. A council chamber about 14 min
  530. Act II, Scene I — A seaport in Cyprus. A Platform about 11 min
  531. Act II, Scene II — A street under 1 min
  532. Act II, Scene III — A Hall in the Castle about 13 min
  533. Act III, Scene I — Cyprus. Before the Castle about 2 min
  534. Act III, Scene II — Cyprus. A Room in the Castle under 1 min
  535. Act III, Scene III — Cyprus. The Garden of the Castle about 17 min
  536. Act III, Scene IV — Cyprus. Before the Castle about 7 min
  537. Act IV, Scene I — Cyprus. Before the Castle about 10 min
  538. Act IV, Scene II — Cyprus. A Room in the Castle about 9 min
  539. Act IV, Scene III — Cyprus. Another Room in the Castle about 4 min
  540. Act V, Scene I — Cyprus. A Street about 5 min
  541. Act V, Scene II — Cyprus. A Bedchamber in the castle about 14 min
  542. Act I about 1 min
  543. Act I, Scene I — Antioch. A room in the palace about 6 min
  544. Act I, Scene II — Tyre. A room in the palace about 4 min
  545. Act I, Scene III — Tyre. An ante-chamber in the Palace about 1 min
  546. Act I, Scene IV — Tarsus. A room in the Governor’s house about 4 min
  547. Act II about 1 min
  548. Act II, Scene I — Pentapolis. An open place by the seaside about 8 min
  549. Act II, Scene III — The same. A hall of state: a banquet prepared about 4 min
  550. Act II, Scene IV — Tyre. A room in the Governor’s house about 2 min
  551. Act II, Scene V — Pentapolis. A room in the palace about 3 min
  552. Act III about 2 min
  553. Act III, Scene I about 3 min
  554. Act III, Scene II — Ephesus. A room in Cerimon’s house about 4 min
  555. Act III, Scene III — Tarsus. A room in Cleon’s house about 2 min
  556. Act III, Scene IV — Ephesus. A room in Cerimon’s house about 1 min
  557. Act IV about 1 min
  558. Act IV, Scene I — Tarsus. An open place near the seashore about 4 min
  559. Act IV, Scene II — Mytilene. A room in a brothel about 5 min
  560. Act IV, Scene III — Tarsus. A room in Cleon’s house about 2 min
  561. Act IV, Scene IV about 2 min
  562. Act IV, Scene V — Mytilene. A street before the brothel under 1 min
  563. Act IV, Scene VI — The same. A room in the brothel about 7 min
  564. Act V about 10 min
  565. Act V, Scene II about 5 min
  566. Act I, Scene I — London. A Room in the palace about 7 min
  567. Act I, Scene II — The same. A room in the Duke of Lancaster’s palace about 3 min
  568. Act I, Scene III — Open Space, near Coventry. Lists set out, and a Throne. Heralds, &c., attending about 11 min
  569. Act I, Scene IV — London. A Room in the King’s Castle about 2 min
  570. Act II, Scene I — London. An Apartment in Ely House about 10 min
  571. Act II, Scene II — The Same. A Room in the Castle about 5 min
  572. Act II, Scene III — The Wolds in Gloucestershire about 6 min
  573. Act II, Scene IV — A camp in Wales about 1 min
  574. Act III, Scene I — Bristol. Bolingbroke’s camp about 2 min
  575. Act III, Scene II — The coast of Wales. A castle in view about 8 min
  576. Act III, Scene III — Wales. Before Flint Castle about 7 min
  577. Act III, Scene IV — Langley. The Duke of York’s garden about 4 min
  578. Act IV, Scene I — Westminster Hall about 12 min
  579. Act V, Scene I — London. A street leading to the Tower about 4 min
  580. Act V, Scene II — The same. A room in the Duke of York’s palace about 4 min
  581. Act V, Scene III — Windsor. A room in the Castle about 5 min
  582. Act V, Scene IV — Another room in the Castle under 1 min
  583. Act V, Scene V — Pomfret. The dungeon of the Castle about 4 min
  584. Act V, Scene VI — Windsor. An Apartment in the Castle about 3 min
  585. Act I, Scene I — London. A street about 5 min
  586. Act I, Scene II — London. Another street about 9 min
  587. Act I, Scene III — London. A Room in the Palace about 13 min
  588. Act I, Scene IV — London. A Room in the Tower about 10 min
  589. Act II, Scene I — London. A Room in the palace about 5 min
  590. Act II, Scene II — Another Room in the palace about 5 min
  591. Act II, Scene III — London. A street about 2 min
  592. Act II, Scene IV — London. A Room in the Palace about 3 min
  593. Act III, Scene I — London. A street about 7 min
  594. Act III, Scene II — Before Lord Hastings’ house about 5 min
  595. Act III, Scene III — Pomfret. Before the Castle about 1 min
  596. Act III, Scene IV — London. A Room in the Tower about 4 min
  597. Act III, Scene V — London. The Tower Walls about 4 min
  598. Act III, Scene VI — London. A street about 1 min
  599. Act III, Scene VII — London. Court of Baynard’s Castle about 8 min
  600. Act IV, Scene I — London. Before the Tower about 4 min
  601. Act IV, Scene II — London. A Room of State in the Palace about 4 min
  602. Act IV, Scene III — London. Another Room in the Palace about 2 min
  603. Act IV, Scene IV — London. Before the Palace about 20 min
  604. Act IV, Scene V — A Room in Lord Stanley’s house about 1 min
  605. Act V, Scene I — Salisbury. An open place about 1 min
  606. Act V, Scene II — Plain near Tamworth about 1 min
  607. Act V, Scene III — Bosworth Field about 13 min
  608. Act V, Scene IV — Another part of the Field about 1 min
  609. Act V, Scene V — Another part of the Field about 2 min
  610. The Prologue under 1 min
  611. Act I, Scene I — A public place about 8 min
  612. Act I, Scene II — A Street about 4 min
  613. Act I, Scene III — Room in Capulet’s House about 4 min
  614. Act I, Scene IV — A Street about 4 min
  615. Act I, Scene V — A Hall in Capulet’s House about 5 min
  616. Act II under 1 min
  617. Act II, Scene I — An open place adjoining Capulet’s Garden about 2 min
  618. Act II, Scene II — Capulet’s Garden about 7 min
  619. Act II, Scene III — Friar Lawrence’s Cell about 3 min
  620. Act II, Scene IV — A Street about 7 min
  621. Act II, Scene V — Capulet’s Garden about 3 min
  622. Act II, Scene VI — Friar Lawrence’s Cell about 1 min
  623. Act III, Scene I — A public Place about 7 min
  624. Act III, Scene II — A Room in Capulet’s House about 5 min
  625. Act III, Scene III — Friar Lawrence’s cell about 6 min
  626. Act III, Scene IV — A Room in Capulet’s House about 1 min
  627. Act III, Scene V — An open Gallery to Juliet’s Chamber, overlooking the Garden about 9 min
  628. Act IV, Scene I — Friar Lawrence’s Cell about 5 min
  629. Act IV, Scene II — Hall in Capulet’s House about 2 min
  630. Act IV, Scene III — Juliet’s Chamber about 2 min
  631. Act IV, Scene IV — Hall in Capulet’s House about 1 min
  632. Act IV, Scene V — Juliet’s Chamber; Juliet on the bed about 5 min
  633. Act V, Scene I — Mantua. A Street about 3 min
  634. Act V, Scene II — Friar Lawrence’s Cell about 1 min
  635. Act V, Scene III — A churchyard; in it a Monument belonging to the Capulets about 12 min
  636. Induction, Scene I — Before an alehouse on a heath about 5 min
  637. Induction, Scene II — A bedchamber in the Lord’s house about 5 min
  638. Act I, Scene I — Padua. A public place about 9 min
  639. Act I, Scene II — Padua. Before Hortensio’s house about 10 min
  640. Act II, Scene I — Padua. A room in Baptista’s house about 15 min
  641. Act III, Scene I — Padua. A room in Baptista’s house about 3 min
  642. Act III, Scene II — The same. Before Baptista’s house about 9 min
  643. Act IV, Scene I — A hall in Petruchio’s country house about 7 min
  644. Act IV, Scene II — Padua. Before Baptista’s house about 4 min
  645. Act IV, Scene III — A room in Petruchio’s house about 7 min
  646. Act IV, Scene IV — Padua. Before Baptista’s house about 4 min
  647. Act IV, Scene V — A public road about 3 min
  648. Act V, Scene I — Padua. Before Lucentio’s house about 5 min
  649. Act V, Scene II — A room in Lucentio’s house about 7 min
  650. Act I, Scene I — On a ship at sea; a tempestuous noise of thunder and lightning heard about 2 min
  651. Act I, Scene II — The Island. Before the cell of Prospero about 18 min
  652. Act II, Scene I — Another part of the island about 11 min
  653. Act II, Scene II — Another part of the island about 7 min
  654. Act III, Scene I — Before Prospero’s cell about 4 min
  655. Act III, Scene II — Another part of the island about 5 min
  656. Act III, Scene III — Another part of the island about 4 min
  657. Act IV, Scene I — Before Prospero’s cell about 9 min
  658. Act V, Scene I — Before the cell of Prospero about 12 min
  659. Epilogue about 1 min
  660. Act I, Scene I — Athens. A hall in Timon’s house about 10 min
  661. Act I, Scene II — The Same. A room of state in Timon’s house about 9 min
  662. Act II, Scene I — Athens. A room in a senator’s house about 1 min
  663. Act II, Scene II — The same. A hall in Timon’s house about 8 min
  664. Act III, Scene I — Athens. A room in Lucullus’ house about 2 min
  665. Act III, Scene II — A public place about 3 min
  666. Act III, Scene III — The same. A room in Sempronius’ house about 2 min
  667. Act III, Scene IV — A hall in Timon’s house about 4 min
  668. Act III, Scene V — The same. The senate house about 4 min
  669. Act III, Scene VI — A room of state in Timon’s house about 4 min
  670. Act IV, Scene I — Without the walls of Athens about 1 min
  671. Act IV, Scene II — Athens. A room in Timon’s house about 2 min
  672. Act IV, Scene III — Woods and caves near the sea-shore about 19 min
  673. Act V, Scene I — The woods. Before Timon’s cave about 4 min
  674. Act V, Scene II — The same about 4 min
  675. Act V, Scene III — Before the walls of Athens about 1 min
  676. Act V, Scene IV — The woods. Timon’s cave, and a rude tomb seen under 1 min
  677. Act V, Scene V — Before the walls of Athens about 4 min
  678. Act I, Scene I — Rome. Before the Capitol about 17 min
  679. Act II, Scene I — Rome. Before the palace about 5 min
  680. Act II, Scene II — A Forest near Rome; a Lodge seen at a distance. Horns and cry of hounds heard about 1 min
  681. Act II, Scene III — A lonely part of the Forest about 11 min
  682. Act II, Scene IV — Another part of the Forest about 2 min
  683. Act III, Scene I — Rome. A street about 11 min
  684. Act III, Scene II — Rome. A Room in Titus’s House. A banquet set out about 3 min
  685. Act IV, Scene I — Rome. Before Titus’s House about 5 min
  686. Act IV, Scene II — Rome. A Room in the Palace about 7 min
  687. Act IV, Scene III — Rome. A public Place about 4 min
  688. Act IV, Scene IV — Rome. Before the Palace about 4 min
  689. Act V, Scene I — Plains near Rome about 6 min
  690. Act V, Scene II — Rome. Before Titus’s House about 7 min
  691. Act V, Scene III — Rome. A Pavilion in Titus’s Gardens, with tables, &c about 8 min
  692. Prologue about 1 min
  693. Act I, Scene I — Troy. Before Priam’s palace about 4 min
  694. Act I, Scene II — Troy. A street about 10 min
  695. Act I, Scene III — The Grecian camp. Before Agamemnon’s tent about 13 min
  696. Act II, Scene I — The Grecian camp about 4 min
  697. Act II, Scene II — Troy. Priam’s palace about 7 min
  698. Act II, Scene III — The Grecian camp. Before the tent of Achilles about 9 min
  699. Act III, Scene I — Troy. Priam’s palace about 5 min
  700. Act III, Scene II — Troy. Pandarus’ orchard about 7 min
  701. Act III, Scene III — The Greek camp about 10 min
  702. Act IV, Scene I — Troy. A street about 3 min
  703. Act IV, Scene II — Troy. The court of Pandarus’ house about 4 min
  704. Act IV, Scene III — Troy. A street before Pandarus’ house under 1 min
  705. Act IV, Scene IV — Troy. Pandarus’ house about 5 min
  706. Act IV, Scene V — The Grecian camp. Lists set out about 10 min
  707. Act V, Scene I — The Grecian camp. Before the tent of Achilles about 4 min
  708. Act V, Scene II — The Grecian camp. Before Calchas’ tent about 7 min
  709. Act V, Scene III — Troy. Before Priam’s palace about 4 min
  710. Act V, Scene IV — The plain between Troy and the Grecian camp about 1 min
  711. Act V, Scene V — Another part of the plain about 2 min
  712. Act V, Scene VI — Another part of the plain about 1 min
  713. Act V, Scene VII — Another part of the plain about 1 min
  714. Act V, Scene VIII — Another part of the plain about 1 min
  715. Act V, Scene IX — Another part of the plain under 1 min
  716. Act V, Scene X — Another part of the plain about 2 min
  717. Act I, Scene I — An Apartment in the Duke’s Palace about 1 min
  718. Act I, Scene II — The sea-coast about 2 min
  719. Act I, Scene III — A Room in Olivia’s House about 5 min
  720. Act I, Scene IV — A Room in the Duke’s Palace about 1 min
  721. Act I, Scene V — A Room in Olivia’s House about 11 min
  722. Act II, Scene I — The sea-coast about 2 min
  723. Act II, Scene II — A street about 2 min
  724. Act II, Scene III — A Room in Olivia’s House about 7 min
  725. Act II, Scene IV — A Room in the Duke’s Palace about 4 min
  726. Act II, Scene V — Olivia’s garden about 7 min
  727. Act III, Scene I — Olivia’s garden about 6 min
  728. Act III, Scene II — A Room in Olivia’s House about 3 min
  729. Act III, Scene III — A street about 2 min
  730. Act III, Scene IV — Olivia’s garden about 14 min
  731. Act IV, Scene I — The Street before Olivia’s House about 2 min
  732. Act IV, Scene II — A Room in Olivia’s House about 4 min
  733. Act IV, Scene III — Olivia’s Garden about 1 min
  734. Act V, Scene I — The Street before Olivia’s House about 14 min
  735. Act I, Scene I — Verona. An open place about 5 min
  736. Act I, Scene II — The same. The garden of Julia’s house about 5 min
  737. Act I, Scene III — The same. A room in Antonio’s house about 3 min
  738. Act II, Scene I — Milan. A room in the Duke’s palace about 6 min
  739. Act II, Scene II — Verona. A room in Julia’s house about 1 min
  740. Act II, Scene III — The same. A street about 2 min
  741. Act II, Scene IV — Milan. A room in the Duke’s palace about 7 min
  742. Act II, Scene V — The same. A street about 2 min
  743. Act II, Scene VI — The same. The Duke’s palace about 1 min
  744. Act II, Scene VII — Verona. A room in Julia’s house about 3 min
  745. Act III, Scene I — Milan. An anteroom in the Duke’s palace about 13 min
  746. Act III, Scene II — The same. A room in the Duke’s palace about 3 min
  747. Act IV, Scene I — A forest between Milan and Verona about 3 min
  748. Act IV, Scene II — Milan. The court of the Duke’s palace about 5 min
  749. Act IV, Scene III — The same about 2 min
  750. Act IV, Scene IV — The same about 7 min
  751. Act V, Scene I — Milan. An abbey under 1 min
  752. Act V, Scene II — The same. A room in the Duke’s palace about 2 min
  753. Act V, Scene III — Frontiers of Mantua. The forest about 1 min
  754. Act V, Scene IV — Another part of the forest about 6 min
  755. Prologue about 1 min
  756. Epilogue under 1 min
  757. Prologue about 1 min
  758. Act I, Scene I — Athens. Before a temple about 8 min
  759. Act I, Scene II — Thebes. The Court of the Palace about 4 min
  760. Act I, Scene III — Before the gates of Athens about 3 min
  761. Act I, Scene IV — A field before Thebes about 2 min
  762. Act I, Scene V — Another part of the same, more remote from Thebes about 1 min
  763. Act II, Scene I — Athens. A garden, with a castle in the background about 2 min
  764. Act II, Scene II — The prison about 11 min
  765. Act II, Scene III — The country near Athens about 3 min
  766. Act II, Scene IV — Athens. A room in the prison about 1 min
  767. Act II, Scene V — An open place in Athens about 3 min
  768. Act II, Scene VI — Athens. Before the prison about 1 min
  769. Act III, Scene I — A forest near Athens about 5 min
  770. Act III, Scene II — Another Part of the forest about 1 min
  771. Act III, Scene III — The same part of the forest as in scene I about 2 min
  772. Act III, Scene IV — Another part of the forest about 1 min
  773. Act III, Scene V — Another part of the forest about 6 min
  774. Act III, Scene VI — The same part of the forest as in scene III about 12 min
  775. Act IV, Scene I — Athens. A room in the prison about 6 min
  776. Act IV, Scene II — A Room in the Palace about 6 min
  777. Act IV, Scene III — A room in the prison about 4 min
  778. Act V, Scene I — Athens. Before the Temples of Mars, Venus, and Diana about 7 min
  779. Act V, Scene II — Athens. A Room in the Prison about 5 min
  780. Act V, Scene III — A part of the Forest near Athens, and near the Place appointed for the Combat about 5 min
  781. Act V, Scene IV — The same; a Block prepared about 5 min
  782. Epilogue about 1 min
  783. Dramatis Personæ under 1 min
  784. Act I, Scene I — Sicilia. An Antechamber in Leontes’ Palace about 2 min
  785. Act I, Scene II — The same. A Room of State in the Palace about 16 min
  786. Act II, Scene I — Sicilia. A Room in the Palace about 7 min
  787. Act II, Scene II — The same. The outer Room of a Prison about 2 min
  788. Act II, Scene III — The same. A Room in the Palace about 8 min
  789. Act III, Scene I — Sicilia. A Street in some Town about 1 min
  790. Act III, Scene II — The same. A Court of Justice about 9 min
  791. Act III, Scene III — Bohemia. A desert Country near the Sea about 5 min
  792. Act IV, Scene I about 1 min
  793. Act IV, Scene II — Bohemia. A Room in the palace of Polixenes about 2 min
  794. Act IV, Scene III — The same. A Road near the Shepherd’s cottage about 4 min
  795. Act IV, Scene IV — The same. A Shepherd’s Cottage about 30 min
  796. Act V, Scene I — Sicilia. A Room in the palace of Leontes about 8 min
  797. Act V, Scene II — The same. Before the Palace about 7 min
  798. Act V, Scene III — The same. A Room in Paulina’s house about 2 h 17 min

Continue:

Act I, Scene I — Before Leonato’s House

Enter Leonato, Hero, Beatrice and others, with a Messenger.

LEONATO. I learn in this letter that Don Pedro of Arragon comes this night to Messina.

MESSENGER. He is very near by this: he was not three leagues off when I left him.

LEONATO. How many gentlemen have you lost in this action?

MESSENGER. But few of any sort, and none of name.

LEONATO. A victory is twice itself when the achiever brings home full numbers. I find here that Don Pedro hath bestowed much honour on a young Florentine called Claudio.

MESSENGER. Much deserved on his part, and equally remembered by Don Pedro. He hath borne himself beyond the promise of his age, doing in the figure of a lamb the feats of a lion: he hath indeed better bettered expectation than you must expect of me to tell you how.

LEONATO. He hath an uncle here in Messina will be very much glad of it.

MESSENGER. I have already delivered him letters, and there appears much joy in him; even so much that joy could not show itself modest enough without a badge of bitterness.

LEONATO. Did he break out into tears?

MESSENGER. In great measure.

LEONATO. A kind overflow of kindness. There are no faces truer than those that are so washed; how much better is it to weep at joy than to joy at weeping!

BEATRICE. I pray you, is Signior Mountanto returned from the wars or no?

MESSENGER. I know none of that name, lady: there was none such in the army of any sort.

LEONATO. What is he that you ask for, niece?

HERO. My cousin means Signior Benedick of Padua.

MESSENGER. O! he is returned, and as pleasant as ever he was.

BEATRICE. He set up his bills here in Messina and challenged Cupid at the flight; and my uncle’s fool, reading the challenge, subscribed for Cupid, and challenged him at the bird-bolt. I pray you, how many hath he killed and eaten in these wars? But how many hath he killed? for, indeed, I promised to eat all of his killing.

LEONATO. Faith, niece, you tax Signior Benedick too much; but he’ll be meet with you, I doubt it not.

MESSENGER. He hath done good service, lady, in these wars.

BEATRICE. You had musty victual, and he hath holp to eat it; he is a very valiant trencher-man; he hath an excellent stomach.

MESSENGER. And a good soldier too, lady.

BEATRICE. And a good soldier to a lady; but what is he to a lord?

MESSENGER. A lord to a lord, a man to a man; stuffed with all honourable virtues.

BEATRICE. It is so indeed; he is no less than a stuffed man; but for the stuffing,—well, we are all mortal.

LEONATO. You must not, sir, mistake my niece. There is a kind of merry war betwixt Signior Benedick and her; they never meet but there’s a skirmish of wit between them.

BEATRICE. Alas! he gets nothing by that. In our last conflict four of his five wits went halting off, and now is the whole man governed with one! so that if he have wit enough to keep himself warm, let him bear it for a difference between himself and his horse; for it is all the wealth that he hath left to be known a reasonable creature. Who is his companion now? He hath every month a new sworn brother.

MESSENGER. Is’t possible?

BEATRICE. Very easily possible: he wears his faith but as the fashion of his hat; it ever changes with the next block.

MESSENGER. I see, lady, the gentleman is not in your books.

BEATRICE. No; and he were, I would burn my study. But I pray you, who is his companion? Is there no young squarer now that will make a voyage with him to the devil?

MESSENGER. He is most in the company of the right noble Claudio.

BEATRICE. O Lord, he will hang upon him like a disease: he is sooner caught than the pestilence, and the taker runs presently mad. God help the noble Claudio! If he have caught the Benedick, it will cost him a thousand pound ere he be cured.

MESSENGER. I will hold friends with you, lady.

BEATRICE. Do, good friend.

LEONATO. You will never run mad, niece.

BEATRICE. No, not till a hot January.

MESSENGER. Don Pedro is approached.

Enter Don Pedro, Don John, Claudio, Benedick, Balthasar and Others.

DON PEDRO. Good Signior Leonato, you are come to meet your trouble: the fashion of the world is to avoid cost, and you encounter it.

LEONATO. Never came trouble to my house in the likeness of your Grace, for trouble being gone, comfort should remain; but when you depart from me, sorrow abides and happiness takes his leave.

DON PEDRO. You embrace your charge too willingly. I think this is your daughter.

LEONATO. Her mother hath many times told me so.

BENEDICK. Were you in doubt, sir, that you asked her?

LEONATO. Signior Benedick, no; for then were you a child.

DON PEDRO. You have it full, Benedick: we may guess by this what you are, being a man. Truly the lady fathers herself. Be happy, lady, for you are like an honourable father.

BENEDICK. If Signior Leonato be her father, she would not have his head on her shoulders for all Messina, as like him as she is.

BEATRICE. I wonder that you will still be talking, Signior Benedick: nobody marks you.

BENEDICK. What! my dear Lady Disdain, are you yet living?

BEATRICE. Is it possible Disdain should die while she hath such meet food to feed it as Signior Benedick? Courtesy itself must convert to disdain if you come in her presence.

BENEDICK. Then is courtesy a turncoat. But it is certain I am loved of all ladies, only you excepted; and I would I could find in my heart that I had not a hard heart; for, truly, I love none.

BEATRICE. A dear happiness to women: they would else have been troubled with a pernicious suitor. I thank God and my cold blood, I am of your humour for that. I had rather hear my dog bark at a crow than a man swear he loves me.

BENEDICK. God keep your Ladyship still in that mind; so some gentleman or other shall scape a predestinate scratched face.

BEATRICE. Scratching could not make it worse, and ’twere such a face as yours were.

BENEDICK. Well, you are a rare parrot-teacher.

BEATRICE. A bird of my tongue is better than a beast of yours.

BENEDICK. I would my horse had the speed of your tongue, and so good a continuer. But keep your way, i’ God’s name; I have done.

BEATRICE. You always end with a jade’s trick: I know you of old.

DON PEDRO. That is the sum of all, Leonato: Signior Claudio, and Signior Benedick, my dear friend Leonato hath invited you all. I tell him we shall stay here at the least a month, and he heartly prays some occasion may detain us longer: I dare swear he is no hypocrite, but prays from his heart.

LEONATO. If you swear, my lord, you shall not be forsworn. [To Don John] Let me bid you welcome, my lord: being reconciled to the Prince your brother, I owe you all duty.

DON JOHN. I thank you: I am not of many words, but I thank you.

LEONATO. Please it your Grace lead on?

DON PEDRO. Your hand, Leonato; we will go together.

[Exeunt all but Benedick and Claudio.]

CLAUDIO. Benedick, didst thou note the daughter of Signior Leonato?

BENEDICK. I noted her not; but I looked on her.

CLAUDIO. Is she not a modest young lady?

BENEDICK. Do you question me, as an honest man should do, for my simple true judgment; or would you have me speak after my custom, as being a professed tyrant to their sex?

CLAUDIO. No; I pray thee speak in sober judgment.

BENEDICK. Why, i’ faith, methinks she’s too low for a high praise, too brown for a fair praise, and too little for a great praise; only this commendation I can afford her, that were she other than she is, she were unhandsome, and being no other but as she is, I do not like her.

CLAUDIO. Thou thinkest I am in sport: I pray thee tell me truly how thou likest her.

BENEDICK. Would you buy her, that you enquire after her?

CLAUDIO. Can the world buy such a jewel?

BENEDICK. Yea, and a case to put it into. But speak you this with a sad brow, or do you play the flouting Jack, to tell us Cupid is a good hare-finder, and Vulcan a rare carpenter? Come, in what key shall a man take you, to go in the song?

CLAUDIO. In mine eye she is the sweetest lady that ever I looked on.

BENEDICK. I can see yet without spectacles and I see no such matter: there’s her cousin and she were not possessed with a fury, exceeds her as much in beauty as the first of May doth the last of December. But I hope you have no intent to turn husband, have you?

CLAUDIO. I would scarce trust myself, though I had sworn to the contrary, if Hero would be my wife.

BENEDICK. Is’t come to this, in faith? Hath not the world one man but he will wear his cap with suspicion? Shall I never see a bachelor of threescore again? Go to, i’ faith; and thou wilt needs thrust thy neck into a yoke, wear the print of it and sigh away Sundays.

Re-enter Don Pedro.

Look! Don Pedro is returned to seek you.

DON PEDRO. What secret hath held you here, that you followed not to Leonato’s?

BENEDICK. I would your Grace would constrain me to tell.

DON PEDRO. I charge thee on thy allegiance.

BENEDICK. You hear, Count Claudio: I can be secret as a dumb man; I would have you think so; but on my allegiance mark you this, on my allegiance: he is in love. With who? now that is your Grace’s part. Mark how short his answer is: with Hero, Leonato’s short daughter.

CLAUDIO. If this were so, so were it uttered.

BENEDICK. Like the old tale, my lord: ‘it is not so, nor ’twas not so; but indeed, God forbid it should be so.’

CLAUDIO. If my passion change not shortly, God forbid it should be otherwise.

DON PEDRO. Amen, if you love her; for the lady is very well worthy.

CLAUDIO. You speak this to fetch me in, my lord.

DON PEDRO. By my troth, I speak my thought.

CLAUDIO. And in faith, my lord, I spoke mine.

BENEDICK. And by my two faiths and troths, my lord, I spoke mine.

CLAUDIO. That I love her, I feel.

DON PEDRO. That she is worthy, I know.

BENEDICK. That I neither feel how she should be loved, nor know how she should be worthy, is the opinion that fire cannot melt out of me: I will die in it at the stake.

DON PEDRO. Thou wast ever an obstinate heretic in the despite of beauty.

CLAUDIO. And never could maintain his part but in the force of his will.

BENEDICK. That a woman conceived me, I thank her; that she brought me up, I likewise give her most humble thanks; but that I will have a recheat winded in my forehead, or hang my bugle in an invisible baldrick, all women shall pardon me. Because I will not do them the wrong to mistrust any, I will do myself the right to trust none; and the fine is,—for the which I may go the finer,—I will live a bachelor.

DON PEDRO. I shall see thee, ere I die, look pale with love.

BENEDICK. With anger, with sickness, or with hunger, my lord; not with love: prove that ever I lose more blood with love than I will get again with drinking, pick out mine eyes with a ballad-maker’s pen and hang me up at the door of a brothel-house for the sign of blind Cupid.

DON PEDRO. Well, if ever thou dost fall from this faith, thou wilt prove a notable argument.

BENEDICK. If I do, hang me in a bottle like a cat and shoot at me; and he that hits me, let him be clapped on the shoulder and called Adam.

DON PEDRO. Well, as time shall try: ‘In time the savage bull doth bear the yoke.’

BENEDICK. The savage bull may; but if ever the sensible Benedick bear it, pluck off the bull’s horns and set them in my forehead; and let me be vilely painted, and in such great letters as they write, ‘Here is good horse to hire,’ let them signify under my sign ‘Here you may see Benedick the married man.’

CLAUDIO. If this should ever happen, thou wouldst be horn-mad.

DON PEDRO. Nay, if Cupid have not spent all his quiver in Venice, thou wilt quake for this shortly.

BENEDICK. I look for an earthquake too then.

DON PEDRO. Well, you will temporize with the hours. In the meantime, good Signior Benedick, repair to Leonato’s: commend me to him and tell him I will not fail him at supper; for indeed he hath made great preparation.

BENEDICK. I have almost matter enough in me for such an embassage; and so I commit you—

CLAUDIO. To the tuition of God: from my house, if I had it,—

DON PEDRO. The sixth of July: your loving friend, Benedick.

BENEDICK. Nay, mock not, mock not. The body of your discourse is sometime guarded with fragments, and the guards are but slightly basted on neither: ere you flout old ends any further, examine your conscience: and so I leave you.

[Exit.]

CLAUDIO. My liege, your Highness now may do me good.

DON PEDRO. My love is thine to teach: teach it but how, And thou shalt see how apt it is to learn Any hard lesson that may do thee good.

CLAUDIO. Hath Leonato any son, my lord?

DON PEDRO. No child but Hero; she’s his only heir. Dost thou affect her, Claudio?

CLAUDIO. O! my lord, When you went onward on this ended action, I looked upon her with a soldier’s eye, That lik’d, but had a rougher task in hand Than to drive liking to the name of love; But now I am return’d, and that war-thoughts Have left their places vacant, in their rooms Come thronging soft and delicate desires, All prompting me how fair young Hero is, Saying, I lik’d her ere I went to wars.

DON PEDRO. Thou wilt be like a lover presently, And tire the hearer with a book of words. If thou dost love fair Hero, cherish it, And I will break with her, and with her father, And thou shalt have her. Was’t not to this end That thou began’st to twist so fine a story?

CLAUDIO. How sweetly you do minister to love, That know love’s grief by his complexion! But lest my liking might too sudden seem, I would have salv’d it with a longer treatise.

DON PEDRO. What need the bridge much broader than the flood? The fairest grant is the necessity. Look, what will serve is fit: ’tis once, thou lov’st, And I will fit thee with the remedy. I know we shall have revelling tonight: I will assume thy part in some disguise, And tell fair Hero I am Claudio; And in her bosom I’ll unclasp my heart, And take her hearing prisoner with the force And strong encounter of my amorous tale: Then after to her father will I break; And the conclusion is, she shall be thine. In practice let us put it presently.

[Exeunt.]

Act I, Scene II — A room in Leonato’s house

Enter Leonato and Antonio, meeting.

LEONATO. How now, brother? Where is my cousin your son? Hath he provided this music?

ANTONIO. He is very busy about it. But, brother, I can tell you strange news that you yet dreamt not of.

LEONATO. Are they good?

ANTONIO. As the event stamps them: but they have a good cover; they show well outward. The Prince and Count Claudio, walking in a thick-pleached alley in my orchard, were thus much overheard by a man of mine: the Prince discovered to Claudio that he loved my niece your daughter and meant to acknowledge it this night in a dance; and if he found her accordant, he meant to take the present time by the top and instantly break with you of it.

LEONATO. Hath the fellow any wit that told you this?

ANTONIO. A good sharp fellow: I will send for him; and question him yourself.

LEONATO. No, no; we will hold it as a dream till it appear itself: but I will acquaint my daughter withal, that she may be the better prepared for an answer, if peradventure this be true. Go you and tell her of it.

[Several persons cross the stage.]

Cousins, you know what you have to do. O! I cry you mercy, friend; go you with me, and I will use your skill. Good cousin, have a care this busy time.

[Exeunt.]

Act I, Scene III — Another room in Leonato’s house

Enter Don John and Conrade.

CONRADE. What the good-year, my lord! why are you thus out of measure sad?

DON JOHN. There is no measure in the occasion that breeds; therefore the sadness is without limit.

CONRADE. You should hear reason.

DON JOHN. And when I have heard it, what blessings brings it?

CONRADE. If not a present remedy, at least a patient sufferance.

DON JOHN. I wonder that thou (being as thou say’st thou art, born under Saturn) goest about to apply a moral medicine to a mortifying mischief. I cannot hide what I am: I must be sad when I have cause, and smile at no man’s jests; eat when I have stomach, and wait for no man’s leisure; sleep when I am drowsy, and tend on no man’s business; laugh when I am merry, and claw no man in his humour.

CONRADE. Yea; but you must not make the full show of this till you may do it without controlment. You have of late stood out against your brother, and he hath ta’en you newly into his grace; where it is impossible you should take true root but by the fair weather that you make yourself: it is needful that you frame the season for your own harvest.

DON JOHN. I had rather be a canker in a hedge than a rose in his grace; and it better fits my blood to be disdained of all than to fashion a carriage to rob love from any: in this, though I cannot be said to be a flattering honest man, it must not be denied but I am a plain-dealing villain. I am trusted with a muzzle and enfranchised with a clog; therefore I have decreed not to sing in my cage. If I had my mouth, I would bite; if I had my liberty, I would do my liking: in the meantime, let me be that I am, and seek not to alter me.

CONRADE. Can you make no use of your discontent?

DON JOHN. I make all use of it, for I use it only. Who comes here?

Enter Borachio.

What news, Borachio?

BORACHIO. I came yonder from a great supper: the Prince your brother is royally entertained by Leonato; and I can give you intelligence of an intended marriage.

DON JOHN. Will it serve for any model to build mischief on? What is he for a fool that betroths himself to unquietness?

BORACHIO. Marry, it is your brother’s right hand.

DON JOHN. Who? the most exquisite Claudio?

BORACHIO. Even he.

DON JOHN. A proper squire! And who, and who? which way looks he?

BORACHIO. Marry, on Hero, the daughter and heir of Leonato.

DON JOHN. A very forward March-chick! How came you to this?

BORACHIO. Being entertained for a perfumer, as I was smoking a musty room, comes me the Prince and Claudio, hand in hand, in sad conference: I whipt me behind the arras, and there heard it agreed upon that the Prince should woo Hero for himself, and having obtained her, give her to Count Claudio.

DON JOHN. Come, come; let us thither: this may prove food to my displeasure. That young start-up hath all the glory of my overthrow: if I can cross him any way, I bless myself every way. You are both sure, and will assist me?

CONRADE. To the death, my lord.

DON JOHN. Let us to the great supper: their cheer is the greater that I am subdued. Would the cook were of my mind! Shall we go to prove what’s to be done?

BORACHIO. We’ll wait upon your Lordship.

[Exeunt.]

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

Enter Leonato, Antonio, Hero, Beatrice and others.

LEONATO. Was not Count John here at supper?

ANTONIO. I saw him not.

BEATRICE. How tartly that gentleman looks! I never can see him but I am heart-burned an hour after.

HERO. He is of a very melancholy disposition.

BEATRICE. He were an excellent man that were made just in the mid-way between him and Benedick: the one is too like an image, and says nothing; and the other too like my lady’s eldest son, evermore tattling.

LEONATO. Then half Signior Benedick’s tongue in Count John’s mouth, and half Count John’s melancholy in Signior Benedick’s face—

BEATRICE. With a good leg and a good foot, uncle, and money enough in his purse, such a man would win any woman in the world if a’ could get her good will.

LEONATO. By my troth, niece, thou wilt never get thee a husband, if thou be so shrewd of thy tongue.

ANTONIO. In faith, she’s too curst.

BEATRICE. Too curst is more than curst: I shall lessen God’s sending that way; for it is said, ‘God sends a curst cow short horns;’ but to a cow too curst he sends none.

LEONATO. So, by being too curst, God will send you no horns?

BEATRICE. Just, if he send me no husband; for the which blessing I am at him upon my knees every morning and evening. Lord! I could not endure a husband with a beard on his face: I had rather lie in the woollen.

LEONATO. You may light on a husband that hath no beard.

BEATRICE. What should I do with him? dress him in my apparel and make him my waiting gentlewoman? He that hath a beard is more than a youth, and he that hath no beard is less than a man; and he that is more than a youth is not for me; and he that is less than a man, I am not for him: therefore I will even take sixpence in earnest of the bear-ward, and lead his apes into hell.

LEONATO. Well then, go you into hell?

BEATRICE. No; but to the gate; and there will the Devil meet me, like an old cuckold, with horns on his head, and say, ‘Get you to heaven, Beatrice, get you to heaven; here’s no place for you maids.’ So deliver I up my apes, and away to Saint Peter for the heavens: he shows me where the bachelors sit, and there live we as merry as the day is long.

ANTONIO. [To Hero.] Well, niece, I trust you will be ruled by your father.

BEATRICE. Yes, faith; it is my cousin’s duty to make curtsy, and say, ‘Father, as it please you:’— but yet for all that, cousin, let him be a handsome fellow, or else make another curtsy, and say, ‘Father, as it please me.’

LEONATO. Well, niece, I hope to see you one day fitted with a husband.

BEATRICE. Not till God make men of some other metal than earth. Would it not grieve a woman to be over-mastered with a piece of valiant dust? to make an account of her life to a clod of wayward marl? No, uncle, I’ll none: Adam’s sons are my brethren; and truly, I hold it a sin to match in my kindred.

LEONATO. Daughter, remember what I told you: if the Prince do solicit you in that kind, you know your answer.

BEATRICE. The fault will be in the music, cousin, if you be not wooed in good time: if the Prince be too important, tell him there is measure in everything, and so dance out the answer. For, hear me, Hero: wooing, wedding, and repenting is as a Scotch jig, a measure, and a cinquepace: the first suit is hot and hasty, like a Scotch jig, and full as fantastical; the wedding, mannerly modest, as a measure, full of state and ancientry; and then comes Repentance, and with his bad legs, falls into the cinquepace faster and faster, till he sink into his grave.

LEONATO. Cousin, you apprehend passing shrewdly.

BEATRICE. I have a good eye, uncle: I can see a church by daylight.

LEONATO. The revellers are entering, brother: make good room.

Enter Don Pedro, Claudio, Benedick, Balthasar, Don John, Borachio, Margaret, Ursula and Others, masked.

DON PEDRO. Lady, will you walk about with your friend?

HERO. So you walk softly and look sweetly and say nothing, I am yours for the walk; and especially when I walk away.

DON PEDRO. With me in your company?

HERO. I may say so, when I please.

DON PEDRO. And when please you to say so?

HERO. When I like your favour; for God defend the lute should be like the case!

DON PEDRO. My visor is Philemon’s roof; within the house is Jove.

HERO. Why, then, your visor should be thatch’d.

DON PEDRO. Speak low, if you speak love.

[Takes her aside.]

BALTHASAR. Well, I would you did like me.

MARGARET. So would not I, for your own sake; for I have many ill qualities.

BALTHASAR. Which is one?

MARGARET. I say my prayers aloud.

BALTHASAR. I love you the better; the hearers may cry Amen.

MARGARET. God match me with a good dancer!

BALTHASAR. Amen.

MARGARET. And God keep him out of my sight when the dance is done! Answer, clerk.

BALTHASAR. No more words: the clerk is answered.

URSULA. I know you well enough: you are Signior Antonio.

ANTONIO. At a word, I am not.

URSULA. I know you by the waggling of your head.

ANTONIO. To tell you true, I counterfeit him.

URSULA. You could never do him so ill-well, unless you were the very man. Here’s his dry hand up and down: you are he, you are he.

ANTONIO. At a word, I am not.

URSULA. Come, come; do you think I do not know you by your excellent wit? Can virtue hide itself? Go to, mum, you are he: graces will appear, and there’s an end.

BEATRICE. Will you not tell me who told you so?

BENEDICK. No, you shall pardon me.

BEATRICE. Nor will you not tell me who you are?

BENEDICK. Not now.

BEATRICE. That I was disdainful, and that I had my good wit out of the ‘Hundred Merry Tales.’ Well, this was Signior Benedick that said so.

BENEDICK. What’s he?

BEATRICE. I am sure you know him well enough.

BENEDICK. Not I, believe me.

BEATRICE. Did he never make you laugh?

BENEDICK. I pray you, what is he?

BEATRICE. Why, he is the Prince’s jester: a very dull fool; only his gift is in devising impossible slanders: none but libertines delight in him; and the commendation is not in his wit, but in his villainy; for he both pleases men and angers them, and then they laugh at him and beat him. I am sure he is in the fleet: I would he had boarded me!

BENEDICK. When I know the gentleman, I’ll tell him what you say.

BEATRICE. Do, do: he’ll but break a comparison or two on me; which, peradventure not marked or not laughed at, strikes him into melancholy; and then there’s a partridge wing saved, for the fool will eat no supper that night. [Music within.] We must follow the leaders.

BENEDICK. In every good thing.

BEATRICE. Nay, if they lead to any ill, I will leave them at the next turning.

[Dance. Then exeunt all but Don John, Borachio and Claudio.]

DON JOHN. Sure my brother is amorous on Hero, and hath withdrawn her father to break with him about it. The ladies follow her and but one visor remains.

BORACHIO. And that is Claudio: I know him by his bearing.

DON JOHN. Are you not Signior Benedick?

CLAUDIO. You know me well; I am he.

DON JOHN. Signior, you are very near my brother in his love: he is enamoured on Hero; I pray you, dissuade him from her; she is no equal for his birth: you may do the part of an honest man in it.

CLAUDIO. How know you he loves her?

DON JOHN. I heard him swear his affection.

BORACHIO. So did I too; and he swore he would marry her tonight.

DON JOHN. Come, let us to the banquet.

[Exeunt Don John and Borachio.]

CLAUDIO. Thus answer I in name of Benedick, But hear these ill news with the ears of Claudio. ’Tis certain so; the Prince wooss for himself. Friendship is constant in all other things Save in the office and affairs of love: Therefore all hearts in love use their own tongues; Let every eye negotiate for itself And trust no agent; for beauty is a witch Against whose charms faith melteth into blood. This is an accident of hourly proof, Which I mistrusted not. Farewell, therefore, Hero!

Re-enter Benedick.

BENEDICK. Count Claudio?

CLAUDIO. Yea, the same.

BENEDICK. Come, will you go with me?

CLAUDIO. Whither?

BENEDICK. Even to the next willow, about your own business, Count. What fashion will you wear the garland of? About your neck, like a usurer’s chain? or under your arm, like a lieutenant’s scarf? You must wear it one way, for the Prince hath got your Hero.

CLAUDIO. I wish him joy of her.

BENEDICK. Why, that’s spoken like an honest drovier: so they sell bullocks. But did you think the Prince would have served you thus?

CLAUDIO. I pray you, leave me.

BENEDICK. Ho! now you strike like the blind man: ’twas the boy that stole your meat, and you’ll beat the post.

CLAUDIO. If it will not be, I’ll leave you.

[Exit.]

BENEDICK. Alas! poor hurt fowl. Now will he creep into sedges. But, that my Lady Beatrice should know me, and not know me! The Prince’s fool! Ha! it may be I go under that title because I am merry. Yea, but so I am apt to do myself wrong; I am not so reputed: it is the base though bitter disposition of Beatrice that puts the world into her person, and so gives me out. Well, I’ll be revenged as I may.

Re-enter Don Pedro.

DON PEDRO. Now, signior, where’s the Count? Did you see him?

BENEDICK. Troth, my lord, I have played the part of Lady Fame. I found him here as melancholy as a lodge in a warren. I told him, and I think I told him true, that your Grace had got the good will of this young lady; and I offered him my company to a willow tree, either to make him a garland, as being forsaken, or to bind him up a rod, as being worthy to be whipped.

DON PEDRO. To be whipped! What’s his fault?

BENEDICK. The flat transgression of a school-boy, who, being overjoy’d with finding a bird’s nest, shows it his companion, and he steals it.

DON PEDRO. Wilt thou make a trust a transgression? The transgression is in the stealer.

BENEDICK. Yet it had not been amiss the rod had been made, and the garland too; for the garland he might have worn himself, and the rod he might have bestowed on you, who, as I take it, have stolen his bird’s nest.

DON PEDRO. I will but teach them to sing, and restore them to the owner.

BENEDICK. If their singing answer your saying, by my faith, you say honestly.

DON PEDRO. The Lady Beatrice hath a quarrel to you: the gentleman that danced with her told her she is much wronged by you.

BENEDICK. O! she misused me past the endurance of a block: an oak but with one green leaf on it would have answered her: my very visor began to assume life and scold with her. She told me, not thinking I had been myself, that I was the Prince’s jester, that I was duller than a great thaw; huddling jest upon jest with such impossible conveyance upon me, that I stood like a man at a mark, with a whole army shooting at me. She speaks poniards, and every word stabs: if her breath were as terrible as her terminations, there were no living near her; she would infect to the north star. I would not marry her, though she were endowed with all that Adam had left him before he transgressed: she would have made Hercules have turned spit, yea, and have cleft his club to make the fire too. Come, talk not of her; you shall find her the infernal Ate in good apparel. I would to God some scholar would conjure her, for certainly, while she is here, a man may live as quiet in hell as in a sanctuary; and people sin upon purpose because they would go thither; so indeed, all disquiet, horror and perturbation follow her.

Re-enter Claudio, Beatrice, Hero and Leonato.

DON PEDRO. Look! here she comes.

BENEDICK. Will your Grace command me any service to the world’s end? I will go on the slightest errand now to the Antipodes that you can devise to send me on; I will fetch you a toothpicker now from the furthest inch of Asia; bring you the length of Prester John’s foot; fetch you a hair off the Great Cham’s beard; do you any embassage to the Pygmies, rather than hold three words’ conference with this harpy. You have no employment for me?

DON PEDRO. None, but to desire your good company.

BENEDICK. O God, sir, here’s a dish I love not: I cannot endure my Lady Tongue.

[Exit.]

DON PEDRO. Come, lady, come; you have lost the heart of Signior Benedick.

BEATRICE. Indeed, my lord, he lent it me awhile; and I gave him use for it, a double heart for a single one: marry, once before he won it of me with false dice, therefore your Grace may well say I have lost it.

DON PEDRO. You have put him down, lady, you have put him down.

BEATRICE. So I would not he should do me, my lord, lest I should prove the mother of fools. I have brought Count Claudio, whom you sent me to seek.

DON PEDRO. Why, how now, Count! wherefore are you sad?

CLAUDIO. Not sad, my lord.

DON PEDRO. How then? Sick?

CLAUDIO. Neither, my lord.

BEATRICE. The Count is neither sad, nor sick, nor merry, nor well; but civil Count, civil as an orange, and something of that jealous complexion.

DON PEDRO. I’ faith, lady, I think your blazon to be true; though, I’ll be sworn, if he be so, his conceit is false. Here, Claudio, I have wooed in thy name, and fair Hero is won; I have broke with her father, and, his good will obtained; name the day of marriage, and God give thee joy!

LEONATO. Count, take of me my daughter, and with her my fortunes: his Grace hath made the match, and all grace say Amen to it!

BEATRICE. Speak, Count, ’tis your cue.

CLAUDIO. Silence is the perfectest herald of joy: I were but little happy, if I could say how much. Lady, as you are mine, I am yours: I give away myself for you and dote upon the exchange.

BEATRICE. Speak, cousin; or, if you cannot, stop his mouth with a kiss, and let not him speak neither.

DON PEDRO. In faith, lady, you have a merry heart.

BEATRICE. Yea, my lord; I thank it, poor fool, it keeps on the windy side of care. My cousin tells him in his ear that he is in her heart.

CLAUDIO. And so she doth, cousin.

BEATRICE. Good Lord, for alliance! Thus goes everyone to the world but I, and I am sunburnt. I may sit in a corner and cry heigh-ho for a husband!

DON PEDRO. Lady Beatrice, I will get you one.

BEATRICE. I would rather have one of your father’s getting. Hath your Grace ne’er a brother like you? Your father got excellent husbands, if a maid could come by them.

DON PEDRO. Will you have me, lady?

BEATRICE. No, my lord, unless I might have another for working days: your Grace is too costly to wear every day. But, I beseech your Grace, pardon me; I was born to speak all mirth and no matter.

DON PEDRO. Your silence most offends me, and to be merry best becomes you; for out of question, you were born in a merry hour.

BEATRICE. No, sure, my lord, my mother cried; but then there was a star danced, and under that was I born. Cousins, God give you joy!

LEONATO. Niece, will you look to those things I told you of?

BEATRICE. I cry you mercy, uncle. By your Grace’s pardon.

[Exit.]

DON PEDRO. By my troth, a pleasant spirited lady.

LEONATO. There’s little of the melancholy element in her, my lord: she is never sad but when she sleeps; and not ever sad then, for I have heard my daughter say, she hath often dreamed of unhappiness and waked herself with laughing.

DON PEDRO. She cannot endure to hear tell of a husband.

LEONATO. O! by no means: she mocks all her wooers out of suit.

DON PEDRO. She were an excellent wife for Benedick.

LEONATO. O Lord! my lord, if they were but a week married, they would talk themselves mad.

DON PEDRO. Count Claudio, when mean you to go to church?

CLAUDIO. Tomorrow, my lord. Time goes on crutches till love have all his rites.

LEONATO. Not till Monday, my dear son, which is hence a just seven-night; and a time too brief too, to have all things answer my mind.

DON PEDRO. Come, you shake the head at so long a breathing; but, I warrant thee, Claudio, the time shall not go dully by us. I will in the interim undertake one of Hercules’ labours, which is, to bring Signior Benedick and the Lady Beatrice into a mountain of affection the one with the other. I would fain have it a match; and I doubt not but to fashion it, if you three will but minister such assistance as I shall give you direction.

LEONATO. My lord, I am for you, though it cost me ten nights’ watchings.

CLAUDIO. And I, my lord.

DON PEDRO. And you too, gentle Hero?

HERO. I will do any modest office, my lord, to help my cousin to a good husband.

DON PEDRO. And Benedick is not the unhopefullest husband that I know. Thus far can I praise him; he is of a noble strain, of approved valour, and confirmed honesty. I will teach you how to humour your cousin, that she shall fall in love with Benedick; and I, with your two helps, will so practise on Benedick that, in despite of his quick wit and his queasy stomach, he shall fall in love with Beatrice. If we can do this, Cupid is no longer an archer: his glory shall be ours, for we are the only love-gods. Go in with me, and I will tell you my drift.

[Exeunt.]

Act II, Scene II — Another room in Leonato’s house

Enter Don John and Borachio.

DON JOHN. It is so; the Count Claudio shall marry the daughter of Leonato.

BORACHIO. Yea, my lord; but I can cross it.

DON JOHN. Any bar, any cross, any impediment will be medicinable to me: I am sick in displeasure to him, and whatsoever comes athwart his affection ranges evenly with mine. How canst thou cross this marriage?

BORACHIO. Not honestly, my lord; but so covertly that no dishonesty shall appear in me.

DON JOHN. Show me briefly how.

BORACHIO. I think I told your lordship, a year since, how much I am in the favour of Margaret, the waiting gentlewoman to Hero.

DON JOHN. I remember.

BORACHIO. I can, at any unseasonable instant of the night, appoint her to look out at her lady’s chamber window.

DON JOHN. What life is in that, to be the death of this marriage?

BORACHIO. The poison of that lies in you to temper. Go you to the Prince your brother; spare not to tell him, that he hath wronged his honour in marrying the renowned Claudio,—whose estimation do you mightily hold up,—to a contaminated stale, such a one as Hero.

DON JOHN. What proof shall I make of that?

BORACHIO. Proof enough to misuse the Prince, to vex Claudio, to undo Hero, and kill Leonato. Look you for any other issue?

DON JOHN. Only to despite them, I will endeavour anything.

BORACHIO. Go then; find me a meet hour to draw Don Pedro and the Count Claudio alone: tell them that you know that Hero loves me; intend a kind of zeal both to the Prince and Claudio, as—in love of your brother’s honour, who hath made this match, and his friend’s reputation, who is thus like to be cozened with the semblance of a maid,—that you have discovered thus. They will scarcely believe this without trial: offer them instances, which shall bear no less likelihood than to see me at her chamber window, hear me call Margaret Hero, hear Margaret term me Claudio; and bring them to see this the very night before the intended wedding: for in the meantime I will so fashion the matter that Hero shall be absent; and there shall appear such seeming truth of Hero’s disloyalty, that jealousy shall be called assurance, and all the preparation overthrown.

DON JOHN. Grow this to what adverse issue it can, I will put it in practice. Be cunning in the working this, and thy fee is a thousand ducats.

BORACHIO. Be you constant in the accusation, and my cunning shall not shame me.

DON JOHN. I will presently go learn their day of marriage.

[Exeunt.]

Act II, Scene III — Leonato’s Garden

Enter Benedick.

BENEDICK. Boy!

Enter a Boy.

BOY. Signior?

BENEDICK. In my chamber window lies a book; bring it hither to me in the orchard.

BOY. I am here already, sir.

BENEDICK. I know that; but I would have thee hence, and here again.

[Exit Boy.]

I do much wonder that one man, seeing how much another man is a fool when he dedicates his behaviours to love, will, after he hath laughed at such shallow follies in others, become the argument of his own scorn by falling in love: and such a man is Claudio. I have known, when there was no music with him but the drum and the fife; and now had he rather hear the tabor and the pipe: I have known when he would have walked ten mile afoot to see a good armour; and now will he lie ten nights awake, carving the fashion of a new doublet. He was wont to speak plain and to the purpose, like an honest man and a soldier; and now is he turned orthography; his words are a very fantastical banquet, just so many strange dishes. May I be so converted, and see with these eyes? I cannot tell; I think not: I will not be sworn but love may transform me to an oyster; but I’ll take my oath on it, till he have made an oyster of me, he shall never make me such a fool. One woman is fair, yet I am well; another is wise, yet I am well; another virtuous, yet I am well; but till all graces be in one woman, one woman shall not come in my grace. Rich she shall be, that’s certain; wise, or I’ll none; virtuous, or I’ll never cheapen her; fair, or I’ll never look on her; mild, or come not near me; noble, or not I for an angel; of good discourse, an excellent musician, and her hair shall be of what colour it please God. Ha! the Prince and Monsieur Love! I will hide me in the arbour.

[Withdraws.]

Enter Don Pedro, Leonato and Claudio, followed by Balthasar and Musicians.

DON PEDRO. Come, shall we hear this music?

CLAUDIO. Yea, my good lord. How still the evening is, As hush’d on purpose to grace harmony!

DON PEDRO. See you where Benedick hath hid himself?

CLAUDIO. O! very well, my lord: the music ended, We’ll fit the kid-fox with a penny-worth.

DON PEDRO. Come, Balthasar, we’ll hear that song again.

BALTHASAR. O! good my lord, tax not so bad a voice To slander music any more than once.

DON PEDRO. It is the witness still of excellency, To put a strange face on his own perfection. I pray thee, sing, and let me woo no more.

BALTHASAR. Because you talk of wooing, I will sing; Since many a wooer doth commence his suit To her he thinks not worthy; yet he wooes; Yet will he swear he loves.

DON PEDRO. Nay, pray thee come; Or if thou wilt hold longer argument, Do it in notes.

BALTHASAR. Note this before my notes; There’s not a note of mine that’s worth the noting.

DON PEDRO. Why these are very crotchets that he speaks; Notes, notes, forsooth, and nothing!

[Music.]

BENEDICK. Now, divine air! now is his soul ravished! Is it not strange that sheep’s guts should hale souls out of men’s bodies? Well, a horn for my money, when all’s done.

BALTHASAR [sings.] Sigh no more, ladies, sigh no more, Men were deceivers ever; One foot in sea, and one on shore, To one thing constant never. Then sigh not so, but let them go, And be you blithe and bonny, Converting all your sounds of woe Into Hey nonny, nonny.

Sing no more ditties, sing no mo Of dumps so dull and heavy; The fraud of men was ever so, Since summer first was leavy. Then sigh not so, but let them go, And be you blithe and bonny, Converting all your sounds of woe Into Hey nonny, nonny.

DON PEDRO. By my troth, a good song.

BALTHASAR. And an ill singer, my lord.

DON PEDRO. Ha, no, no, faith; thou singest well enough for a shift.

BENEDICK. [Aside] And he had been a dog that should have howled thus, they would have hanged him; and I pray God his bad voice bode no mischief. I had as lief have heard the night-raven, come what plague could have come after it.

DON PEDRO. Yea, marry; dost thou hear, Balthasar? I pray thee, get us some excellent music, for tomorrow night we would have it at the Lady Hero’s chamber window.

BALTHASAR. The best I can, my lord.

DON PEDRO. Do so: farewell.

[Exeunt Balthasar and Musicians.]

Come hither, Leonato: what was it you told me of today, that your niece Beatrice was in love with Signior Benedick?

CLAUDIO. O! ay:—[Aside to Don Pedro] Stalk on, stalk on; the fowl sits. I did never think that lady would have loved any man.

LEONATO. No, nor I neither; but most wonderful that she should so dote on Signior Benedick, whom she hath in all outward behaviours seemed ever to abhor.

BENEDICK. [Aside] Is’t possible? Sits the wind in that corner?

LEONATO. By my troth, my lord, I cannot tell what to think of it but that she loves him with an enraged affection: it is past the infinite of thought.

DON PEDRO. Maybe she doth but counterfeit.

CLAUDIO. Faith, like enough.

LEONATO. O God! counterfeit! There was never counterfeit of passion came so near the life of passion as she discovers it.

DON PEDRO. Why, what effects of passion shows she?

CLAUDIO. [Aside] Bait the hook well: this fish will bite.

LEONATO. What effects, my lord? She will sit you; [To Claudio] You heard my daughter tell you how.

CLAUDIO. She did, indeed.

DON PEDRO. How, how, I pray you? You amaze me: I would have thought her spirit had been invincible against all assaults of affection.

LEONATO. I would have sworn it had, my lord; especially against Benedick.

BENEDICK. [Aside] I should think this a gull, but that the white-bearded fellow speaks it: knavery cannot, sure, hide itself in such reverence.

CLAUDIO. [Aside] He hath ta’en the infection: hold it up.

DON PEDRO. Hath she made her affection known to Benedick?

LEONATO. No; and swears she never will: that’s her torment.

CLAUDIO. ’Tis true, indeed; so your daughter says: ‘Shall I,’ says she, ‘that have so oft encountered him with scorn, write to him that I love him?’

LEONATO. This says she now when she is beginning to write to him; for she’ll be up twenty times a night, and there will she sit in her smock till she have writ a sheet of paper: my daughter tells us all.

CLAUDIO. Now you talk of a sheet of paper, I remember a pretty jest your daughter told us of.

LEONATO. O! when she had writ it, and was reading it over, she found Benedick and Beatrice between the sheet?

CLAUDIO. That.

LEONATO. O! she tore the letter into a thousand halfpence; railed at herself, that she should be so immodest to write to one that she knew would flout her: ‘I measure him,’ says she, ‘by my own spirit; for I should flout him, if he writ to me; yea, though I love him, I should.’

CLAUDIO. Then down upon her knees she falls, weeps, sobs, beats her heart, tears her hair, prays, curses; ‘O sweet Benedick! God give me patience!’

LEONATO. She doth indeed; my daughter says so; and the ecstasy hath so much overborne her, that my daughter is sometimes afeard she will do a desperate outrage to herself. It is very true.

DON PEDRO. It were good that Benedick knew of it by some other, if she will not discover it.

CLAUDIO. To what end? he would make but a sport of it and torment the poor lady worse.

DON PEDRO. And he should, it were an alms to hang him. She’s an excellent sweet lady, and, out of all suspicion, she is virtuous.

CLAUDIO. And she is exceeding wise.

DON PEDRO. In everything but in loving Benedick.

LEONATO. O! my lord, wisdom and blood combating in so tender a body, we have ten proofs to one that blood hath the victory. I am sorry for her, as I have just cause, being her uncle and her guardian.

DON PEDRO. I would she had bestowed this dotage on me; I would have daffed all other respects and made her half myself. I pray you, tell Benedick of it, and hear what he will say.

LEONATO. Were it good, think you?

CLAUDIO. Hero thinks surely she will die; for she says she will die if he love her not, and she will die ere she make her love known, and she will die if he woo her, rather than she will bate one breath of her accustomed crossness.

DON PEDRO. She doth well: if she should make tender of her love, ’tis very possible he’ll scorn it; for the man,—as you know all,—hath a contemptible spirit.

CLAUDIO. He is a very proper man.

DON PEDRO. He hath indeed a good outward happiness.

CLAUDIO. ’Fore God, and in my mind, very wise.

DON PEDRO. He doth indeed show some sparks that are like wit.

CLAUDIO. And I take him to be valiant.

DON PEDRO. As Hector, I assure you: and in the managing of quarrels you may say he is wise; for either he avoids them with great discretion, or undertakes them with a most Christian-like fear.

LEONATO. If he do fear God, a’ must necessarily keep peace: if he break the peace, he ought to enter into a quarrel with fear and trembling.

DON PEDRO. And so will he do; for the man doth fear God, howsoever it seems not in him by some large jests he will make. Well, I am sorry for your niece. Shall we go seek Benedick and tell him of her love?

CLAUDIO. Never tell him, my lord: let her wear it out with good counsel.

LEONATO. Nay, that’s impossible: she may wear her heart out first.

DON PEDRO. Well, we will hear further of it by your daughter: let it cool the while. I love Benedick well, and I could wish he would modestly examine himself, to see how much he is unworthy so good a lady.

LEONATO. My lord, will you walk? dinner is ready.

CLAUDIO. [Aside] If he do not dote on her upon this, I will never trust my expectation.

DON PEDRO. [Aside] Let there be the same net spread for her; and that must your daughter and her gentlewoman carry. The sport will be, when they hold one an opinion of another’s dotage, and no such matter: that’s the scene that I would see, which will be merely a dumb show. Let us send her to call him in to dinner.

[Exeunt Don Pedro, Claudio and Leonato.]

BENEDICK. [Advancing from the arbour.] This can be no trick: the conference was sadly borne. They have the truth of this from Hero. They seem to pity the lady: it seems her affections have their full bent. Love me? why, it must be requited. I hear how I am censured: they say I will bear myself proudly, if I perceive the love come from her; they say too that she will rather die than give any sign of affection. I did never think to marry: I must not seem proud: happy are they that hear their detractions, and can put them to mending. They say the lady is fair: ’tis a truth, I can bear them witness; and virtuous: ’tis so, I cannot reprove it; and wise, but for loving me: by my troth, it is no addition to her wit, nor no great argument of her folly, for I will be horribly in love with her. I may chance have some odd quirks and remnants of wit broken on me, because I have railed so long against marriage; but doth not the appetite alter? A man loves the meat in his youth that he cannot endure in his age. Shall quips and sentences and these paper bullets of the brain awe a man from the career of his humour? No; the world must be peopled. When I said I would die a bachelor, I did not think I should live till I were married. Here comes Beatrice. By this day! she’s a fair lady: I do spy some marks of love in her.

Enter Beatrice.

BEATRICE. Against my will I am sent to bid you come in to dinner.

BENEDICK. Fair Beatrice, I thank you for your pains.

BEATRICE. I took no more pains for those thanks than you take pains to thank me: if it had been painful, I would not have come.

BENEDICK. You take pleasure then in the message?

BEATRICE. Yea, just so much as you may take upon a knife’s point, and choke a daw withal. You have no stomach, signior: fare you well.

[Exit.]

BENEDICK. Ha! ‘Against my will I am sent to bid you come in to dinner,’ there’s a double meaning in that. ‘I took no more pains for those thanks than you took pains to thank me,’ that’s as much as to say, Any pains that I take for you is as easy as thanks. If I do not take pity of her, I am a villain; if I do not love her, I am a Jew. I will go get her picture.

[Exit.]

Act III, Scene I — Leonato’s Garden

Enter Hero, Margaret and Ursula.

HERO. Good Margaret, run thee to the parlour; There shalt thou find my cousin Beatrice Proposing with the Prince and Claudio: Whisper her ear, and tell her, I and Ursala Walk in the orchard, and our whole discourse Is all of her; say that thou overheard’st us, And bid her steal into the pleached bower, Where honey-suckles, ripen’d by the sun, Forbid the sun to enter; like favourites, Made proud by princes, that advance their pride Against that power that bred it. There will she hide her, To listen our propose. This is thy office; Bear thee well in it and leave us alone.

MARGARET. I’ll make her come, I warrant you, presently.

[Exit.]

HERO. Now, Ursula, when Beatrice doth come, As we do trace this alley up and down, Our talk must only be of Benedick: When I do name him, let it be thy part To praise him more than ever man did merit. My talk to thee must be how Benedick Is sick in love with Beatrice: of this matter Is little Cupid’s crafty arrow made, That only wounds by hearsay.

Enter Beatrice behind.

Now begin; For look where Beatrice, like a lapwing, runs Close by the ground, to hear our conference.

URSULA. The pleasant’st angling is to see the fish Cut with her golden oars the silver stream, And greedily devour the treacherous bait: So angle we for Beatrice; who even now Is couched in the woodbine coverture. Fear you not my part of the dialogue.

HERO. Then go we near her, that her ear lose nothing Of the false sweet bait that we lay for it.

[They advance to the bower.]

No, truly, Ursula, she is too disdainful; I know her spirits are as coy and wild As haggards of the rock.

URSULA. But are you sure That Benedick loves Beatrice so entirely?

HERO. So says the Prince, and my new-trothed lord.

URSULA. And did they bid you tell her of it, madam?

HERO. They did entreat me to acquaint her of it; But I persuaded them, if they lov’d Benedick, To wish him wrestle with affection, And never to let Beatrice know of it.

URSULA. Why did you so? Doth not the gentleman Deserve as full as fortunate a bed As ever Beatrice shall couch upon?

HERO. O god of love! I know he doth deserve As much as may be yielded to a man; But Nature never fram’d a woman’s heart Of prouder stuff than that of Beatrice; Disdain and scorn ride sparkling in her eyes, Misprising what they look on, and her wit Values itself so highly, that to her All matter else seems weak. She cannot love, Nor take no shape nor project of affection, She is so self-endear’d.

URSULA. Sure I think so; And therefore certainly it were not good She knew his love, lest she make sport at it.

HERO. Why, you speak truth. I never yet saw man, How wise, how noble, young, how rarely featur’d, But she would spell him backward: if fair-fac’d, She would swear the gentleman should be her sister; If black, why, Nature, drawing of an antick, Made a foul blot; if tall, a lance ill-headed; If low, an agate very vilely cut; If speaking, why, a vane blown with all winds; If silent, why, a block moved with none. So turns she every man the wrong side out, And never gives to truth and virtue that Which simpleness and merit purchaseth.

URSULA. Sure, sure, such carping is not commendable.

HERO. No; not to be so odd, and from all fashions, As Beatrice is, cannot be commendable. But who dare tell her so? If I should speak, She would mock me into air: O! she would laugh me Out of myself, press me to death with wit. Therefore let Benedick, like cover’d fire, Consume away in sighs, waste inwardly: It were a better death than die with mocks, Which is as bad as die with tickling.

URSULA. Yet tell her of it: hear what she will say.

HERO. No; rather I will go to Benedick, And counsel him to fight against his passion. And, truly, I’ll devise some honest slanders To stain my cousin with. One doth not know How much an ill word may empoison liking.

URSULA. O! do not do your cousin such a wrong. She cannot be so much without true judgment,— Having so swift and excellent a wit As she is priz’d to have,—as to refuse So rare a gentleman as Signior Benedick.

HERO. He is the only man of Italy, Always excepted my dear Claudio.

URSULA. I pray you, be not angry with me, madam, Speaking my fancy: Signior Benedick, For shape, for bearing, argument and valour, Goes foremost in report through Italy.

HERO. Indeed, he hath an excellent good name.

URSULA. His excellence did earn it, ere he had it. When are you married, madam?

HERO. Why, every day, tomorrow. Come, go in: I’ll show thee some attires, and have thy counsel Which is the best to furnish me tomorrow.

URSULA. She’s lim’d, I warrant you, We have caught her, madam.

HERO. If it prove so, then loving goes by haps: Some Cupid kills with arrows, some with traps.

[Exeunt Hero and Ursula.]

BEATRICE. [Advancing.] What fire is in mine ears? Can this be true? Stand I condemn’d for pride and scorn so much? Contempt, farewell! and maiden pride, adieu! No glory lives behind the back of such. And, Benedick, love on; I will requite thee, Taming my wild heart to thy loving hand: If thou dost love, my kindness shall incite thee To bind our loves up in a holy band; For others say thou dost deserve, and I Believe it better than reportingly.

[Exit.]

Act III, Scene II — A Room in Leonato’s House

Enter Don Pedro, Claudio, Benedick and Leonato.

DON PEDRO. I do but stay till your marriage be consummate, and then go I toward Arragon.

CLAUDIO. I’ll bring you thither, my lord, if you’ll vouchsafe me.

DON PEDRO. Nay, that would be as great a soil in the new gloss of your marriage, as to show a child his new coat and forbid him to wear it. I will only be bold with Benedick for his company; for, from the crown of his head to the sole of his foot, he is all mirth; he hath twice or thrice cut Cupid’s bowstring, and the little hangman dare not shoot at him. He hath a heart as sound as a bell, and his tongue is the clapper; for what his heart thinks, his tongue speaks.

BENEDICK. Gallants, I am not as I have been.

LEONATO. So say I: methinks you are sadder.

CLAUDIO. I hope he be in love.

DON PEDRO. Hang him, truant! there’s no true drop of blood in him to be truly touched with love. If he be sad, he wants money.

BENEDICK. I have the tooth-ache.

DON PEDRO. Draw it.

BENEDICK. Hang it.

CLAUDIO. You must hang it first, and draw it afterwards.

DON PEDRO. What! sigh for the tooth-ache?

LEONATO. Where is but a humour or a worm?

BENEDICK. Well, everyone can master a grief but he that has it.

CLAUDIO. Yet say I, he is in love.

DON PEDRO. There is no appearance of fancy in him, unless it be a fancy that he hath to strange disguises; as to be a Dutchman today, a Frenchman tomorrow; or in the shape of two countries at once, as a German from the waist downward, all slops, and a Spaniard from the hip upward, no doublet. Unless he have a fancy to this foolery, as it appears he hath, he is no fool for fancy, as you would have it appear he is.

CLAUDIO. If he be not in love with some woman, there is no believing old signs: a’ brushes his hat a mornings; what should that bode?

DON PEDRO. Hath any man seen him at the barber’s?

CLAUDIO. No, but the barber’s man hath been seen with him; and the old ornament of his cheek hath already stuffed tennis balls.

LEONATO. Indeed he looks younger than he did, by the loss of a beard.

DON PEDRO. Nay, a’ rubs himself with civet: can you smell him out by that?

CLAUDIO. That’s as much as to say the sweet youth’s in love.

DON PEDRO. The greatest note of it is his melancholy.

CLAUDIO. And when was he wont to wash his face?

DON PEDRO. Yea, or to paint himself? for the which, I hear what they say of him.

CLAUDIO. Nay, but his jesting spirit; which is now crept into a lute-string, and now governed by stops.

DON PEDRO. Indeed, that tells a heavy tale for him. Conclude, conclude he is in love.

CLAUDIO. Nay, but I know who loves him.

DON PEDRO. That would I know too: I warrant, one that knows him not.

CLAUDIO. Yes, and his ill conditions; and in despite of all, dies for him.

DON PEDRO. She shall be buried with her face upwards.

BENEDICK. Yet is this no charm for the tooth-ache. Old signior, walk aside with me: I have studied eight or nine wise words to speak to you, which these hobby-horses must not hear.

[Exeunt Benedick and Leonato.]

DON PEDRO. For my life, to break with him about Beatrice.

CLAUDIO. ’Tis even so. Hero and Margaret have by this played their parts with Beatrice, and then the two bears will not bite one another when they meet.

Enter Don John.

DON JOHN. My lord and brother, God save you!

DON PEDRO. Good den, brother.

DON JOHN. If your leisure served, I would speak with you.

DON PEDRO. In private?

DON JOHN. If it please you; yet Count Claudio may hear, for what I would speak of concerns him.

DON PEDRO. What’s the matter?

DON JOHN. [To Claudio.] Means your lordship to be married tomorrow?

DON PEDRO. You know he does.

DON JOHN. I know not that, when he knows what I know.

CLAUDIO. If there be any impediment, I pray you discover it.

DON JOHN. You may think I love you not: let that appear hereafter, and aim better at me by that I now will manifest. For my brother, I think he holds you well, and in dearness of heart hath holp to effect your ensuing marriage; surely suit ill-spent and labour ill bestowed!

DON PEDRO. Why, what’s the matter?

DON JOHN. I came hither to tell you; and circumstances shortened,—for she has been too long a talking of,—the lady is disloyal.

CLAUDIO. Who, Hero?

DON JOHN. Even she: Leonato’s Hero, your Hero, every man’s Hero.

CLAUDIO. Disloyal?

DON JOHN. The word’s too good to paint out her wickedness; I could say, she were worse: think you of a worse title, and I will fit her to it. Wonder not till further warrant: go but with me tonight, you shall see her chamber window entered, even the night before her wedding-day: if you love her then, tomorrow wed her; but it would better fit your honour to change your mind.

CLAUDIO. May this be so?

DON PEDRO. I will not think it.

DON JOHN. If you dare not trust that you see, confess not that you know. If you will follow me, I will show you enough; and when you have seen more and heard more, proceed accordingly.

CLAUDIO. If I see anything tonight why I should not marry her tomorrow, in the congregation, where I should wed, there will I shame her.

DON PEDRO. And, as I wooed for thee to obtain her, I will join with thee to disgrace her.

DON JOHN. I will disparage her no farther till you are my witnesses: bear it coldly but till midnight, and let the issue show itself.

DON PEDRO. O day untowardly turned!

CLAUDIO. O mischief strangely thwarting!

DON JOHN. O plague right well prevented! So will you say when you have seen the sequel.

[Exeunt.]

Act III, Scene III — A Street

Enter Dogberry and Verges, with the Watch.

DOGBERRY. Are you good men and true?

VERGES. Yea, or else it were pity but they should suffer salvation, body and soul.

DOGBERRY. Nay, that were a punishment too good for them, if they should have any allegiance in them, being chosen for the Prince’s watch.

VERGES. Well, give them their charge, neighbour Dogberry.

DOGBERRY. First, who think you the most desartless man to be constable?

FIRST WATCH. Hugh Oatcake, sir, or George Seacoal; for they can write and read.

DOGBERRY. Come hither, neighbour Seacoal. God hath blessed you with a good name: to be a well-favoured man is the gift of Fortune; but to write and read comes by Nature.

SECOND WATCH. Both which, Master Constable,—

DOGBERRY. You have: I knew it would be your answer. Well, for your favour, sir, why, give God thanks, and make no boast of it; and for your writing and reading, let that appear when there is no need of such vanity. You are thought here to be the most senseless and fit man for the constable of the watch; therefore bear you the lanthorn. This is your charge: you shall comprehend all vagrom men; you are to bid any man stand, in the Prince’s name.

SECOND WATCH. How, if a’ will not stand?

DOGBERRY. Why, then, take no note of him, but let him go; and presently call the rest of the watch together, and thank God you are rid of a knave.

VERGES. If he will not stand when he is bidden, he is none of the Prince’s subjects.

DOGBERRY. True, and they are to meddle with none but the Prince’s subjects. You shall also make no noise in the streets: for, for the watch to babble and to talk is most tolerable and not to be endured.

SECOND WATCH. We will rather sleep than talk: we know what belongs to a watch.

DOGBERRY. Why, you speak like an ancient and most quiet watchman, for I cannot see how sleeping should offend; only have a care that your bills be not stolen. Well, you are to call at all the alehouses, and bid those that are drunk get them to bed.

SECOND WATCH. How if they will not?

DOGBERRY. Why then, let them alone till they are sober: if they make you not then the better answer, you may say they are not the men you took them for.

SECOND WATCH. Well, sir.

DOGBERRY. If you meet a thief, you may suspect him, by virtue of your office, to be no true man; and, for such kind of men, the less you meddle or make with them, why, the more is for your honesty.

SECOND WATCH. If we know him to be a thief, shall we not lay hands on him?

DOGBERRY. Truly, by your office, you may; but I think they that touch pitch will be defiled. The most peaceable way for you, if you do take a thief, is to let him show himself what he is and steal out of your company.

VERGES. You have been always called a merciful man, partner.

DOGBERRY. Truly, I would not hang a dog by my will, much more a man who hath any honesty in him.

VERGES. If you hear a child cry in the night, you must call to the nurse and bid her still it.

SECOND WATCH. How if the nurse be asleep and will not hear us?

DOGBERRY. Why then, depart in peace, and let the child wake her with crying; for the ewe that will not hear her lamb when it baes, will never answer a calf when he bleats.

VERGES. ’Tis very true.

DOGBERRY. This is the end of the charge. You constable, are to present the Prince’s own person: if you meet the Prince in the night, you may stay him.

VERGES. Nay, by’r lady, that I think, a’ cannot.

DOGBERRY. Five shillings to one on’t, with any man that knows the statutes, he may stay him: marry, not without the Prince be willing; for, indeed, the watch ought to offend no man, and it is an offence to stay a man against his will.

VERGES. By’r lady, I think it be so.

DOGBERRY. Ha, ah, ha! Well, masters, good night: an there be any matter of weight chances, call up me: keep your fellows’ counsels and your own, and good night. Come, neighbour.

SECOND WATCH. Well, masters, we hear our charge: let us go sit here upon the church bench till two, and then all to bed.

DOGBERRY. One word more, honest neighbours. I pray you, watch about Signior Leonato’s door; for the wedding being there tomorrow, there is a great coil tonight. Adieu; be vigitant, I beseech you.

[Exeunt Dogberry and Verges.]

Enter Borachio and Conrade.

BORACHIO. What, Conrade!

WATCH. [Aside] Peace! stir not.

BORACHIO. Conrade, I say!

CONRADE. Here, man. I am at thy elbow.

BORACHIO. Mass, and my elbow itched; I thought there would a scab follow.

CONRADE. I will owe thee an answer for that; and now forward with thy tale.

BORACHIO. Stand thee close then under this penthouse, for it drizzles rain, and I will, like a true drunkard, utter all to thee.

WATCH. [Aside] Some treason, masters; yet stand close.

BORACHIO. Therefore know, I have earned of Don John a thousand ducats.

CONRADE. Is it possible that any villainy should be so dear?

BORACHIO. Thou shouldst rather ask if it were possible any villainy should be so rich; for when rich villains have need of poor ones, poor ones may make what price they will.

CONRADE. I wonder at it.

BORACHIO. That shows thou art unconfirmed. Thou knowest that the fashion of a doublet, or a hat, or a cloak, is nothing to a man.

CONRADE. Yes, it is apparel.

BORACHIO. I mean, the fashion.

CONRADE. Yes, the fashion is the fashion.

BORACHIO. Tush! I may as well say the fool’s the fool. But seest thou not what a deformed thief this fashion is?

WATCH. [Aside] I know that Deformed; a’ has been a vile thief this seven years; a’ goes up and down like a gentleman: I remember his name.

BORACHIO. Didst thou not hear somebody?

CONRADE. No: ’twas the vane on the house.

BORACHIO. Seest thou not, I say, what a deformed thief this fashion is? how giddily he turns about all the hot bloods between fourteen and five-and-thirty? sometime fashioning them like Pharaoh’s soldiers in the reechy painting; sometime like god Bel’s priests in the old church window; sometime like the shaven Hercules in the smirched worm-eaten tapestry, where his codpiece seems as massy as his club?

CONRADE. All this I see, and I see that the fashion wears out more apparel than the man. But art not thou thyself giddy with the fashion too, that thou hast shifted out of thy tale into telling me of the fashion?

BORACHIO. Not so neither; but know, that I have tonight wooed Margaret, the Lady Hero’s gentlewoman, by the name of Hero: she leans me out at her mistress’ chamber window, bids me a thousand times good night,—I tell this tale vilely:—I should first tell thee how the Prince, Claudio, and my master, planted and placed and possessed by my master Don John, saw afar off in the orchard this amiable encounter.

CONRADE. And thought they Margaret was Hero?

BORACHIO. Two of them did, the Prince and Claudio; but the devil my master, knew she was Margaret; and partly by his oaths, which first possessed them, partly by the dark night, which did deceive them, but chiefly by my villainy, which did confirm any slander that Don John had made, away went Claudio enraged; swore he would meet her, as he was appointed, next morning at the temple, and there, before the whole congregation, shame her with what he saw o’er night, and send her home again without a husband.

FIRST WATCH. We charge you in the Prince’s name, stand!

SECOND WATCH. Call up the right Master Constable. We have here recovered the most dangerous piece of lechery that ever was known in the commonwealth.

FIRST WATCH. And one Deformed is one of them: I know him, a’ wears a lock.

CONRADE. Masters, masters!

SECOND WATCH. You’ll be made bring Deformed forth, I warrant you.

CONRADE. Masters,—

FIRST WATCH. Never speak: we charge you let us obey you to go with us.

BORACHIO. We are like to prove a goodly commodity, being taken up of these men’s bills.

CONRADE. A commodity in question, I warrant you. Come, we’ll obey you.

[Exeunt.]

Act III, Scene IV — A Room in Leonato’s House

Enter Hero, Margaret and Ursula.

HERO. Good Ursula, wake my cousin Beatrice, and desire her to rise.

URSULA. I will, lady.

HERO. And bid her come hither.

URSULA. Well.

[Exit.]

MARGARET. Troth, I think your other rebato were better.

HERO. No, pray thee, good Meg, I’ll wear this.

MARGARET. By my troth’s not so good; and I warrant your cousin will say so.

HERO. My cousin’s a fool, and thou art another: I’ll wear none but this.

MARGARET. I like the new tire within excellently, if the hair were a thought browner; and your gown’s a most rare fashion, i’ faith. I saw the Duchess of Milan’s gown that they praise so.

HERO. O! that exceeds, they say.

MARGARET. By my troth ’s but a night-gown in respect of yours: cloth o’ gold, and cuts, and laced with silver, set with pearls, down sleeves, side sleeves, and skirts round, underborne with a bluish tinsel; but for a fine, quaint, graceful, and excellent fashion, yours is worth ten on’t.

HERO. God give me joy to wear it! for my heart is exceeding heavy.

MARGARET. ’Twill be heavier soon by the weight of a man.

HERO. Fie upon thee! art not ashamed?

MARGARET. Of what, lady? of speaking honourably? Is not marriage honourable in a beggar? Is not your lord honourable without marriage? I think you would have me say, saving your reverence, ‘a husband:’ an bad thinking do not wrest true speaking, I’ll offend nobody. Is there any harm in ‘the heavier for a husband’? None, I think, and it be the right husband and the right wife; otherwise ’tis light, and not heavy: ask my Lady Beatrice else; here she comes.

Enter Beatrice.

HERO. Good morrow, coz.

BEATRICE. Good morrow, sweet Hero.

HERO. Why, how now? do you speak in the sick tune?

BEATRICE. I am out of all other tune, methinks.

MARGARET. Clap’s into ‘Light o’ love’; that goes without a burden: do you sing it, and I’ll dance it.

BEATRICE. Ye, light o’ love with your heels! then, if your husband have stables enough, you’ll see he shall lack no barnes.

MARGARET. O illegitimate construction! I scorn that with my heels.

BEATRICE. ’Tis almost five o’clock, cousin; ’tis time you were ready. By my troth, I am exceeding ill. Heigh-ho!

MARGARET. For a hawk, a horse, or a husband?

BEATRICE. For the letter that begins them all, H.

MARGARET. Well, and you be not turned Turk, there’s no more sailing by the star.

BEATRICE. What means the fool, trow?

MARGARET. Nothing I; but God send everyone their heart’s desire!

HERO. These gloves the Count sent me; they are an excellent perfume.

BEATRICE. I am stuffed, cousin, I cannot smell.

MARGARET. A maid, and stuffed! there’s goodly catching of cold.

BEATRICE. O, God help me! God help me! how long have you professed apprehension?

MARGARET. Ever since you left it. Doth not my wit become me rarely!

BEATRICE. It is not seen enough, you should wear it in your cap. By my troth, I am sick.

MARGARET. Get you some of this distilled Carduus benedictus, and lay it to your heart: it is the only thing for a qualm.

HERO. There thou prick’st her with a thistle.

BEATRICE. Benedictus! why benedictus? you have some moral in this benedictus.

MARGARET. Moral! no, by my troth, I have no moral meaning; I meant, plain holy thistle. You may think, perchance, that I think you are in love: nay, by’r Lady, I am not such a fool to think what I list; nor I list not to think what I can; nor, indeed, I cannot think, if I would think my heart out of thinking, that you are in love, or that you will be in love, or that you can be in love. Yet Benedick was such another, and now is he become a man: he swore he would never marry; and yet now, in despite of his heart, he eats his meat without grudging: and how you may be converted, I know not; but methinks you look with your eyes as other women do.

BEATRICE. What pace is this that thy tongue keeps?

MARGARET. Not a false gallop.

Re-enter Ursula.

URSULA. Madam, withdraw: the Prince, the Count, Signior Benedick, Don John, and all the gallants of the town are come to fetch you to church.

HERO. Help to dress me, good coz, good Meg, good Ursula.

[Exeunt.]

Act III, Scene V — Another Room in Leonato’s House

Enter Leonato and Dogberry and Verges.

LEONATO. What would you with me, honest neighbour?

DOGBERRY. Marry, sir, I would have some confidence with you, that decerns you nearly.

LEONATO. Brief, I pray you; for you see it is a busy time with me.

DOGBERRY. Marry, this it is, sir.

VERGES. Yes, in truth it is, sir.

LEONATO. What is it, my good friends?

DOGBERRY. Goodman Verges, sir, speaks a little off the matter: an old man, sir, and his wits are not so blunt as, God help, I would desire they were; but, in faith, honest as the skin between his brows.

VERGES. Yes, I thank God, I am as honest as any man living, that is an old man and no honester than I.

DOGBERRY. Comparisons are odorous: palabras, neighbour Verges.

LEONATO. Neighbours, you are tedious.

DOGBERRY. It pleases your worship to say so, but we are the poor Duke’s officers; but truly, for mine own part, if I were as tedious as a king, I could find in my heart to bestow it all of your worship.

LEONATO. All thy tediousness on me! ah?

DOGBERRY. Yea, and ’twere a thousand pound more than ’tis; for I hear as good exclamation on your worship, as of any man in the city, and though I be but a poor man, I am glad to hear it.

VERGES. And so am I.

LEONATO. I would fain know what you have to say.

VERGES. Marry, sir, our watch tonight, excepting your worship’s presence, ha’ ta’en a couple of as arrant knaves as any in Messina.

DOGBERRY. A good old man, sir; he will be talking; as they say, ‘when the age is in, the wit is out.’ God help us! it is a world to see! Well said, i’ faith, neighbour Verges: well, God’s a good man; and two men ride of a horse, one must ride behind. An honest soul, i’ faith, sir; by my troth he is, as ever broke bread; but God is to be worshipped: all men are not alike; alas! good neighbour.

LEONATO. Indeed, neighbour, he comes too short of you.

DOGBERRY. Gifts that God gives.

LEONATO. I must leave you.

DOGBERRY. One word, sir: our watch, sir, have indeed comprehended two aspicious persons, and we would have them this morning examined before your worship.

LEONATO. Take their examination yourself, and bring it me: I am now in great haste, as may appear unto you.

DOGBERRY. It shall be suffigance.

LEONATO. Drink some wine ere you go: fare you well.

Enter a Messenger.

MESSENGER. My lord, they stay for you to give your daughter to her husband.

LEONATO. I’ll wait upon them: I am ready.

[Exeunt Leonato and Messenger.]

DOGBERRY. Go, good partner, go get you to Francis Seacoal; bid him bring his pen and inkhorn to the gaol: we are now to examination these men.

VERGES. And we must do it wisely.

DOGBERRY. We will spare for no wit, I warrant you; here’s that shall drive some of them to a non-come: only get the learned writer to set down our excommunication, and meet me at the gaol.

[Exeunt.]

Act IV, Scene I — The Inside of a Church

Enter Don Pedro, Don John, Leonato, Friar Francis, Claudio, Benedick, Hero, Beatrice &c.

LEONATO. Come, Friar Francis, be brief: only to the plain form of marriage, and you shall recount their particular duties afterwards.

FRIAR. You come hither, my lord, to marry this lady?

CLAUDIO. No.

LEONATO. To be married to her, friar; you come to marry her.

FRIAR. Lady, you come hither to be married to this Count?

HERO. I do.

FRIAR. If either of you know any inward impediment, why you should not be conjoined, I charge you, on your souls, to utter it.

CLAUDIO. Know you any, Hero?

HERO. None, my lord.

FRIAR. Know you any, Count?

LEONATO. I dare make his answer; none.

CLAUDIO. O! what men dare do! what men may do! what men daily do, not knowing what they do!

BENEDICK. How now! Interjections? Why then, some be of laughing, as ah! ha! he!

CLAUDIO. Stand thee by, Friar. Father, by your leave: Will you with free and unconstrained soul Give me this maid, your daughter?

LEONATO. As freely, son, as God did give her me.

CLAUDIO. And what have I to give you back whose worth May counterpoise this rich and precious gift?

DON PEDRO. Nothing, unless you render her again.

CLAUDIO. Sweet Prince, you learn me noble thankfulness. There, Leonato, take her back again: Give not this rotten orange to your friend; She’s but the sign and semblance of her honour. Behold! how like a maid she blushes here. O! what authority and show of truth Can cunning sin cover itself withal. Comes not that blood as modest evidence To witness simple virtue? Would you not swear, All you that see her, that she were a maid, By these exterior shows? But she is none: She knows the heat of a luxurious bed; Her blush is guiltiness, not modesty.

LEONATO. What do you mean, my lord?

CLAUDIO. Not to be married, Not to knit my soul to an approved wanton.

LEONATO. Dear my lord, if you, in your own proof, Have vanquish’d the resistance of her youth, And made defeat of her virginity,—

CLAUDIO. I know what you would say: if I have known her, You will say she did embrace me as a husband, And so extenuate the forehand sin: No, Leonato, I never tempted her with word too large; But as a brother to his sister show’d Bashful sincerity and comely love.

HERO. And seem’d I ever otherwise to you?

CLAUDIO. Out on thee! Seeming! I will write against it: You seem to me as Dian in her orb, As chaste as is the bud ere it be blown; But you are more intemperate in your blood Than Venus, or those pamper’d animals That rage in savage sensuality.

HERO. Is my lord well, that he doth speak so wide?

LEONATO. Sweet Prince, why speak not you?

DON PEDRO. What should I speak? I stand dishonour’d, that have gone about To link my dear friend to a common stale.

LEONATO. Are these things spoken, or do I but dream?

DON JOHN. Sir, they are spoken, and these things are true.

BENEDICK. This looks not like a nuptial.

HERO. True! O God!

CLAUDIO. Leonato, stand I here? Is this the Prince? Is this the Prince’s brother? Is this face Hero’s? Are our eyes our own?

LEONATO. All this is so; but what of this, my lord?

CLAUDIO. Let me but move one question to your daughter, And by that fatherly and kindly power That you have in her, bid her answer truly.

LEONATO. I charge thee do so, as thou art my child.

HERO. O, God defend me! how am I beset! What kind of catechizing call you this?

CLAUDIO. To make you answer truly to your name.

HERO. Is it not Hero? Who can blot that name With any just reproach?

CLAUDIO. Marry, that can Hero: Hero itself can blot out Hero’s virtue. What man was he talk’d with you yesternight Out at your window, betwixt twelve and one? Now, if you are a maid, answer to this.

HERO. I talk’d with no man at that hour, my lord.

DON PEDRO. Why, then are you no maiden. Leonato, I am sorry you must hear: upon my honour, Myself, my brother, and this grieved Count, Did see her, hear her, at that hour last night, Talk with a ruffian at her chamber window; Who hath indeed, most like a liberal villain, Confess’d the vile encounters they have had A thousand times in secret.

DON JOHN. Fie, fie! they are not to be nam’d, my lord, Not to be spoke of; There is not chastity enough in language Without offence to utter them. Thus, pretty lady, I am sorry for thy much misgovernment.

CLAUDIO. O Hero! what a Hero hadst thou been, If half thy outward graces had been plac’d About thy thoughts and counsels of thy heart! But fare thee well, most foul, most fair! farewell, Thou pure impiety, and impious purity! For thee I’ll lock up all the gates of love, And on my eyelids shall conjecture hang, To turn all beauty into thoughts of harm, And never shall it more be gracious.

LEONATO. Hath no man’s dagger here a point for me?

[Hero swoons.]

BEATRICE. Why, how now, cousin! wherefore sink you down?

DON JOHN. Come, let us go. These things, come thus to light, Smother her spirits up.

[Exeunt Don Pedro, Don John and Claudio.]

BENEDICK. How doth the lady?

BEATRICE. Dead, I think! Help, uncle! Hero! why, Hero! Uncle! Signior Benedick! Friar!

LEONATO. O Fate! take not away thy heavy hand: Death is the fairest cover for her shame That may be wish’d for.

BEATRICE. How now, cousin Hero?

FRIAR. Have comfort, lady.

LEONATO. Dost thou look up?

FRIAR. Yea; wherefore should she not?

LEONATO. Wherefore! Why, doth not every earthly thing Cry shame upon her? Could she here deny The story that is printed in her blood? Do not live, Hero; do not ope thine eyes; For, did I think thou wouldst not quickly die, Thought I thy spirits were stronger than thy shames, Myself would, on the rearward of reproaches, Strike at thy life. Griev’d I, I had but one? Chid I for that at frugal Nature’s frame? O! one too much by thee. Why had I one? Why ever wast thou lovely in my eyes? Why had I not with charitable hand Took up a beggar’s issue at my gates, Who smirched thus, and mir’d with infamy, I might have said, ‘No part of it is mine; This shame derives itself from unknown loins?’ But mine, and mine I lov’d, and mine I prais’d, And mine that I was proud on, mine so much That I myself was to myself not mine, Valuing of her; why, she—O! she is fallen Into a pit of ink, that the wide sea Hath drops too few to wash her clean again, And salt too little which may season give To her foul tainted flesh.

BENEDICK. Sir, sir, be patient. For my part, I am so attir’d in wonder, I know not what to say.

BEATRICE. O! on my soul, my cousin is belied!

BENEDICK. Lady, were you her bedfellow last night?

BEATRICE. No, truly, not; although, until last night, I have this twelvemonth been her bedfellow.

LEONATO. Confirm’d, confirm’d! O! that is stronger made, Which was before barr’d up with ribs of iron. Would the two princes lie? and Claudio lie, Who lov’d her so, that, speaking of her foulness, Wash’d it with tears? Hence from her! let her die.

FRIAR. Hear me a little; For I have only been silent so long, And given way unto this course of fortune, By noting of the lady: I have mark’d A thousand blushing apparitions To start into her face; a thousand innocent shames In angel whiteness bear away those blushes; And in her eye there hath appear’d a fire, To burn the errors that these princes hold Against her maiden truth. Call me a fool; Trust not my reading nor my observations, Which with experimental seal doth warrant The tenure of my book; trust not my age, My reverence, calling, nor divinity, If this sweet lady lie not guiltless here Under some biting error.

LEONATO. Friar, it cannot be. Thou seest that all the grace that she hath left Is that she will not add to her damnation A sin of perjury: she not denies it. Why seek’st thou then to cover with excuse That which appears in proper nakedness?

FRIAR. Lady, what man is he you are accus’d of?

HERO. They know that do accuse me, I know none; If I know more of any man alive Than that which maiden modesty doth warrant, Let all my sins lack mercy! O, my father! Prove you that any man with me convers’d At hours unmeet, or that I yesternight Maintain’d the change of words with any creature, Refuse me, hate me, torture me to death.

FRIAR. There is some strange misprision in the princes.

BENEDICK. Two of them have the very bent of honour; And if their wisdoms be misled in this, The practice of it lives in John the bastard, Whose spirits toil in frame of villainies.

LEONATO. I know not. If they speak but truth of her, These hands shall tear her; if they wrong her honour, The proudest of them shall well hear of it. Time hath not yet so dried this blood of mine, Nor age so eat up my invention, Nor fortune made such havoc of my means, Nor my bad life reft me so much of friends, But they shall find, awak’d in such a kind, Both strength of limb and policy of mind, Ability in means and choice of friends, To quit me of them throughly.

FRIAR. Pause awhile, And let my counsel sway you in this case. Your daughter here the princes left for dead; Let her awhile be secretly kept in, And publish it that she is dead indeed: Maintain a mourning ostentation; And on your family’s old monument Hang mournful epitaphs and do all rites That appertain unto a burial.

LEONATO. What shall become of this? What will this do?

FRIAR. Marry, this well carried shall on her behalf Change slander to remorse; that is some good. But not for that dream I on this strange course, But on this travail look for greater birth. She dying, as it must be so maintain’d, Upon the instant that she was accus’d, Shall be lamented, pitied and excus’d Of every hearer; for it so falls out That what we have we prize not to the worth Whiles we enjoy it, but being lack’d and lost, Why, then we rack the value, then we find The virtue that possession would not show us Whiles it was ours. So will it fare with Claudio: When he shall hear she died upon his words, The idea of her life shall sweetly creep Into his study of imagination, And every lovely organ of her life Shall come apparell’d in more precious habit, More moving, delicate, and full of life Into the eye and prospect of his soul, Than when she liv’d indeed: then shall he mourn,— If ever love had interest in his liver,— And wish he had not so accused her, No, though he thought his accusation true. Let this be so, and doubt not but success Will fashion the event in better shape Than I can lay it down in likelihood. But if all aim but this be levell’d false, The supposition of the lady’s death Will quench the wonder of her infamy: And if it sort not well, you may conceal her,— As best befits her wounded reputation,— In some reclusive and religious life, Out of all eyes, tongues, minds, and injuries.

BENEDICK. Signior Leonato, let the friar advise you: And though you know my inwardness and love Is very much unto the Prince and Claudio, Yet, by mine honour, I will deal in this As secretly and justly as your soul Should with your body.

LEONATO. Being that I flow in grief, The smallest twine may lead me.

FRIAR. ’Tis well consented: presently away; For to strange sores strangely they strain the cure. Come, lady, die to live: this wedding day Perhaps is but prolong’d: have patience and endure.

[Exeunt Friar, Hero and Leonato.]

BENEDICK. Lady Beatrice, have you wept all this while?

BEATRICE. Yea, and I will weep a while longer.

BENEDICK. I will not desire that.

BEATRICE. You have no reason; I do it freely.

BENEDICK. Surely I do believe your fair cousin is wronged.

BEATRICE. Ah! how much might the man deserve of me that would right her.

BENEDICK. Is there any way to show such friendship?

BEATRICE. A very even way, but no such friend.

BENEDICK. May a man do it?

BEATRICE. It is a man’s office, but not yours.

BENEDICK. I do love nothing in the world so well as you: is not that strange?

BEATRICE. As strange as the thing I know not. It were as possible for me to say I loved nothing so well as you; but believe me not, and yet I lie not; I confess nothing, nor I deny nothing. I am sorry for my cousin.

BENEDICK. By my sword, Beatrice, thou lovest me.

BEATRICE. Do not swear by it, and eat it.

BENEDICK. I will swear by it that you love me; and I will make him eat it that says I love not you.

BEATRICE. Will you not eat your word?

BENEDICK. With no sauce that can be devised to it. I protest I love thee.

BEATRICE. Why then, God forgive me!

BENEDICK. What offence, sweet Beatrice?

BEATRICE. You have stayed me in a happy hour: I was about to protest I loved you.

BENEDICK. And do it with all thy heart.

BEATRICE. I love you with so much of my heart that none is left to protest.

BENEDICK. Come, bid me do anything for thee.

BEATRICE. Kill Claudio.

BENEDICK. Ha! not for the wide world.

BEATRICE. You kill me to deny it. Farewell.

BENEDICK. Tarry, sweet Beatrice.

BEATRICE. I am gone, though I am here: there is no love in you: nay, I pray you, let me go.

BENEDICK. Beatrice,—

BEATRICE. In faith, I will go.

BENEDICK. We’ll be friends first.

BEATRICE. You dare easier be friends with me than fight with mine enemy.

BENEDICK. Is Claudio thine enemy?

BEATRICE. Is he not approved in the height a villain, that hath slandered, scorned, dishonoured my kinswoman? O! that I were a man. What! bear her in hand until they come to take hands, and then, with public accusation, uncovered slander, unmitigated rancour,—O God, that I were a man! I would eat his heart in the market-place.

BENEDICK. Hear me, Beatrice,—

BEATRICE. Talk with a man out at a window! a proper saying!

BENEDICK. Nay, but Beatrice,—

BEATRICE. Sweet Hero! she is wronged, she is slandered, she is undone.

BENEDICK. Beat—

BEATRICE. Princes and Counties! Surely, a princely testimony, a goodly Count Comfect; a sweet gallant, surely! O! that I were a man for his sake, or that I had any friend would be a man for my sake! But manhood is melted into curtsies, valour into compliment, and men are only turned into tongue, and trim ones too: he is now as valiant as Hercules, that only tells a lie and swears it. I cannot be a man with wishing, therefore I will die a woman with grieving.

BENEDICK. Tarry, good Beatrice. By this hand, I love thee.

BEATRICE. Use it for my love some other way than swearing by it.

BENEDICK. Think you in your soul the Count Claudio hath wronged Hero?

BEATRICE. Yea, as sure is I have a thought or a soul.

BENEDICK. Enough! I am engaged, I will challenge him. I will kiss your hand, and so leave you. By this hand, Claudio shall render me a dear account. As you hear of me, so think of me. Go, comfort your cousin: I must say she is dead; and so, farewell.

[Exeunt.]

Act IV, Scene II — A Prison

Enter Dogberry, Verges, and Sexton, in gowns; and the Watch, with Conrade and Borachio.

DOGBERRY. Is our whole dissembly appeared?

VERGES. O! a stool and a cushion for the sexton.

SEXTON. Which be the malefactors?

DOGBERRY. Marry, that am I and my partner.

VERGES. Nay, that’s certain: we have the exhibition to examine.

SEXTON. But which are the offenders that are to be examined? let them come before Master Constable.

DOGBERRY. Yea, marry, let them come before me. What is your name, friend?

BORACHIO. Borachio.

DOGBERRY. Pray write down Borachio. Yours, sirrah?

CONRADE. I am a gentleman, sir, and my name is Conrade.

DOGBERRY. Write down Master gentleman Conrade. Masters, do you serve God?

BOTH. Yea, sir, we hope.

DOGBERRY. Write down that they hope they serve God: and write God first; for God defend but God should go before such villains! Masters, it is proved already that you are little better than false knaves, and it will go near to be thought so shortly. How answer you for yourselves?

CONRADE. Marry, sir, we say we are none.

DOGBERRY. A marvellous witty fellow, I assure you; but I will go about with him. Come you hither, sirrah; a word in your ear: sir, I say to you, it is thought you are false knaves.

BORACHIO. Sir, I say to you we are none.

DOGBERRY. Well, stand aside. Fore God, they are both in a tale. Have you writ down, that they are none?

SEXTON. Master Constable, you go not the way to examine: you must call forth the watch that are their accusers.

DOGBERRY. Yea, marry, that’s the eftest way. Let the watch come forth. Masters, I charge you, in the Prince’s name, accuse these men.

FIRST WATCH. This man said, sir, that Don John, the Prince’s brother, was a villain.

DOGBERRY. Write down Prince John a villain. Why, this is flat perjury, to call a Prince’s brother villain.

BORACHIO. Master Constable,—

DOGBERRY. Pray thee, fellow, peace: I do not like thy look, I promise thee.

SEXTON. What heard you him say else?

SECOND WATCH. Marry, that he had received a thousand ducats of Don John for accusing the Lady Hero wrongfully.

DOGBERRY. Flat burglary as ever was committed.

VERGES. Yea, by the mass, that it is.

SEXTON. What else, fellow?

FIRST WATCH. And that Count Claudio did mean, upon his words, to disgrace Hero before the whole assembly, and not marry her.

DOGBERRY. O villain! thou wilt be condemned into everlasting redemption for this.

SEXTON. What else?

SECOND WATCH. This is all.

SEXTON. And this is more, masters, than you can deny. Prince John is this morning secretly stolen away: Hero was in this manner accused, in this manner refused, and, upon the grief of this, suddenly died. Master Constable, let these men be bound, and brought to Leonato’s: I will go before and show him their examination.

[Exit.]

DOGBERRY. Come, let them be opinioned.

VERGES. Let them be in the hands—

CONRADE. Off, coxcomb!

DOGBERRY. God’s my life! where’s the sexton? let him write down the Prince’s officer coxcomb. Come, bind them. Thou naughty varlet!

CONRADE. Away! you are an ass; you are an ass.

DOGBERRY. Dost thou not suspect my place? Dost thou not suspect my years? O that he were here to write me down an ass! but, masters, remember that I am an ass; though it be not written down, yet forget not that I am an ass. No, thou villain, thou art full of piety, as shall be proved upon thee by good witness. I am a wise fellow; and, which is more, an officer; and, which is more, a householder; and, which is more, as pretty a piece of flesh as any in Messina; and one that knows the law, go to; and a rich fellow enough, go to; and a fellow that hath had losses; and one that hath two gowns, and everything handsome about him. Bring him away. O that I had been writ down an ass!

[Exeunt.]