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Act III, Scene III — Cyprus. The Garden of the Castle…

Part 39 of 60 · William Shakespeare · Public domain text

About this edition

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

 

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

Continue:

Act III, Scene III — Cyprus. The Garden of the Castle

Enter Desdemona, Cassio and Emilia.

DESDEMONA. Be thou assured, good Cassio, I will do All my abilities in thy behalf.

EMILIA. Good madam, do. I warrant it grieves my husband As if the cause were his.

DESDEMONA. O, that’s an honest fellow. Do not doubt, Cassio, But I will have my lord and you again As friendly as you were.

CASSIO. Bounteous madam, Whatever shall become of Michael Cassio, He’s never anything but your true servant.

DESDEMONA. I know’t. I thank you. You do love my lord. You have known him long; and be you well assur’d He shall in strangeness stand no farther off Than in a politic distance.

CASSIO. Ay, but, lady, That policy may either last so long, Or feed upon such nice and waterish diet, Or breed itself so out of circumstance, That, I being absent, and my place supplied, My general will forget my love and service.

DESDEMONA. Do not doubt that. Before Emilia here I give thee warrant of thy place. Assure thee, If I do vow a friendship, I’ll perform it To the last article. My lord shall never rest, I’ll watch him tame, and talk him out of patience; His bed shall seem a school, his board a shrift; I’ll intermingle everything he does With Cassio’s suit. Therefore be merry, Cassio, For thy solicitor shall rather die Than give thy cause away.

Enter Othello and Iago.

EMILIA. Madam, here comes my lord.

CASSIO. Madam, I’ll take my leave.

DESDEMONA. Why, stay, and hear me speak.

CASSIO. Madam, not now. I am very ill at ease, Unfit for mine own purposes.

DESDEMONA. Well, do your discretion.

[Exit Cassio.]

IAGO. Ha, I like not that.

OTHELLO. What dost thou say?

IAGO. Nothing, my lord; or if—I know not what.

OTHELLO. Was not that Cassio parted from my wife?

IAGO. Cassio, my lord? No, sure, I cannot think it, That he would steal away so guilty-like, Seeing you coming.

OTHELLO. I do believe ’twas he.

DESDEMONA. How now, my lord? I have been talking with a suitor here, A man that languishes in your displeasure.

OTHELLO. Who is’t you mean?

DESDEMONA. Why, your lieutenant, Cassio. Good my lord, If I have any grace or power to move you, His present reconciliation take; For if he be not one that truly loves you, That errs in ignorance and not in cunning, I have no judgement in an honest face. I prithee call him back.

OTHELLO. Went he hence now?

DESDEMONA. Ay, sooth; so humbled That he hath left part of his grief with me To suffer with him. Good love, call him back.

OTHELLO. Not now, sweet Desdemon, some other time.

DESDEMONA. But shall’t be shortly?

OTHELLO. The sooner, sweet, for you.

DESDEMONA. Shall’t be tonight at supper?

OTHELLO. No, not tonight.

DESDEMONA. Tomorrow dinner then?

OTHELLO. I shall not dine at home; I meet the captains at the citadel.

DESDEMONA. Why then tomorrow night, or Tuesday morn, On Tuesday noon, or night; on Wednesday morn. I prithee name the time, but let it not Exceed three days. In faith, he’s penitent; And yet his trespass, in our common reason, (Save that, they say, the wars must make examples Out of their best) is not almost a fault To incur a private check. When shall he come? Tell me, Othello: I wonder in my soul, What you would ask me, that I should deny, Or stand so mammering on. What? Michael Cassio, That came a-wooing with you, and so many a time, When I have spoke of you dispraisingly, Hath ta’en your part, to have so much to do To bring him in! Trust me, I could do much.

OTHELLO. Prithee no more. Let him come when he will; I will deny thee nothing.

DESDEMONA. Why, this is not a boon; ’Tis as I should entreat you wear your gloves, Or feed on nourishing dishes, or keep you warm, Or sue to you to do a peculiar profit To your own person: nay, when I have a suit Wherein I mean to touch your love indeed, It shall be full of poise and difficult weight, And fearful to be granted.

OTHELLO. I will deny thee nothing. Whereon, I do beseech thee, grant me this, To leave me but a little to myself.

DESDEMONA. Shall I deny you? No, farewell, my lord.

OTHELLO. Farewell, my Desdemona. I’ll come to thee straight.

DESDEMONA. Emilia, come. Be as your fancies teach you. Whate’er you be, I am obedient.

[Exit with Emilia.]

OTHELLO. Excellent wretch! Perdition catch my soul, But I do love thee! And when I love thee not, Chaos is come again.

IAGO. My noble lord,—

OTHELLO. What dost thou say, Iago?

IAGO. Did Michael Cassio, when you woo’d my lady, Know of your love?

OTHELLO. He did, from first to last. Why dost thou ask?

IAGO. But for a satisfaction of my thought. No further harm.

OTHELLO. Why of thy thought, Iago?

IAGO. I did not think he had been acquainted with her.

OTHELLO. O yes, and went between us very oft.

IAGO. Indeed?

OTHELLO. Indeed? Ay, indeed. Discern’st thou aught in that? Is he not honest?

IAGO. Honest, my lord?

OTHELLO. Honest? ay, honest.

IAGO. My lord, for aught I know.

OTHELLO. What dost thou think?

IAGO. Think, my lord?

OTHELLO. Think, my lord? By heaven, he echoes me, As if there were some monster in his thought Too hideous to be shown. Thou dost mean something. I heard thee say even now, thou lik’st not that, When Cassio left my wife. What didst not like? And when I told thee he was of my counsel In my whole course of wooing, thou criedst, “Indeed?” And didst contract and purse thy brow together, As if thou then hadst shut up in thy brain Some horrible conceit: if thou dost love me, Show me thy thought.

IAGO. My lord, you know I love you.

OTHELLO. I think thou dost; And for I know thou’rt full of love and honesty And weigh’st thy words before thou giv’st them breath, Therefore these stops of thine fright me the more: For such things in a false disloyal knave Are tricks of custom; but in a man that’s just, They’re close dilations, working from the heart, That passion cannot rule.

IAGO. For Michael Cassio, I dare be sworn I think that he is honest.

OTHELLO. I think so too.

IAGO. Men should be what they seem; Or those that be not, would they might seem none!

OTHELLO. Certain, men should be what they seem.

IAGO. Why then, I think Cassio’s an honest man.

OTHELLO. Nay, yet there’s more in this: I prithee, speak to me as to thy thinkings, As thou dost ruminate, and give thy worst of thoughts The worst of words.

IAGO. Good my lord, pardon me. Though I am bound to every act of duty, I am not bound to that all slaves are free to. Utter my thoughts? Why, say they are vile and false: As where’s that palace whereinto foul things Sometimes intrude not? Who has a breast so pure But some uncleanly apprehensions Keep leets and law-days, and in session sit With meditations lawful?

OTHELLO. Thou dost conspire against thy friend, Iago, If thou but think’st him wrong’d and mak’st his ear A stranger to thy thoughts.

IAGO. I do beseech you, Though I perchance am vicious in my guess, As, I confess, it is my nature’s plague To spy into abuses, and of my jealousy Shapes faults that are not,—that your wisdom From one that so imperfectly conceits, Would take no notice; nor build yourself a trouble Out of his scattering and unsure observance. It were not for your quiet nor your good, Nor for my manhood, honesty, or wisdom, To let you know my thoughts.

OTHELLO. What dost thou mean?

IAGO. Good name in man and woman, dear my lord, Is the immediate jewel of their souls. Who steals my purse steals trash. ’Tis something, nothing; ’Twas mine, ’tis his, and has been slave to thousands. But he that filches from me my good name Robs me of that which not enriches him And makes me poor indeed.

OTHELLO. By heaven, I’ll know thy thoughts.

IAGO. You cannot, if my heart were in your hand, Nor shall not, whilst ’tis in my custody.

OTHELLO. Ha?

IAGO. O, beware, my lord, of jealousy; It is the green-ey’d monster which doth mock The meat it feeds on. That cuckold lives in bliss Who, certain of his fate, loves not his wronger; But O, what damned minutes tells he o’er Who dotes, yet doubts, suspects, yet strongly loves!

OTHELLO. O misery!

IAGO. Poor and content is rich, and rich enough; But riches fineless is as poor as winter To him that ever fears he shall be poor. Good heaven, the souls of all my tribe defend From jealousy!

OTHELLO. Why, why is this? Think’st thou I’d make a life of jealousy, To follow still the changes of the moon With fresh suspicions? No. To be once in doubt Is once to be resolv’d: exchange me for a goat When I shall turn the business of my soul To such exsufflicate and blown surmises, Matching thy inference. ’Tis not to make me jealous, To say my wife is fair, feeds well, loves company, Is free of speech, sings, plays, and dances well; Where virtue is, these are more virtuous: Nor from mine own weak merits will I draw The smallest fear or doubt of her revolt, For she had eyes, and chose me. No, Iago, I’ll see before I doubt; when I doubt, prove; And on the proof, there is no more but this: Away at once with love or jealousy!

IAGO. I am glad of it, for now I shall have reason To show the love and duty that I bear you With franker spirit: therefore, as I am bound, Receive it from me. I speak not yet of proof. Look to your wife; observe her well with Cassio; Wear your eye thus, not jealous nor secure. I would not have your free and noble nature, Out of self-bounty, be abus’d. Look to’t. I know our country disposition well; In Venice they do let heaven see the pranks They dare not show their husbands. Their best conscience Is not to leave undone, but keep unknown.

OTHELLO. Dost thou say so?

IAGO. She did deceive her father, marrying you; And when she seem’d to shake and fear your looks, She loved them most.

OTHELLO. And so she did.

IAGO. Why, go to then. She that so young could give out such a seeming, To seal her father’s eyes up close as oak, He thought ’twas witchcraft. But I am much to blame. I humbly do beseech you of your pardon For too much loving you.

OTHELLO. I am bound to thee for ever.

IAGO. I see this hath a little dash’d your spirits.

OTHELLO. Not a jot, not a jot.

IAGO. Trust me, I fear it has. I hope you will consider what is spoke Comes from my love. But I do see you’re mov’d. I am to pray you not to strain my speech To grosser issues nor to larger reach Than to suspicion.

OTHELLO. I will not.

IAGO. Should you do so, my lord, My speech should fall into such vile success Which my thoughts aim’d not. Cassio’s my worthy friend. My lord, I see you’re mov’d.

OTHELLO. No, not much mov’d. I do not think but Desdemona’s honest.

IAGO. Long live she so! And long live you to think so!

OTHELLO. And yet, how nature erring from itself—

IAGO. Ay, there’s the point. As, to be bold with you, Not to affect many proposed matches, Of her own clime, complexion, and degree, Whereto we see in all things nature tends; Foh! One may smell in such a will most rank, Foul disproportion, thoughts unnatural. But pardon me: I do not in position Distinctly speak of her, though I may fear Her will, recoiling to her better judgement, May fall to match you with her country forms, And happily repent.

OTHELLO. Farewell, farewell: If more thou dost perceive, let me know more; Set on thy wife to observe. Leave me, Iago.

IAGO. [Going.] My lord, I take my leave.

OTHELLO. Why did I marry? This honest creature doubtless Sees and knows more, much more, than he unfolds.

IAGO. [Returning.] My lord, I would I might entreat your honour To scan this thing no further. Leave it to time: Though it be fit that Cassio have his place, For sure he fills it up with great ability, Yet if you please to hold him off awhile, You shall by that perceive him and his means. Note if your lady strain his entertainment With any strong or vehement importunity, Much will be seen in that. In the meantime, Let me be thought too busy in my fears (As worthy cause I have to fear I am) And hold her free, I do beseech your honour.

OTHELLO. Fear not my government.

IAGO. I once more take my leave.

[Exit.]

OTHELLO. This fellow’s of exceeding honesty, And knows all qualities, with a learned spirit, Of human dealings. If I do prove her haggard, Though that her jesses were my dear heartstrings, I’d whistle her off, and let her down the wind To prey at fortune. Haply, for I am black, And have not those soft parts of conversation That chamberers have, or for I am declin’d Into the vale of years,—yet that’s not much— She’s gone, I am abus’d, and my relief Must be to loathe her. O curse of marriage, That we can call these delicate creatures ours, And not their appetites! I had rather be a toad, And live upon the vapour of a dungeon, Than keep a corner in the thing I love For others’ uses. Yet, ’tis the plague of great ones, Prerogativ’d are they less than the base, ’Tis destiny unshunnable, like death: Even then this forked plague is fated to us When we do quicken. Desdemona comes. If she be false, O, then heaven mocks itself! I’ll not believe’t.

Enter Desdemona and Emilia.

DESDEMONA. How now, my dear Othello? Your dinner, and the generous islanders By you invited, do attend your presence.

OTHELLO. I am to blame.

DESDEMONA. Why do you speak so faintly? Are you not well?

OTHELLO. I have a pain upon my forehead here.

DESDEMONA. Faith, that’s with watching, ’twill away again; Let me but bind it hard, within this hour It will be well.

OTHELLO. Your napkin is too little;

[He puts the handkerchief from him, and she drops it.]

Let it alone. Come, I’ll go in with you.

DESDEMONA. I am very sorry that you are not well.

[Exeunt Othello and Desdemona.]

EMILIA. I am glad I have found this napkin; This was her first remembrance from the Moor. My wayward husband hath a hundred times Woo’d me to steal it. But she so loves the token, For he conjur’d her she should ever keep it, That she reserves it evermore about her To kiss and talk to. I’ll have the work ta’en out, And give’t Iago. What he will do with it Heaven knows, not I, I nothing but to please his fantasy.

Enter Iago.

IAGO. How now? What do you here alone?

EMILIA. Do not you chide. I have a thing for you.

IAGO. A thing for me? It is a common thing—

EMILIA. Ha?

IAGO. To have a foolish wife.

EMILIA. O, is that all? What will you give me now For that same handkerchief?

IAGO. What handkerchief?

EMILIA. What handkerchief? Why, that the Moor first gave to Desdemona, That which so often you did bid me steal.

IAGO. Hast stol’n it from her?

EMILIA. No, faith, she let it drop by negligence, And, to the advantage, I being here, took ’t up. Look, here it is.

IAGO. A good wench, give it me.

EMILIA. What will you do with’t, that you have been so earnest To have me filch it?

IAGO. [Snatching it.] Why, what’s that to you?

EMILIA. If it be not for some purpose of import, Give ’t me again. Poor lady, she’ll run mad When she shall lack it.

IAGO. Be not acknown on’t, I have use for it. Go, leave me.

[Exit Emilia.]

I will in Cassio’s lodging lose this napkin, And let him find it. Trifles light as air Are to the jealous confirmations strong As proofs of holy writ. This may do something. The Moor already changes with my poison: Dangerous conceits are in their natures poisons, Which at the first are scarce found to distaste, But with a little act upon the blood Burn like the mines of sulphur. I did say so.

Enter Othello.

Look, where he comes. Not poppy, nor mandragora, Nor all the drowsy syrups of the world, Shall ever medicine thee to that sweet sleep Which thou ow’dst yesterday.

OTHELLO. Ha! ha! false to me?

IAGO. Why, how now, general? No more of that.

OTHELLO. Avaunt! be gone! Thou hast set me on the rack. I swear ’tis better to be much abus’d Than but to know’t a little.

IAGO. How now, my lord?

OTHELLO. What sense had I of her stol’n hours of lust? I saw’t not, thought it not, it harm’d not me. I slept the next night well, was free and merry; I found not Cassio’s kisses on her lips. He that is robb’d, not wanting what is stol’n, Let him not know’t, and he’s not robb’d at all.

IAGO. I am sorry to hear this.

OTHELLO. I had been happy if the general camp, Pioners and all, had tasted her sweet body, So I had nothing known. O, now, for ever Farewell the tranquil mind! Farewell content! Farewell the plumed troops and the big wars That make ambition virtue! O, farewell, Farewell the neighing steed and the shrill trump, The spirit-stirring drum, the ear-piercing fife, The royal banner, and all quality, Pride, pomp, and circumstance of glorious war! And, O you mortal engines, whose rude throats The immortal Jove’s dread clamours counterfeit, Farewell! Othello’s occupation’s gone!

IAGO. Is’t possible, my lord?

OTHELLO. Villain, be sure thou prove my love a whore; Be sure of it. Give me the ocular proof, Or, by the worth of man’s eternal soul, Thou hadst been better have been born a dog Than answer my wak’d wrath.

IAGO. Is’t come to this?

OTHELLO. Make me to see’t, or at the least so prove it, That the probation bear no hinge nor loop To hang a doubt on, or woe upon thy life!

IAGO. My noble lord,—

OTHELLO. If thou dost slander her and torture me, Never pray more. Abandon all remorse; On horror’s head horrors accumulate; Do deeds to make heaven weep, all earth amaz’d; For nothing canst thou to damnation add Greater than that.

IAGO. O grace! O heaven defend me! Are you a man? Have you a soul or sense? God be wi’ you. Take mine office.—O wretched fool, That liv’st to make thine honesty a vice! O monstrous world! Take note, take note, O world, To be direct and honest is not safe. I thank you for this profit, and from hence I’ll love no friend, sith love breeds such offence.

OTHELLO. Nay, stay. Thou shouldst be honest.

IAGO. I should be wise; for honesty’s a fool, And loses that it works for.

OTHELLO. By the world, I think my wife be honest, and think she is not. I think that thou art just, and think thou art not. I’ll have some proof: her name, that was as fresh As Dian’s visage, is now begrim’d and black As mine own face. If there be cords or knives, Poison or fire, or suffocating streams, I’ll not endure ’t. Would I were satisfied!

IAGO. I see, sir, you are eaten up with passion. I do repent me that I put it to you. You would be satisfied?

OTHELLO. Would? Nay, I will.

IAGO. And may; but how? How satisfied, my lord? Would you, the supervisor, grossly gape on, Behold her topp’d?

OTHELLO. Death and damnation! O!

IAGO. It were a tedious difficulty, I think, To bring them to that prospect. Damn them then, If ever mortal eyes do see them bolster More than their own! What then? How then? What shall I say? Where’s satisfaction? It is impossible you should see this, Were they as prime as goats, as hot as monkeys, As salt as wolves in pride, and fools as gross As ignorance made drunk. But yet I say, If imputation and strong circumstances, Which lead directly to the door of truth, Will give you satisfaction, you may have’t.

OTHELLO. Give me a living reason she’s disloyal.

IAGO. I do not like the office, But sith I am enter’d in this cause so far, Prick’d to ’t by foolish honesty and love, I will go on. I lay with Cassio lately, And being troubled with a raging tooth, I could not sleep. There are a kind of men so loose of soul, That in their sleeps will mutter their affairs. One of this kind is Cassio: In sleep I heard him say, “Sweet Desdemona, Let us be wary, let us hide our loves;” And then, sir, would he gripe and wring my hand, Cry “O sweet creature!” and then kiss me hard, As if he pluck’d up kisses by the roots, That grew upon my lips, then laid his leg Over my thigh, and sigh’d and kiss’d, and then Cried “Cursed fate that gave thee to the Moor!”

OTHELLO. O monstrous! monstrous!

IAGO. Nay, this was but his dream.

OTHELLO. But this denoted a foregone conclusion. ’Tis a shrewd doubt, though it be but a dream.

IAGO. And this may help to thicken other proofs That do demonstrate thinly.

OTHELLO. I’ll tear her all to pieces.

IAGO. Nay, but be wise. Yet we see nothing done, She may be honest yet. Tell me but this, Have you not sometimes seen a handkerchief Spotted with strawberries in your wife’s hand?

OTHELLO. I gave her such a one, ’twas my first gift.

IAGO. I know not that: but such a handkerchief (I am sure it was your wife’s) did I today See Cassio wipe his beard with.

OTHELLO. If it be that,—

IAGO. If it be that, or any that was hers, It speaks against her with the other proofs.

OTHELLO. O, that the slave had forty thousand lives! One is too poor, too weak for my revenge! Now do I see ’tis true. Look here, Iago; All my fond love thus do I blow to heaven. ’Tis gone. Arise, black vengeance, from thy hollow hell! Yield up, O love, thy crown and hearted throne To tyrannous hate! Swell, bosom, with thy fraught, For ’tis of aspics’ tongues!

IAGO. Yet be content.

OTHELLO. O, blood, Iago, blood!

IAGO. Patience, I say. Your mind perhaps may change.

OTHELLO. Never, Iago. Like to the Pontic Sea, Whose icy current and compulsive course Ne’er feels retiring ebb, but keeps due on To the Propontic and the Hellespont; Even so my bloody thoughts, with violent pace Shall ne’er look back, ne’er ebb to humble love, Till that a capable and wide revenge Swallow them up. Now by yond marble heaven, In the due reverence of a sacred vow [Kneels.] I here engage my words.

IAGO. Do not rise yet. [Kneels.] Witness, you ever-burning lights above, You elements that clip us round about, Witness that here Iago doth give up The execution of his wit, hands, heart, To wrong’d Othello’s service! Let him command, And to obey shall be in me remorse, What bloody business ever.

[They rise.]

OTHELLO. I greet thy love, Not with vain thanks, but with acceptance bounteous, And will upon the instant put thee to ’t. Within these three days let me hear thee say That Cassio’s not alive.

IAGO. My friend is dead. ’Tis done at your request. But let her live.

OTHELLO. Damn her, lewd minx! O, damn her, damn her! Come, go with me apart, I will withdraw To furnish me with some swift means of death For the fair devil. Now art thou my lieutenant.

IAGO. I am your own for ever.

[Exeunt.]

Act III, Scene IV — Cyprus. Before the Castle

Enter Desdemona, Emilia and Clown.

DESDEMONA. Do you know, sirrah, where Lieutenant Cassio lies?

CLOWN. I dare not say he lies anywhere.

DESDEMONA. Why, man?

CLOWN. He’s a soldier; and for one to say a soldier lies is stabbing.

DESDEMONA. Go to. Where lodges he?

CLOWN. To tell you where he lodges is to tell you where I lie.

DESDEMONA. Can anything be made of this?

CLOWN. I know not where he lodges; and for me to devise a lodging, and say he lies here, or he lies there, were to lie in mine own throat.

DESDEMONA. Can you inquire him out, and be edified by report?

CLOWN. I will catechize the world for him, that is, make questions and by them answer.

DESDEMONA. Seek him, bid him come hither. Tell him I have moved my lord on his behalf, and hope all will be well.

CLOWN. To do this is within the compass of man’s wit, and therefore I will attempt the doing it.

[Exit.]

DESDEMONA. Where should I lose that handkerchief, Emilia?

EMILIA. I know not, madam.

DESDEMONA. Believe me, I had rather have lost my purse Full of crusadoes. And but my noble Moor Is true of mind and made of no such baseness As jealous creatures are, it were enough To put him to ill thinking.

EMILIA. Is he not jealous?

DESDEMONA. Who, he? I think the sun where he was born Drew all such humours from him.

EMILIA. Look, where he comes.

Enter Othello.

DESDEMONA. I will not leave him now till Cassio Be call’d to him. How is’t with you, my lord?

OTHELLO. Well, my good lady. [Aside.] O, hardness to dissemble! How do you, Desdemona?

DESDEMONA. Well, my good lord.

OTHELLO. Give me your hand. This hand is moist, my lady.

DESDEMONA. It yet hath felt no age nor known no sorrow.

OTHELLO. This argues fruitfulness and liberal heart. Hot, hot, and moist. This hand of yours requires A sequester from liberty, fasting and prayer, Much castigation, exercise devout; For here’s a young and sweating devil here That commonly rebels. ’Tis a good hand, A frank one.

DESDEMONA. You may indeed say so, For ’twas that hand that gave away my heart.

OTHELLO. A liberal hand. The hearts of old gave hands, But our new heraldry is hands, not hearts.

DESDEMONA. I cannot speak of this. Come now, your promise.

OTHELLO. What promise, chuck?

DESDEMONA. I have sent to bid Cassio come speak with you.

OTHELLO. I have a salt and sorry rheum offends me. Lend me thy handkerchief.

DESDEMONA. Here, my lord.

OTHELLO. That which I gave you.

DESDEMONA. I have it not about me.

OTHELLO. Not?

DESDEMONA. No, faith, my lord.

OTHELLO. That is a fault. That handkerchief Did an Egyptian to my mother give. She was a charmer, and could almost read The thoughts of people. She told her, while she kept it, ’Twould make her amiable and subdue my father Entirely to her love. But if she lost it, Or made a gift of it, my father’s eye Should hold her loathed, and his spirits should hunt After new fancies: she, dying, gave it me, And bid me, when my fate would have me wive, To give it her. I did so; and take heed on’t, Make it a darling like your precious eye. To lose’t or give’t away were such perdition As nothing else could match.

DESDEMONA. Is’t possible?

OTHELLO. ’Tis true. There’s magic in the web of it. A sibyl, that had number’d in the world The sun to course two hundred compasses, In her prophetic fury sew’d the work; The worms were hallow’d that did breed the silk, And it was dyed in mummy, which the skillful Conserv’d of maiden’s hearts.

DESDEMONA. Indeed? Is’t true?

OTHELLO. Most veritable, therefore look to ’t well.

DESDEMONA. Then would to God that I had never seen ’t!

OTHELLO. Ha? wherefore?

DESDEMONA. Why do you speak so startingly and rash?

OTHELLO. Is’t lost? is’t gone? speak, is it out of the way?

DESDEMONA. Heaven bless us!

OTHELLO. Say you?

DESDEMONA. It is not lost, but what and if it were?

OTHELLO. How?

DESDEMONA. I say it is not lost.

OTHELLO. Fetch’t, let me see ’t.

DESDEMONA. Why, so I can, sir, but I will not now. This is a trick to put me from my suit. Pray you, let Cassio be receiv’d again.

OTHELLO. Fetch me the handkerchief! My mind misgives.

DESDEMONA. Come, come. You’ll never meet a more sufficient man.

OTHELLO. The handkerchief!

DESDEMONA. I pray, talk me of Cassio.

OTHELLO. The handkerchief!

DESDEMONA. A man that all his time Hath founded his good fortunes on your love, Shar’d dangers with you,—

OTHELLO. The handkerchief!

DESDEMONA. In sooth, you are to blame.

OTHELLO. Away!

[Exit.]

EMILIA. Is not this man jealous?

DESDEMONA. I ne’er saw this before. Sure there’s some wonder in this handkerchief, I am most unhappy in the loss of it.

EMILIA. ’Tis not a year or two shows us a man: They are all but stomachs and we all but food; They eat us hungerly, and when they are full, They belch us.

Enter Cassio and Iago.

Look you, Cassio and my husband.

IAGO. There is no other way; ’tis she must do ’t, And, lo, the happiness! Go and importune her.

DESDEMONA. How now, good Cassio, what’s the news with you?

CASSIO. Madam, my former suit: I do beseech you That by your virtuous means I may again Exist, and be a member of his love, Whom I, with all the office of my heart, Entirely honour. I would not be delay’d. If my offence be of such mortal kind That nor my service past, nor present sorrows, Nor purpos’d merit in futurity, Can ransom me into his love again, But to know so must be my benefit; So shall I clothe me in a forc’d content, And shut myself up in some other course To fortune’s alms.

DESDEMONA. Alas, thrice-gentle Cassio, My advocation is not now in tune; My lord is not my lord; nor should I know him Were he in favour as in humour alter’d. So help me every spirit sanctified, As I have spoken for you all my best, And stood within the blank of his displeasure For my free speech! You must awhile be patient. What I can do I will; and more I will Than for myself I dare. Let that suffice you.

IAGO. Is my lord angry?

EMILIA. He went hence but now, And certainly in strange unquietness.

IAGO. Can he be angry? I have seen the cannon, When it hath blown his ranks into the air And, like the devil, from his very arm Puff’d his own brother, and can he be angry? Something of moment then. I will go meet him. There’s matter in’t indeed if he be angry.

DESDEMONA. I prithee do so.

[Exit Iago.]

Something sure of state, Either from Venice, or some unhatch’d practice Made demonstrable here in Cyprus to him, Hath puddled his clear spirit, and in such cases Men’s natures wrangle with inferior things, Though great ones are their object. ’Tis even so. For let our finger ache, and it indues Our other healthful members even to that sense Of pain. Nay, we must think men are not gods, Nor of them look for such observancy As fits the bridal. Beshrew me much, Emilia, I was (unhandsome warrior as I am) Arraigning his unkindness with my soul; But now I find I had suborn’d the witness, And he’s indicted falsely.

EMILIA. Pray heaven it be state matters, as you think, And no conception nor no jealous toy Concerning you.

DESDEMONA. Alas the day, I never gave him cause!

EMILIA. But jealous souls will not be answer’d so; They are not ever jealous for the cause, But jealous for they are jealous: ’tis a monster Begot upon itself, born on itself.

DESDEMONA. Heaven keep that monster from Othello’s mind!

EMILIA. Lady, amen.

DESDEMONA. I will go seek him. Cassio, walk hereabout: If I do find him fit, I’ll move your suit, And seek to effect it to my uttermost.

CASSIO. I humbly thank your ladyship.

[Exeunt Desdemona and Emilia.]

Enter Bianca.

BIANCA. Save you, friend Cassio!

CASSIO. What make you from home? How is it with you, my most fair Bianca? I’ faith, sweet love, I was coming to your house.

BIANCA. And I was going to your lodging, Cassio. What, keep a week away? Seven days and nights? Eight score eight hours, and lovers’ absent hours, More tedious than the dial eight score times? O weary reckoning!

CASSIO. Pardon me, Bianca. I have this while with leaden thoughts been press’d, But I shall in a more continuate time Strike off this score of absence. Sweet Bianca,

[Giving her Desdemona’s handkerchief.]

Take me this work out.

BIANCA. O Cassio, whence came this? This is some token from a newer friend. To the felt absence now I feel a cause. Is’t come to this? Well, well.

CASSIO. Go to, woman! Throw your vile guesses in the devil’s teeth, From whence you have them. You are jealous now That this is from some mistress, some remembrance. No, in good troth, Bianca.

BIANCA. Why, whose is it?

CASSIO. I know not neither. I found it in my chamber. I like the work well. Ere it be demanded, As like enough it will, I’d have it copied. Take it, and do ’t, and leave me for this time.

BIANCA. Leave you, wherefore?

CASSIO. I do attend here on the general, And think it no addition, nor my wish, To have him see me woman’d.

BIANCA. Why, I pray you?

CASSIO. Not that I love you not.

BIANCA. But that you do not love me. I pray you bring me on the way a little, And say if I shall see you soon at night.

CASSIO. ’Tis but a little way that I can bring you, For I attend here. But I’ll see you soon.

BIANCA. ’Tis very good; I must be circumstanc’d.

[Exeunt.]

Act IV, Scene I — Cyprus. Before the Castle

Enter Othello and Iago.

IAGO. Will you think so?

OTHELLO. Think so, Iago?

IAGO. What, To kiss in private?

OTHELLO. An unauthoriz’d kiss.

IAGO. Or to be naked with her friend in bed An hour or more, not meaning any harm?

OTHELLO. Naked in bed, Iago, and not mean harm? It is hypocrisy against the devil: They that mean virtuously and yet do so, The devil their virtue tempts, and they tempt heaven.

IAGO. So they do nothing, ’tis a venial slip. But if I give my wife a handkerchief—

OTHELLO. What then?

IAGO. Why then, ’tis hers, my lord, and being hers, She may, I think, bestow’t on any man.

OTHELLO. She is protectress of her honour too. May she give that?

IAGO. Her honour is an essence that’s not seen; They have it very oft that have it not: But for the handkerchief—

OTHELLO. By heaven, I would most gladly have forgot it. Thou said’st (O, it comes o’er my memory, As doth the raven o’er the infected house, Boding to all) he had my handkerchief.

IAGO. Ay, what of that?

OTHELLO. That’s not so good now.

IAGO. What If I had said I had seen him do you wrong? Or heard him say (as knaves be such abroad, Who having, by their own importunate suit, Or voluntary dotage of some mistress, Convinced or supplied them, cannot choose But they must blab.)

OTHELLO. Hath he said anything?

IAGO. He hath, my lord, but be you well assur’d, No more than he’ll unswear.

OTHELLO. What hath he said?

IAGO. Faith, that he did—I know not what he did.

OTHELLO. What? What?

IAGO. Lie.

OTHELLO. With her?

IAGO. With her, on her, what you will.

OTHELLO. Lie with her! lie on her!—We say lie on her when they belie her.—Lie with her! that’s fulsome. Handkerchief—confessions—handkerchief! To confess, and be hanged for his labour. First, to be hanged, and then to confess. I tremble at it. Nature would not invest herself in such shadowing passion without some instruction. It is not words that shake me thus. Pish! Noses, ears, and lips. Is’t possible?—Confess?—handkerchief?—O devil!—

[Falls in a trance.]

IAGO. Work on, My medicine, work! Thus credulous fools are caught, And many worthy and chaste dames even thus, All guiltless, meet reproach. What, ho! my lord! My lord, I say! Othello!

Enter Cassio.

How now, Cassio!

CASSIO. What’s the matter?

IAGO. My lord is fallen into an epilepsy. This is his second fit. He had one yesterday.

CASSIO. Rub him about the temples.

IAGO. No, forbear; The lethargy must have his quiet course. If not, he foams at mouth, and by and by Breaks out to savage madness. Look, he stirs: Do you withdraw yourself a little while, He will recover straight. When he is gone, I would on great occasion speak with you.

[Exit Cassio.]

How is it, general? Have you not hurt your head?

OTHELLO. Dost thou mock me?

IAGO. I mock you? No, by heaven. Would you would bear your fortune like a man!

OTHELLO. A horned man’s a monster and a beast.

IAGO. There’s many a beast, then, in a populous city, And many a civil monster.

OTHELLO. Did he confess it?

IAGO. Good sir, be a man. Think every bearded fellow that’s but yok’d May draw with you. There’s millions now alive That nightly lie in those unproper beds Which they dare swear peculiar: your case is better. O, ’tis the spite of hell, the fiend’s arch-mock, To lip a wanton in a secure couch, And to suppose her chaste! No, let me know, And knowing what I am, I know what she shall be.

OTHELLO. O, thou art wise, ’tis certain.

IAGO. Stand you awhile apart, Confine yourself but in a patient list. Whilst you were here o’erwhelmed with your grief, (A passion most unsuiting such a man) Cassio came hither. I shifted him away, And laid good ’scuse upon your ecstasy, Bade him anon return, and here speak with me, The which he promis’d. Do but encave yourself, And mark the fleers, the gibes, and notable scorns, That dwell in every region of his face; For I will make him tell the tale anew, Where, how, how oft, how long ago, and when He hath, and is again to cope your wife: I say, but mark his gesture. Marry, patience, Or I shall say you are all in all in spleen, And nothing of a man.

OTHELLO. Dost thou hear, Iago? I will be found most cunning in my patience; But,—dost thou hear?—most bloody.

IAGO. That’s not amiss. But yet keep time in all. Will you withdraw?

[Othello withdraws.]

Now will I question Cassio of Bianca, A housewife that by selling her desires Buys herself bread and clothes: it is a creature That dotes on Cassio, (as ’tis the strumpet’s plague To beguile many and be beguil’d by one.) He, when he hears of her, cannot refrain From the excess of laughter. Here he comes.

Enter Cassio.

As he shall smile Othello shall go mad, And his unbookish jealousy must construe Poor Cassio’s smiles, gestures, and light behaviour Quite in the wrong. How do you now, lieutenant?

CASSIO. The worser that you give me the addition Whose want even kills me.

IAGO. Ply Desdemona well, and you are sure on’t. [Speaking lower.] Now, if this suit lay in Bianca’s power, How quickly should you speed!

CASSIO. Alas, poor caitiff!

OTHELLO. [Aside.] Look how he laughs already!

IAGO. I never knew a woman love man so.

CASSIO. Alas, poor rogue! I think, i’ faith, she loves me.

OTHELLO. [Aside.] Now he denies it faintly and laughs it out.

IAGO. Do you hear, Cassio?

OTHELLO. Now he importunes him To tell it o’er. Go to, well said, well said.

IAGO. She gives it out that you shall marry her. Do you intend it?

CASSIO. Ha, ha, ha!

OTHELLO. Do you triumph, Roman? Do you triumph?

CASSIO. I marry her? What? A customer? I prithee, bear some charity to my wit, do not think it so unwholesome. Ha, ha, ha!

OTHELLO. So, so, so, so. They laugh that wins.

IAGO. Faith, the cry goes that you shall marry her.

CASSIO. Prithee say true.

IAGO. I am a very villain else.

OTHELLO. Have you scored me? Well.

CASSIO. This is the monkey’s own giving out. She is persuaded I will marry her, out of her own love and flattery, not out of my promise.

OTHELLO. Iago beckons me. Now he begins the story.

CASSIO. She was here even now. She haunts me in every place. I was the other day talking on the sea-bank with certain Venetians, and thither comes the bauble, and falls thus about my neck.

OTHELLO. Crying, “O dear Cassio!” as it were: his gesture imports it.

CASSIO. So hangs, and lolls, and weeps upon me; so hales and pulls me. Ha, ha, ha!

OTHELLO. Now he tells how she plucked him to my chamber. O, I see that nose of yours, but not that dog I shall throw it to.

CASSIO. Well, I must leave her company.

IAGO. Before me! look where she comes.

Enter Bianca.

CASSIO. ’Tis such another fitchew! Marry, a perfum’d one. What do you mean by this haunting of me?

BIANCA. Let the devil and his dam haunt you! What did you mean by that same handkerchief you gave me even now? I was a fine fool to take it. I must take out the work? A likely piece of work, that you should find it in your chamber and not know who left it there! This is some minx’s token, and I must take out the work? There, give it your hobby-horse. Wheresoever you had it, I’ll take out no work on’t.

CASSIO. How now, my sweet Bianca? How now, how now?

OTHELLO. By heaven, that should be my handkerchief!

BIANCA. If you’ll come to supper tonight, you may. If you will not, come when you are next prepared for.

[Exit.]

IAGO. After her, after her.

CASSIO. Faith, I must; she’ll rail in the street else.

IAGO. Will you sup there?

CASSIO. Faith, I intend so.

IAGO. Well, I may chance to see you, for I would very fain speak with you.

CASSIO. Prithee come, will you?

IAGO. Go to; say no more.

[Exit Cassio.]

OTHELLO. [Coming forward.] How shall I murder him, Iago?

IAGO. Did you perceive how he laughed at his vice?

OTHELLO. O Iago!

IAGO. And did you see the handkerchief?

OTHELLO. Was that mine?

IAGO. Yours, by this hand: and to see how he prizes the foolish woman your wife! she gave it him, and he hath given it his whore.

OTHELLO. I would have him nine years a-killing. A fine woman, a fair woman, a sweet woman!

IAGO. Nay, you must forget that.

OTHELLO. Ay, let her rot, and perish, and be damned tonight, for she shall not live. No, my heart is turned to stone; I strike it, and it hurts my hand. O, the world hath not a sweeter creature. She might lie by an emperor’s side, and command him tasks.

IAGO. Nay, that’s not your way.

OTHELLO. Hang her, I do but say what she is. So delicate with her needle, an admirable musician! O, she will sing the savageness out of a bear! Of so high and plenteous wit and invention!

IAGO. She’s the worse for all this.

OTHELLO. O, a thousand, a thousand times: and then of so gentle a condition!

IAGO. Ay, too gentle.

OTHELLO. Nay, that’s certain. But yet the pity of it, Iago! O Iago, the pity of it, Iago!

IAGO. If you are so fond over her iniquity, give her patent to offend, for if it touch not you, it comes near nobody.

OTHELLO. I will chop her into messes. Cuckold me!

IAGO. O, ’tis foul in her.

OTHELLO. With mine officer!

IAGO. That’s fouler.

OTHELLO. Get me some poison, Iago; this night. I’ll not expostulate with her, lest her body and beauty unprovide my mind again. This night, Iago.

IAGO. Do it not with poison, strangle her in her bed, even the bed she hath contaminated.

OTHELLO. Good, good. The justice of it pleases. Very good.

IAGO. And for Cassio, let me be his undertaker. You shall hear more by midnight.

OTHELLO. Excellent good. [A trumpet within.] What trumpet is that same?

Enter Lodovico, Desdemona and Attendant.

IAGO. Something from Venice, sure. ’Tis Lodovico Come from the duke. See, your wife is with him.

LODOVICO. Save you, worthy general!

OTHELLO. With all my heart, sir.

LODOVICO. The duke and senators of Venice greet you.

[Gives him a packet.]

OTHELLO. I kiss the instrument of their pleasures.

[Opens the packet and reads.]

DESDEMONA. And what’s the news, good cousin Lodovico?

IAGO. I am very glad to see you, signior. Welcome to Cyprus.

LODOVICO. I thank you. How does Lieutenant Cassio?

IAGO. Lives, sir.

DESDEMONA. Cousin, there’s fall’n between him and my lord An unkind breach, but you shall make all well.

OTHELLO. Are you sure of that?

DESDEMONA. My lord?

OTHELLO. [Reads.] “This fail you not to do, as you will—”

LODOVICO. He did not call; he’s busy in the paper. Is there division ’twixt my lord and Cassio?

DESDEMONA. A most unhappy one. I would do much To atone them, for the love I bear to Cassio.

OTHELLO. Fire and brimstone!

DESDEMONA. My lord?

OTHELLO. Are you wise?

DESDEMONA. What, is he angry?

LODOVICO. May be the letter mov’d him; For, as I think, they do command him home, Deputing Cassio in his government.

DESDEMONA. Trust me, I am glad on’t.

OTHELLO. Indeed!

DESDEMONA. My lord?

OTHELLO. I am glad to see you mad.

DESDEMONA. Why, sweet Othello?

OTHELLO. Devil!

[Striking her.]

DESDEMONA. I have not deserv’d this.

LODOVICO. My lord, this would not be believ’d in Venice, Though I should swear I saw’t: ’tis very much. Make her amends. She weeps.

OTHELLO. O devil, devil! If that the earth could teem with woman’s tears, Each drop she falls would prove a crocodile. Out of my sight!

DESDEMONA. I will not stay to offend you.

[Going.]

LODOVICO. Truly, an obedient lady. I do beseech your lordship, call her back.

OTHELLO. Mistress!

DESDEMONA. My lord?

OTHELLO. What would you with her, sir?

LODOVICO. Who, I, my lord?

OTHELLO. Ay, you did wish that I would make her turn. Sir, she can turn, and turn, and yet go on, And turn again. And she can weep, sir, weep; And she’s obedient, as you say, obedient, Very obedient. Proceed you in your tears. Concerning this, sir,—O well-painted passion! I am commanded home.—Get you away; I’ll send for you anon.—Sir, I obey the mandate, And will return to Venice.—Hence, avaunt!

[Exit Desdemona.]

Cassio shall have my place. And, sir, tonight, I do entreat that we may sup together. You are welcome, sir, to Cyprus. Goats and monkeys!

[Exit.]

LODOVICO. Is this the noble Moor, whom our full senate Call all in all sufficient? Is this the nature Whom passion could not shake? whose solid virtue The shot of accident nor dart of chance Could neither graze nor pierce?

IAGO. He is much chang’d.

LODOVICO. Are his wits safe? Is he not light of brain?

IAGO. He’s that he is. I may not breathe my censure What he might be. If what he might he is not, I would to heaven he were!

LODOVICO. What, strike his wife?

IAGO. Faith, that was not so well; yet would I knew That stroke would prove the worst!

LODOVICO. Is it his use? Or did the letters work upon his blood, And new-create this fault?

IAGO. Alas, alas! It is not honesty in me to speak What I have seen and known. You shall observe him, And his own courses will denote him so That I may save my speech: do but go after, And mark how he continues.

LODOVICO. I am sorry that I am deceiv’d in him.

[Exeunt.]

Act IV, Scene II — Cyprus. A Room in the Castle

Enter Othello and Emilia.

OTHELLO. You have seen nothing, then?

EMILIA. Nor ever heard, nor ever did suspect.

OTHELLO. Yes, you have seen Cassio and she together.

EMILIA. But then I saw no harm, and then I heard Each syllable that breath made up between them.

OTHELLO. What, did they never whisper?

EMILIA. Never, my lord.

OTHELLO. Nor send you out o’ the way?

EMILIA. Never.

OTHELLO. To fetch her fan, her gloves, her mask, nor nothing?

EMILIA. Never, my lord.

OTHELLO. That’s strange.

EMILIA. I durst, my lord, to wager she is honest, Lay down my soul at stake: if you think other, Remove your thought, it doth abuse your bosom. If any wretch have put this in your head, Let heaven requite it with the serpent’s curse, For if she be not honest, chaste, and true, There’s no man happy. The purest of their wives Is foul as slander.

OTHELLO. Bid her come hither. Go.

[Exit Emilia.]

She says enough. Yet she’s a simple bawd That cannot say as much. This is a subtle whore, A closet lock and key of villainous secrets. And yet she’ll kneel and pray. I have seen her do ’t.

Enter Desdemona and Emilia.

DESDEMONA. My lord, what is your will?

OTHELLO. Pray, chuck, come hither.

DESDEMONA. What is your pleasure?

OTHELLO. Let me see your eyes. Look in my face.

DESDEMONA. What horrible fancy’s this?

OTHELLO. [To Emilia.] Some of your function, mistress, Leave procreants alone, and shut the door. Cough, or cry hem, if anybody come. Your mystery, your mystery. Nay, dispatch.

[Exit Emilia.]

DESDEMONA. Upon my knees, what doth your speech import? I understand a fury in your words, But not the words.

OTHELLO. Why, what art thou?

DESDEMONA. Your wife, my lord, your true and loyal wife.

OTHELLO. Come, swear it, damn thyself, Lest, being like one of heaven, the devils themselves Should fear to seize thee. Therefore be double-damn’d. Swear thou art honest.

DESDEMONA. Heaven doth truly know it.

OTHELLO. Heaven truly knows that thou art false as hell.

DESDEMONA. To whom, my lord? With whom? How am I false?

OTHELLO. O Desdemona, away! away! away!

DESDEMONA. Alas the heavy day, why do you weep? Am I the motive of these tears, my lord? If haply you my father do suspect An instrument of this your calling back, Lay not your blame on me. If you have lost him, Why, I have lost him too.

OTHELLO. Had it pleas’d heaven To try me with affliction, had they rain’d All kinds of sores and shames on my bare head, Steep’d me in poverty to the very lips, Given to captivity me and my utmost hopes, I should have found in some place of my soul A drop of patience. But, alas, to make me A fixed figure for the time of scorn To point his slow unmoving finger at. Yet could I bear that too, well, very well: But there, where I have garner’d up my heart, Where either I must live or bear no life, The fountain from the which my current runs, Or else dries up, to be discarded thence, Or keep it as a cistern for foul toads To knot and gender in!—turn thy complexion there, Patience, thou young and rose-lipp’d cherubin, Ay, there, look grim as hell!

DESDEMONA. I hope my noble lord esteems me honest.

OTHELLO. O, ay, as summer flies are in the shambles, That quicken even with blowing. O thou weed, Who art so lovely fair, and smell’st so sweet, That the sense aches at thee, Would thou hadst ne’er been born!

DESDEMONA. Alas, what ignorant sin have I committed?

OTHELLO. Was this fair paper, this most goodly book, Made to write “whore” upon? What committed? Committed! O thou public commoner! I should make very forges of my cheeks, That would to cinders burn up modesty, Did I but speak thy deeds. What committed! Heaven stops the nose at it, and the moon winks; The bawdy wind, that kisses all it meets, Is hush’d within the hollow mine of earth, And will not hear it. What committed! Impudent strumpet!

DESDEMONA. By heaven, you do me wrong.

OTHELLO. Are not you a strumpet?

DESDEMONA. No, as I am a Christian: If to preserve this vessel for my lord From any other foul unlawful touch Be not to be a strumpet, I am none.

OTHELLO. What, not a whore?

DESDEMONA. No, as I shall be sav’d.

OTHELLO. Is’t possible?

DESDEMONA. O, heaven forgive us!

OTHELLO. I cry you mercy then. I took you for that cunning whore of Venice That married with Othello.—You, mistress,

Enter Emilia.

That have the office opposite to Saint Peter, And keeps the gate of hell. You, you, ay, you! We have done our course; there’s money for your pains. I pray you turn the key, and keep our counsel.

[Exit.]

EMILIA. Alas, what does this gentleman conceive? How do you, madam? How do you, my good lady?

DESDEMONA. Faith, half asleep.

EMILIA. Good madam, what’s the matter with my lord?

DESDEMONA. With who?

EMILIA. Why, with my lord, madam.

DESDEMONA. Who is thy lord?

EMILIA. He that is yours, sweet lady.

DESDEMONA. I have none. Do not talk to me, Emilia, I cannot weep, nor answer have I none But what should go by water. Prithee, tonight Lay on my bed my wedding sheets, remember, And call thy husband hither.

EMILIA. Here’s a change indeed!

[Exit.]

DESDEMONA. ’Tis meet I should be us’d so, very meet. How have I been behav’d, that he might stick The small’st opinion on my least misuse?

Enter Iago and Emilia.

IAGO. What is your pleasure, madam? How is’t with you?

DESDEMONA. I cannot tell. Those that do teach young babes Do it with gentle means and easy tasks. He might have chid me so, for, in good faith, I am a child to chiding.

IAGO. What’s the matter, lady?

EMILIA. Alas, Iago, my lord hath so bewhor’d her, Thrown such despite and heavy terms upon her, As true hearts cannot bear.

DESDEMONA. Am I that name, Iago?

IAGO. What name, fair lady?

DESDEMONA. Such as she says my lord did say I was.

EMILIA. He call’d her whore: a beggar in his drink Could not have laid such terms upon his callet.

IAGO. Why did he so?

DESDEMONA. I do not know. I am sure I am none such.

IAGO. Do not weep, do not weep: alas the day!

EMILIA. Hath she forsook so many noble matches, Her father, and her country, and her friends, To be call’d whore? would it not make one weep?

DESDEMONA. It is my wretched fortune.

IAGO. Beshrew him for’t! How comes this trick upon him?

DESDEMONA. Nay, heaven doth know.

EMILIA. I will be hang’d, if some eternal villain, Some busy and insinuating rogue, Some cogging, cozening slave, to get some office, Have not devis’d this slander. I’ll be hang’d else.

IAGO. Fie, there is no such man. It is impossible.

DESDEMONA. If any such there be, heaven pardon him!

EMILIA. A halter pardon him, and hell gnaw his bones! Why should he call her whore? who keeps her company? What place? what time? what form? what likelihood? The Moor’s abused by some most villainous knave, Some base notorious knave, some scurvy fellow. O heaven, that such companions thou’dst unfold, And put in every honest hand a whip To lash the rascals naked through the world Even from the east to the west!

IAGO. Speak within door.

EMILIA. O, fie upon them! Some such squire he was That turn’d your wit the seamy side without, And made you to suspect me with the Moor.

IAGO. You are a fool. Go to.

DESDEMONA. Alas, Iago, What shall I do to win my lord again? Good friend, go to him. For by this light of heaven, I know not how I lost him. Here I kneel. If e’er my will did trespass ’gainst his love, Either in discourse of thought or actual deed, Or that mine eyes, mine ears, or any sense, Delighted them in any other form, Or that I do not yet, and ever did, And ever will, (though he do shake me off To beggarly divorcement) love him dearly, Comfort forswear me! Unkindness may do much; And his unkindness may defeat my life, But never taint my love. I cannot say “whore,” It does abhor me now I speak the word; To do the act that might the addition earn Not the world’s mass of vanity could make me.

IAGO. I pray you, be content. ’Tis but his humour. The business of the state does him offence, And he does chide with you.

DESDEMONA. If ’twere no other,—

IAGO. ’Tis but so, I warrant.

[Trumpets within.]

Hark, how these instruments summon to supper. The messengers of Venice stay the meat. Go in, and weep not. All things shall be well.

[Exeunt Desdemona and Emilia.]

Enter Roderigo.

How now, Roderigo?

RODERIGO. I do not find that thou dealest justly with me.

IAGO. What in the contrary?

RODERIGO. Every day thou daffest me with some device, Iago, and rather, as it seems to me now, keepest from me all conveniency than suppliest me with the least advantage of hope. I will indeed no longer endure it. Nor am I yet persuaded to put up in peace what already I have foolishly suffered.

IAGO. Will you hear me, Roderigo?

RODERIGO. Faith, I have heard too much, for your words and performances are no kin together.

IAGO. You charge me most unjustly.

RODERIGO. With naught but truth. I have wasted myself out of my means. The jewels you have had from me to deliver to Desdemona would half have corrupted a votarist: you have told me she hath received them, and returned me expectations and comforts of sudden respect and acquaintance, but I find none.

IAGO. Well, go to, very well.

RODERIGO. Very well, go to, I cannot go to, man, nor ’tis not very well. Nay, I say ’tis very scurvy, and begin to find myself fopped in it.

IAGO. Very well.

RODERIGO. I tell you ’tis not very well. I will make myself known to Desdemona. If she will return me my jewels, I will give over my suit and repent my unlawful solicitation. If not, assure yourself I will seek satisfaction of you.

IAGO. You have said now.

RODERIGO. Ay, and said nothing but what I protest intendment of doing.

IAGO. Why, now I see there’s mettle in thee, and even from this instant do build on thee a better opinion than ever before. Give me thy hand, Roderigo. Thou hast taken against me a most just exception, but yet I protest, I have dealt most directly in thy affair.

RODERIGO. It hath not appeared.

IAGO. I grant indeed it hath not appeared, and your suspicion is not without wit and judgement. But, Roderigo, if thou hast that in thee indeed, which I have greater reason to believe now than ever,—I mean purpose, courage, and valour,—this night show it. If thou the next night following enjoy not Desdemona, take me from this world with treachery and devise engines for my life.

RODERIGO. Well, what is it? Is it within reason and compass?

IAGO. Sir, there is especial commission come from Venice to depute Cassio in Othello’s place.

RODERIGO. Is that true? Why then Othello and Desdemona return again to Venice.

IAGO. O, no; he goes into Mauritania, and takes away with him the fair Desdemona, unless his abode be lingered here by some accident: wherein none can be so determinate as the removing of Cassio.

RODERIGO. How do you mean “removing” of him?

IAGO. Why, by making him uncapable of Othello’s place: knocking out his brains.

RODERIGO. And that you would have me to do?

IAGO. Ay, if you dare do yourself a profit and a right. He sups tonight with a harlotry, and thither will I go to him. He knows not yet of his honourable fortune. If you will watch his going thence, which I will fashion to fall out between twelve and one, you may take him at your pleasure: I will be near to second your attempt, and he shall fall between us. Come, stand not amazed at it, but go along with me. I will show you such a necessity in his death that you shall think yourself bound to put it on him. It is now high supper-time, and the night grows to waste. About it.

RODERIGO. I will hear further reason for this.

IAGO. And you shall be satisfied.

[Exeunt.]

Act IV, Scene III — Cyprus. Another Room in the Castle

Enter Othello, Lodovico, Desdemona, Emilia and Attendants.

LODOVICO. I do beseech you, sir, trouble yourself no further.

OTHELLO. O, pardon me; ’twill do me good to walk.

LODOVICO. Madam, good night. I humbly thank your ladyship.

DESDEMONA. Your honour is most welcome.

OTHELLO. Will you walk, sir?— O, Desdemona,—

DESDEMONA. My lord?

OTHELLO. Get you to bed on th’ instant, I will be return’d forthwith. Dismiss your attendant there. Look ’t be done.

DESDEMONA. I will, my lord.

[Exeunt Othello, Lodovico and Attendants.]

EMILIA. How goes it now? He looks gentler than he did.

DESDEMONA. He says he will return incontinent, He hath commanded me to go to bed, And bade me to dismiss you.

EMILIA. Dismiss me?

DESDEMONA. It was his bidding. Therefore, good Emilia, Give me my nightly wearing, and adieu. We must not now displease him.

EMILIA. I would you had never seen him!

DESDEMONA. So would not I. My love doth so approve him, That even his stubbornness, his checks, his frowns,— Prithee, unpin me,—have grace and favour in them.

EMILIA. I have laid those sheets you bade me on the bed.

DESDEMONA. All’s one. Good faith, how foolish are our minds! If I do die before thee, prithee, shroud me In one of those same sheets.

EMILIA. Come, come, you talk.

DESDEMONA. My mother had a maid call’d Barbary, She was in love, and he she lov’d prov’d mad And did forsake her. She had a song of “willow”, An old thing ’twas, but it express’d her fortune, And she died singing it. That song tonight Will not go from my mind. I have much to do But to go hang my head all at one side And sing it like poor Barbary. Prithee dispatch.

EMILIA. Shall I go fetch your night-gown?

DESDEMONA. No, unpin me here. This Lodovico is a proper man.

EMILIA. A very handsome man.

DESDEMONA. He speaks well.

EMILIA. I know a lady in Venice would have walked barefoot to Palestine for a touch of his nether lip.

DESDEMONA. [Singing.] _The poor soul sat sighing by a sycamore tree, Sing all a green willow. Her hand on her bosom, her head on her knee, Sing willow, willow, willow. The fresh streams ran by her, and murmur’d her moans, Sing willow, willow, willow; Her salt tears fell from her, and soften’d the stones;—_

Lay by these:—

[Sings.] Sing willow, willow, willow.

Prithee hie thee. He’ll come anon.

[Sings.] _Sing all a green willow must be my garland. Let nobody blame him, his scorn I approve,—_

Nay, that’s not next. Hark! who is’t that knocks?

EMILIA. It’s the wind.

DESDEMONA. [Sings.] _I call’d my love false love; but what said he then? Sing willow, willow, willow: If I court mo women, you’ll couch with mo men._

So get thee gone; good night. Mine eyes do itch; Doth that bode weeping?

EMILIA. ’Tis neither here nor there.

DESDEMONA. I have heard it said so. O, these men, these men! Dost thou in conscience think,—tell me, Emilia,— That there be women do abuse their husbands In such gross kind?

EMILIA. There be some such, no question.

DESDEMONA. Wouldst thou do such a deed for all the world?

EMILIA. Why, would not you?

DESDEMONA. No, by this heavenly light!

EMILIA. Nor I neither by this heavenly light, I might do’t as well i’ the dark.

DESDEMONA. Wouldst thou do such a deed for all the world?

EMILIA. The world’s a huge thing. It is a great price For a small vice.

DESDEMONA. In troth, I think thou wouldst not.

EMILIA. In troth, I think I should, and undo’t when I had done. Marry, I would not do such a thing for a joint-ring, nor for measures of lawn, nor for gowns, petticoats, nor caps, nor any petty exhibition; but, for the whole world—why, who would not make her husband a cuckold to make him a monarch? I should venture purgatory for ’t.

DESDEMONA. Beshrew me, if I would do such a wrong for the whole world.

EMILIA. Why, the wrong is but a wrong i’ the world; and having the world for your labour, ’tis a wrong in your own world, and you might quickly make it right.

DESDEMONA. I do not think there is any such woman.

EMILIA. Yes, a dozen; and as many to the vantage as would store the world they played for. But I do think it is their husbands’ faults If wives do fall: say that they slack their duties, And pour our treasures into foreign laps; Or else break out in peevish jealousies, Throwing restraint upon us. Or say they strike us, Or scant our former having in despite. Why, we have galls; and though we have some grace, Yet have we some revenge. Let husbands know Their wives have sense like them: they see, and smell And have their palates both for sweet and sour, As husbands have. What is it that they do When they change us for others? Is it sport? I think it is. And doth affection breed it? I think it doth. Is’t frailty that thus errs? It is so too. And have not we affections, Desires for sport, and frailty, as men have? Then let them use us well: else let them know, The ills we do, their ills instruct us so.

DESDEMONA. Good night, good night. Heaven me such usage send, Not to pick bad from bad, but by bad mend!

[Exeunt.]

Act V, Scene I — Cyprus. A Street

Enter Iago and Roderigo.

IAGO. Here, stand behind this bulk. Straight will he come. Wear thy good rapier bare, and put it home. Quick, quick, fear nothing; I’ll be at thy elbow. It makes us, or it mars us, think on that, And fix most firm thy resolution.

RODERIGO. Be near at hand, I may miscarry in ’t.

IAGO. Here, at thy hand. Be bold, and take thy stand.

[Retires to a little distance.]

RODERIGO. I have no great devotion to the deed; And yet he hath given me satisfying reasons. ’Tis but a man gone. Forth, my sword; he dies.

[Goes to his stand.]

IAGO. I have rubb’d this young quat almost to the sense, And he grows angry. Now, whether he kill Cassio, Or Cassio him, or each do kill the other, Every way makes my gain. Live Roderigo, He calls me to a restitution large Of gold and jewels that I bobb’d from him, As gifts to Desdemona. It must not be. If Cassio do remain, He hath a daily beauty in his life That makes me ugly. And besides, the Moor May unfold me to him; there stand I in much peril. No, he must die. But so, I hear him coming.

Enter Cassio.

RODERIGO. I know his gait; ’tis he. Villain, thou diest!

[Rushes out, and makes a pass at Cassio.]

CASSIO. That thrust had been mine enemy indeed, But that my coat is better than thou know’st. I will make proof of thine.

[Draws, and wounds Roderigo.]

RODERIGO. O, I am slain!

[Iago rushes from his post, cuts Cassio behind in the leg, and exit.]

CASSIO. I am maim’d forever. Help, ho! murder, murder!

[Falls.]

Enter Othello.

OTHELLO. The voice of Cassio. Iago keeps his word.

RODERIGO. O, villain that I am!

OTHELLO. It is even so.

CASSIO. O, help, ho! light! a surgeon!

OTHELLO. ’Tis he. O brave Iago, honest and just, That hast such noble sense of thy friend’s wrong! Thou teachest me,—minion, your dear lies dead, And your unbless’d fate hies. Strumpet, I come! Forth of my heart those charms, thine eyes, are blotted; Thy bed, lust-stain’d, shall with lust’s blood be spotted.

[Exit.]

Enter Lodovico and Gratiano.

CASSIO. What, ho! No watch? No passage? murder, murder!

GRATIANO. ’Tis some mischance; the cry is very direful.

CASSIO. O, help!

LODOVICO. Hark!

RODERIGO. O wretched villain!

LODOVICO. Two or three groan. It is a heavy night. These may be counterfeits. Let’s think’t unsafe To come in to the cry without more help.

RODERIGO. Nobody come? Then shall I bleed to death.

Enter Iago with a light.

LODOVICO. Hark!

GRATIANO. Here’s one comes in his shirt, with light and weapons.

IAGO. Who’s there? Whose noise is this that cries on murder?

LODOVICO. We do not know.

IAGO. Did not you hear a cry?

CASSIO. Here, here! for heaven’s sake, help me!

IAGO. What’s the matter?

GRATIANO. This is Othello’s ancient, as I take it.

LODOVICO. The same indeed, a very valiant fellow.

IAGO. What are you here that cry so grievously?

CASSIO. Iago? O, I am spoil’d, undone by villains! Give me some help.

IAGO. O me, lieutenant! What villains have done this?

CASSIO. I think that one of them is hereabout, And cannot make away.

IAGO. O treacherous villains! [To Lodovico and Gratiano.] What are you there? Come in and give some help.

RODERIGO. O, help me here!

CASSIO. That’s one of them.

IAGO. O murderous slave! O villain!

[Stabs Roderigo.]

RODERIGO. O damn’d Iago! O inhuman dog!

IAGO. Kill men i’ the dark! Where be these bloody thieves? How silent is this town! Ho! murder! murder! What may you be? Are you of good or evil?

LODOVICO. As you shall prove us, praise us.

IAGO. Signior Lodovico?

LODOVICO. He, sir.

IAGO. I cry you mercy. Here’s Cassio hurt by villains.

GRATIANO. Cassio!

IAGO. How is’t, brother?

CASSIO. My leg is cut in two.

IAGO. Marry, heaven forbid! Light, gentlemen, I’ll bind it with my shirt.

Enter Bianca.

BIANCA. What is the matter, ho? Who is’t that cried?

IAGO. Who is’t that cried?

BIANCA. O my dear Cassio, my sweet Cassio! O Cassio, Cassio, Cassio!

IAGO. O notable strumpet! Cassio, may you suspect Who they should be that have thus mangled you?

CASSIO. No.

GRATIANO. I am sorry to find you thus; I have been to seek you.

IAGO. Lend me a garter. So.—O, for a chair, To bear him easily hence!

BIANCA. Alas, he faints! O Cassio, Cassio, Cassio!

IAGO. Gentlemen all, I do suspect this trash To be a party in this injury. Patience awhile, good Cassio. Come, come; Lend me a light. Know we this face or no? Alas, my friend and my dear countryman Roderigo? No. Yes, sure; O heaven! Roderigo.

GRATIANO. What, of Venice?

IAGO. Even he, sir. Did you know him?

GRATIANO. Know him? Ay.

IAGO. Signior Gratiano? I cry you gentle pardon. These bloody accidents must excuse my manners, That so neglected you.

GRATIANO. I am glad to see you.

IAGO. How do you, Cassio? O, a chair, a chair!

GRATIANO. Roderigo!

IAGO. He, he, ’tis he.

[A chair brought in.]

O, that’s well said; the chair. Some good man bear him carefully from hence, I’ll fetch the general’s surgeon. [To Bianca] For you, mistress, Save you your labour. He that lies slain here, Cassio, Was my dear friend. What malice was between you?

CASSIO. None in the world. Nor do I know the man.

IAGO. [To Bianca.] What, look you pale?—O, bear him out o’ the air.

[Cassio and Roderigo are borne off.]

Stay you, good gentlemen.—Look you pale, mistress? Do you perceive the gastness of her eye? Nay, if you stare, we shall hear more anon. Behold her well. I pray you, look upon her. Do you see, gentlemen? Nay, guiltiness will speak Though tongues were out of use.

Enter Emilia.

EMILIA. ’Las, what’s the matter? What’s the matter, husband?

IAGO. Cassio hath here been set on in the dark By Roderigo, and fellows that are ’scap’d. He’s almost slain, and Roderigo dead.

EMILIA. Alas, good gentleman! alas, good Cassio!

IAGO. This is the fruit of whoring. Prithee, Emilia, Go know of Cassio where he supp’d tonight. What, do you shake at that?

BIANCA. He supp’d at my house, but I therefore shake not.

IAGO. O, did he so? I charge you go with me.

EMILIA. Fie, fie upon thee, strumpet!

BIANCA. I am no strumpet, but of life as honest As you that thus abuse me.

EMILIA. As I? Foh! fie upon thee!

IAGO. Kind gentlemen, let’s go see poor Cassio dress’d. Come, mistress, you must tell’s another tale. Emilia, run you to the citadel, And tell my lord and lady what hath happ’d. Will you go on afore? [Aside.] This is the night That either makes me or fordoes me quite.

[Exeunt.]