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Act I, Scene III — The Grecian camp. Before Agamemnon’s tent…

Part 52 of 60 · William Shakespeare · Public domain text

About this edition

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

 

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

Continue:

Act I, Scene III — The Grecian camp. Before Agamemnon’s tent

Sennet. Enter Agamemnon, Nestor, Ulysses, Diomedes, Menelaus and others.

AGAMEMNON. Princes, What grief hath set these jaundies o’er your cheeks? The ample proposition that hope makes In all designs begun on earth below Fails in the promis’d largeness; checks and disasters Grow in the veins of actions highest rear’d, As knots, by the conflux of meeting sap, Infects the sound pine, and diverts his grain Tortive and errant from his course of growth. Nor, princes, is it matter new to us That we come short of our suppose so far That after seven years’ siege yet Troy walls stand; Sith every action that hath gone before, Whereof we have record, trial did draw Bias and thwart, not answering the aim, And that unbodied figure of the thought That gave’t surmised shape. Why then, you princes, Do you with cheeks abash’d behold our works And call them shames, which are, indeed, naught else But the protractive trials of great Jove To find persistive constancy in men; The fineness of which metal is not found In fortune’s love? For then the bold and coward, The wise and fool, the artist and unread, The hard and soft, seem all affin’d and kin. But in the wind and tempest of her frown Distinction, with a broad and powerful fan, Puffing at all, winnows the light away; And what hath mass or matter by itself Lies rich in virtue and unmingled.

NESTOR. With due observance of thy godlike seat, Great Agamemnon, Nestor shall apply Thy latest words. In the reproof of chance Lies the true proof of men. The sea being smooth, How many shallow bauble boats dare sail Upon her patient breast, making their way With those of nobler bulk! But let the ruffian Boreas once enrage The gentle Thetis, and anon behold The strong-ribb’d bark through liquid mountains cut, Bounding between the two moist elements Like Perseus’ horse. Where’s then the saucy boat, Whose weak untimber’d sides but even now Co-rivall’d greatness? Either to harbour fled Or made a toast for Neptune. Even so Doth valour’s show and valour’s worth divide In storms of fortune; for in her ray and brightness The herd hath more annoyance by the breeze Than by the tiger; but when the splitting wind Makes flexible the knees of knotted oaks, And flies fled under shade—why, then the thing of courage, As rous’d with rage, with rage doth sympathise, And with an accent tun’d in self-same key Retorts to chiding fortune.

ULYSSES. Agamemnon, Thou great commander, nerve and bone of Greece, Heart of our numbers, soul and only spirit In whom the tempers and the minds of all Should be shut up—hear what Ulysses speaks. Besides th’applause and approbation The which, [To Agamemnon] most mighty, for thy place and sway, [To Nestor] And, thou most reverend, for thy stretch’d-out life, I give to both your speeches—which were such As Agamemnon and the hand of Greece Should hold up high in brass; and such again As venerable Nestor, hatch’d in silver, Should with a bond of air, strong as the axle-tree On which heaven rides, knit all the Greekish ears To his experienc’d tongue—yet let it please both, Thou great, and wise, to hear Ulysses speak.

AGAMEMNON. Speak, Prince of Ithaca; and be’t of less expect That matter needless, of importless burden, Divide thy lips than we are confident, When rank Thersites opes his mastic jaws, We shall hear music, wit, and oracle.

ULYSSES. Troy, yet upon his basis, had been down, And the great Hector’s sword had lack’d a master, But for these instances: The specialty of rule hath been neglected; And look how many Grecian tents do stand Hollow upon this plain, so many hollow factions. When that the general is not like the hive, To whom the foragers shall all repair, What honey is expected? Degree being vizarded, Th’unworthiest shows as fairly in the mask. The heavens themselves, the planets, and this centre, Observe degree, priority, and place, Insisture, course, proportion, season, form, Office, and custom, in all line of order; And therefore is the glorious planet Sol In noble eminence enthron’d and spher’d Amidst the other, whose med’cinable eye Corrects the influence of evil planets, And posts, like the commandment of a king, Sans check, to good and bad. But when the planets In evil mixture to disorder wander, What plagues and what portents, what mutiny, What raging of the sea, shaking of earth, Commotion in the winds! Frights, changes, horrors, Divert and crack, rend and deracinate, The unity and married calm of states Quite from their fixture! O, when degree is shak’d, Which is the ladder of all high designs, The enterprise is sick! How could communities, Degrees in schools, and brotherhoods in cities, Peaceful commerce from dividable shores, The primogenity and due of birth, Prerogative of age, crowns, sceptres, laurels, But by degree stand in authentic place? Take but degree away, untune that string, And hark what discord follows! Each thing melts In mere oppugnancy: the bounded waters Should lift their bosoms higher than the shores, And make a sop of all this solid globe; Strength should be lord of imbecility, And the rude son should strike his father dead; Force should be right; or, rather, right and wrong— Between whose endless jar justice resides— Should lose their names, and so should justice too. Then everything includes itself in power, Power into will, will into appetite; And appetite, an universal wolf, So doubly seconded with will and power, Must make perforce an universal prey, And last eat up himself. Great Agamemnon, This chaos, when degree is suffocate, Follows the choking. And this neglection of degree it is That by a pace goes backward, with a purpose It hath to climb. The general’s disdain’d By him one step below, he by the next, That next by him beneath; so every step, Exampl’d by the first pace that is sick Of his superior, grows to an envious fever Of pale and bloodless emulation. And ’tis this fever that keeps Troy on foot, Not her own sinews. To end a tale of length, Troy in our weakness stands, not in her strength.

NESTOR. Most wisely hath Ulysses here discover’d The fever whereof all our power is sick.

AGAMEMNON. The nature of the sickness found, Ulysses, What is the remedy?

ULYSSES. The great Achilles, whom opinion crowns The sinew and the forehand of our host, Having his ear full of his airy fame, Grows dainty of his worth, and in his tent Lies mocking our designs; with him Patroclus Upon a lazy bed the livelong day Breaks scurril jests; And with ridiculous and awkward action— Which, slanderer, he imitation calls— He pageants us. Sometime, great Agamemnon, Thy topless deputation he puts on; And like a strutting player whose conceit Lies in his hamstring, and doth think it rich To hear the wooden dialogue and sound ’Twixt his stretch’d footing and the scaffoldage— Such to-be-pitied and o’er-wrested seeming He acts thy greatness in; and when he speaks ’Tis like a chime a-mending; with terms unsquar’d, Which, from the tongue of roaring Typhon dropp’d, Would seem hyperboles. At this fusty stuff The large Achilles, on his press’d bed lolling, From his deep chest laughs out a loud applause; Cries ‘Excellent! ’Tis Agamemnon right! Now play me Nestor; hem, and stroke thy beard, As he being drest to some oration.’ That’s done—as near as the extremest ends Of parallels, as like as Vulcan and his wife; Yet god Achilles still cries ‘Excellent! ’Tis Nestor right. Now play him me, Patroclus, Arming to answer in a night alarm.’ And then, forsooth, the faint defects of age Must be the scene of mirth: to cough and spit And, with a palsy fumbling on his gorget, Shake in and out the rivet. And at this sport Sir Valour dies; cries ‘O, enough, Patroclus; Or give me ribs of steel! I shall split all In pleasure of my spleen.’ And in this fashion All our abilities, gifts, natures, shapes, Severals and generals of grace exact, Achievements, plots, orders, preventions, Excitements to the field or speech for truce, Success or loss, what is or is not, serves As stuff for these two to make paradoxes.

NESTOR. And in the imitation of these twain— Who, as Ulysses says, opinion crowns With an imperial voice—many are infect. Ajax is grown self-will’d and bears his head In such a rein, in full as proud a place As broad Achilles; keeps his tent like him; Makes factious feasts; rails on our state of war Bold as an oracle, and sets Thersites, A slave whose gall coins slanders like a mint, To match us in comparisons with dirt, To weaken and discredit our exposure, How rank soever rounded in with danger.

ULYSSES. They tax our policy and call it cowardice, Count wisdom as no member of the war, Forestall prescience, and esteem no act But that of hand. The still and mental parts That do contrive how many hands shall strike When fitness calls them on, and know, by measure Of their observant toil, the enemies’ weight— Why, this hath not a finger’s dignity: They call this bed-work, mapp’ry, closet-war; So that the ram that batters down the wall, For the great swinge and rudeness of his poise, They place before his hand that made the engine, Or those that with the fineness of their souls By reason guide his execution.

NESTOR. Let this be granted, and Achilles’ horse Makes many Thetis’ sons.

[Tucket.]

AGAMEMNON. What trumpet? Look, Menelaus.

MENELAUS. From Troy.

Enter Aeneas.

AGAMEMNON. What would you fore our tent?

AENEAS. Is this great Agamemnon’s tent, I pray you?

AGAMEMNON. Even this.

AENEAS. May one that is a herald and a prince Do a fair message to his kingly eyes?

AGAMEMNON. With surety stronger than Achilles’ arm Fore all the Greekish heads, which with one voice Call Agamemnon head and general.

AENEAS. Fair leave and large security. How may A stranger to those most imperial looks Know them from eyes of other mortals?

AGAMEMNON. How?

AENEAS. Ay; I ask, that I might waken reverence, And bid the cheek be ready with a blush Modest as morning when she coldly eyes The youthful Phoebus. Which is that god in office, guiding men? Which is the high and mighty Agamemnon?

AGAMEMNON. This Trojan scorns us, or the men of Troy Are ceremonious courtiers.

AENEAS. Courtiers as free, as debonair, unarm’d, As bending angels; that’s their fame in peace. But when they would seem soldiers, they have galls, Good arms, strong joints, true swords; and, Jove’s accord, Nothing so full of heart. But peace, Aeneas, Peace, Trojan; lay thy finger on thy lips. The worthiness of praise distains his worth, If that the prais’d himself bring the praise forth; But what the repining enemy commends, That breath fame blows; that praise, sole pure, transcends.

AGAMEMNON. Sir, you of Troy, call you yourself Aeneas?

AENEAS. Ay, Greek, that is my name.

AGAMEMNON. What’s your affairs, I pray you?

AENEAS. Sir, pardon; ’tis for Agamemnon’s ears.

AGAMEMNON He hears naught privately that comes from Troy.

AENEAS. Nor I from Troy come not to whisper with him; I bring a trumpet to awake his ear, To set his sense on the attentive bent, And then to speak.

AGAMEMNON. Speak frankly as the wind; It is not Agamemnon’s sleeping hour. That thou shalt know, Trojan, he is awake, He tells thee so himself.

AENEAS. Trumpet, blow loud, Send thy brass voice through all these lazy tents; And every Greek of mettle, let him know What Troy means fairly shall be spoke aloud.

[Sound trumpet.]

We have, great Agamemnon, here in Troy A prince called Hector—Priam is his father— Who in this dull and long-continued truce Is resty grown; he bade me take a trumpet And to this purpose speak: Kings, princes, lords! If there be one among the fair’st of Greece That holds his honour higher than his ease, That feeds his praise more than he fears his peril, That knows his valour and knows not his fear, That loves his mistress more than in confession With truant vows to her own lips he loves, And dare avow her beauty and her worth In other arms than hers—to him this challenge. Hector, in view of Trojans and of Greeks, Shall make it good or do his best to do it: He hath a lady wiser, fairer, truer, Than ever Greek did couple in his arms; And will tomorrow with his trumpet call Mid-way between your tents and walls of Troy To rouse a Grecian that is true in love. If any come, Hector shall honour him; If none, he’ll say in Troy, when he retires, The Grecian dames are sunburnt and not worth The splinter of a lance. Even so much.

AGAMEMNON. This shall be told our lovers, Lord Aeneas. If none of them have soul in such a kind, We left them all at home. But we are soldiers; And may that soldier a mere recreant prove That means not, hath not, or is not in love. If then one is, or hath, or means to be, That one meets Hector; if none else, I am he.

NESTOR. Tell him of Nestor, one that was a man When Hector’s grandsire suck’d. He is old now; But if there be not in our Grecian host A noble man that hath one spark of fire To answer for his love, tell him from me I’ll hide my silver beard in a gold beaver, And in my vambrace put this wither’d brawns, And meeting him, will tell him that my lady Was fairer than his grandam, and as chaste As may be in the world. His youth in flood, I’ll prove this troth with my three drops of blood.

AENEAS. Now heavens forfend such scarcity of youth!

ULYSSES. Amen.

AGAMEMNON. Fair Lord Aeneas, let me touch your hand; To our pavilion shall I lead you, sir. Achilles shall have word of this intent; So shall each lord of Greece, from tent to tent. Yourself shall feast with us before you go, And find the welcome of a noble foe.

[Exeunt all but Ulysses and Nestor.]

ULYSSES. Nestor!

NESTOR. What says Ulysses?

ULYSSES. I have a young conception in my brain; Be you my time to bring it to some shape.

NESTOR. What is’t?

ULYSSES. This ’tis: Blunt wedges rive hard knots. The seeded pride That hath to this maturity blown up In rank Achilles must or now be cropp’d Or, shedding, breed a nursery of like evil To overbulk us all.

NESTOR. Well, and how?

ULYSSES. This challenge that the gallant Hector sends, However it is spread in general name, Relates in purpose only to Achilles.

NESTOR. True. The purpose is perspicuous even as substance Whose grossness little characters sum up; And, in the publication, make no strain But that Achilles, were his brain as barren As banks of Libya—though, Apollo knows, ’Tis dry enough—will with great speed of judgement, Ay, with celerity, find Hector’s purpose Pointing on him.

ULYSSES. And wake him to the answer, think you?

NESTOR. Why, ’tis most meet. Who may you else oppose That can from Hector bring those honours off, If not Achilles? Though ’t be a sportful combat, Yet in this trial much opinion dwells For here the Trojans taste our dear’st repute With their fin’st palate; and trust to me, Ulysses, Our imputation shall be oddly pois’d In this vile action; for the success, Although particular, shall give a scantling Of good or bad unto the general; And in such indexes, although small pricks To their subsequent volumes, there is seen The baby figure of the giant mass Of things to come at large. It is suppos’d He that meets Hector issues from our choice; And choice, being mutual act of all our souls, Makes merit her election, and doth boil, As ’twere from forth us all, a man distill’d Out of our virtues; who miscarrying, What heart receives from hence a conquering part, To steel a strong opinion to themselves? Which entertain’d, limbs are his instruments, In no less working than are swords and bows Directive by the limbs.

ULYSSES. Give pardon to my speech. Therefore ’tis meet Achilles meet not Hector. Let us, like merchants, First show foul wares, and think perchance they’ll sell; If not, the lustre of the better shall exceed By showing the worse first. Do not consent That ever Hector and Achilles meet; For both our honour and our shame in this Are dogg’d with two strange followers.

NESTOR. I see them not with my old eyes. What are they?

ULYSSES. What glory our Achilles shares from Hector, Were he not proud, we all should share with him; But he already is too insolent; And it were better parch in Afric sun Than in the pride and salt scorn of his eyes, Should he scape Hector fair. If he were foil’d, Why, then we do our main opinion crush In taint of our best man. No, make a lott’ry; And, by device, let blockish Ajax draw The sort to fight with Hector. Among ourselves Give him allowance for the better man; For that will physic the great Myrmidon, Who broils in loud applause, and make him fall His crest, that prouder than blue Iris bends. If the dull brainless Ajax come safe off, We’ll dress him up in voices; if he fail, Yet go we under our opinion still That we have better men. But, hit or miss, Our project’s life this shape of sense assumes— Ajax employ’d plucks down Achilles’ plumes.

NESTOR. Now, Ulysses, I begin to relish thy advice; And I will give a taste thereof forthwith To Agamemnon. Go we to him straight. Two curs shall tame each other: pride alone Must tarre the mastiffs on, as ’twere their bone.

[Exeunt.]

Act II, Scene I — The Grecian camp

Enter Ajax and Thersites.

AJAX. Thersites!

THERSITES. Agamemnon—how if he had boils, full, all over, generally?

AJAX. Thersites!

THERSITES. And those boils did run—say so. Did not the general run then? Were not that a botchy core?

AJAX. Dog!

THERSITES. Then there would come some matter from him; I see none now.

AJAX. Thou bitch-wolf’s son, canst thou not hear? Feel, then.

[Strikes him.]

THERSITES. The plague of Greece upon thee, thou mongrel beef-witted lord!

AJAX. Speak, then, thou unsalted leaven, speak. I will beat thee into handsomeness.

THERSITES. I shall sooner rail thee into wit and holiness; but I think thy horse will sooner con an oration than thou learn a prayer without book. Thou canst strike, canst thou? A red murrain o’ thy jade’s tricks!

AJAX. Toadstool, learn me the proclamation.

THERSITES. Dost thou think I have no sense, thou strikest me thus?

AJAX. The proclamation!

THERSITES. Thou art proclaim’d fool, I think.

AJAX. Do not, porpentine, do not; my fingers itch.

THERSITES. I would thou didst itch from head to foot and I had the scratching of thee; I would make thee the loathsomest scab in Greece. When thou art forth in the incursions, thou strikest as slow as another.

AJAX. I say, the proclamation.

THERSITES. Thou grumblest and railest every hour on Achilles; and thou art as full of envy at his greatness as Cerberus is at Proserpina’s beauty—ay, that thou bark’st at him.

AJAX. Mistress Thersites!

THERSITES. Thou shouldst strike him.

AJAX. Cobloaf!

THERSITES. He would pun thee into shivers with his fist, as a sailor breaks a biscuit.

AJAX. You whoreson cur!

[Strikes him.]

THERSITES. Do, do.

AJAX. Thou stool for a witch!

THERSITES. Ay, do, do; thou sodden-witted lord! Thou hast no more brain than I have in mine elbows; an asinico may tutor thee. You scurvy valiant ass! Thou art here but to thrash Trojans, and thou art bought and sold among those of any wit like a barbarian slave. If thou use to beat me, I will begin at thy heel and tell what thou art by inches, thou thing of no bowels, thou!

AJAX. You dog!

THERSITES. You scurvy lord!

AJAX. You cur!

[Strikes him.]

THERSITES. Mars his idiot! Do, rudeness; do, camel; do, do.

Enter Achilles and Patroclus.

ACHILLES. Why, how now, Ajax! Wherefore do ye thus? How now, Thersites! What’s the matter, man?

THERSITES. You see him there, do you?

ACHILLES. Ay; what’s the matter?

THERSITES. Nay, look upon him.

ACHILLES. So I do. What’s the matter?

THERSITES. Nay, but regard him well.

ACHILLES. Well! why, so I do.

THERSITES. But yet you look not well upon him; for whosomever you take him to be, he is Ajax.

ACHILLES. I know that, fool.

THERSITES. Ay, but that fool knows not himself.

AJAX. Therefore I beat thee.

THERSITES. Lo, lo, lo, lo, what modicums of wit he utters! His evasions have ears thus long. I have bobb’d his brain more than he has beat my bones. I will buy nine sparrows for a penny, and his pia mater is not worth the ninth part of a sparrow. This lord, Achilles—Ajax, who wears his wit in his belly and his guts in his head—I’ll tell you what I say of him.

ACHILLES. What?

THERSITES. I say this Ajax—

[Ajax offers to strike him.]

ACHILLES. Nay, good Ajax.

THERSITES. Has not so much wit—

ACHILLES. Nay, I must hold you.

THERSITES. As will stop the eye of Helen’s needle, for whom he comes to fight.

ACHILLES. Peace, fool.

THERSITES. I would have peace and quietness, but the fool will not— he there; that he; look you there.

AJAX. O thou damned cur! I shall—

ACHILLES. Will you set your wit to a fool’s?

THERSITES. No, I warrant you, the fool’s will shame it.

PATROCLUS. Good words, Thersites.

ACHILLES. What’s the quarrel?

AJAX. I bade the vile owl go learn me the tenour of the proclamation, and he rails upon me.

THERSITES. I serve thee not.

AJAX. Well, go to, go to.

THERSITES. I serve here voluntary.

ACHILLES. Your last service was suff’rance; ’twas not voluntary. No man is beaten voluntary. Ajax was here the voluntary, and you as under an impress.

THERSITES. E’en so; a great deal of your wit too lies in your sinews, or else there be liars. Hector shall have a great catch and knock out either of your brains: a’ were as good crack a fusty nut with no kernel.

ACHILLES. What, with me too, Thersites?

THERSITES. There’s Ulysses and old Nestor—whose wit was mouldy ere your grandsires had nails on their toes—yoke you like draught oxen, and make you plough up the wars.

ACHILLES. What, what?

THERSITES. Yes, good sooth. To Achilles, to Ajax, to—

AJAX. I shall cut out your tongue.

THERSITES. ’Tis no matter; I shall speak as much as thou afterwards.

PATROCLUS. No more words, Thersites; peace!

THERSITES. I will hold my peace when Achilles’ brach bids me, shall I?

ACHILLES. There’s for you, Patroclus.

THERSITES. I will see you hang’d like clotpoles ere I come any more to your tents. I will keep where there is wit stirring, and leave the faction of fools.

[Exit.]

PATROCLUS. A good riddance.

ACHILLES. Marry, this, sir, is proclaim’d through all our host, That Hector, by the fifth hour of the sun, Will with a trumpet ’twixt our tents and Troy, Tomorrow morning, call some knight to arms That hath a stomach; and such a one that dare Maintain I know not what; ’tis trash. Farewell.

AJAX. Farewell. Who shall answer him?

ACHILLES. I know not; ’tis put to lott’ry, otherwise, He knew his man.

AJAX. O, meaning you? I will go learn more of it.

[Exeunt.]

Act II, Scene II — Troy. Priam’s palace

Enter Priam, Hector, Troilus, Paris and Helenus.

PRIAM. After so many hours, lives, speeches spent, Thus once again says Nestor from the Greeks: ‘Deliver Helen, and all damage else— As honour, loss of time, travail, expense, Wounds, friends, and what else dear that is consum’d In hot digestion of this cormorant war— Shall be struck off.’ Hector, what say you to’t?

HECTOR. Though no man lesser fears the Greeks than I, As far as toucheth my particular, Yet, dread Priam, There is no lady of more softer bowels, More spongy to suck in the sense of fear, More ready to cry out ‘Who knows what follows?’ Than Hector is. The wound of peace is surety, Surety secure; but modest doubt is call’d The beacon of the wise, the tent that searches To th’ bottom of the worst. Let Helen go. Since the first sword was drawn about this question, Every tithe soul ’mongst many thousand dismes Hath been as dear as Helen—I mean, of ours. If we have lost so many tenths of ours To guard a thing not ours, nor worth to us, Had it our name, the value of one ten, What merit’s in that reason which denies The yielding of her up?

TROILUS. Fie, fie, my brother! Weigh you the worth and honour of a king, So great as our dread father’s, in a scale Of common ounces? Will you with counters sum The past-proportion of his infinite, And buckle in a waist most fathomless With spans and inches so diminutive As fears and reasons? Fie, for godly shame!

HELENUS. No marvel though you bite so sharp of reasons, You are so empty of them. Should not our father Bear the great sway of his affairs with reason, Because your speech hath none that tells him so?

TROILUS. You are for dreams and slumbers, brother priest; You fur your gloves with reason. Here are your reasons: You know an enemy intends you harm; You know a sword employ’d is perilous, And reason flies the object of all harm. Who marvels, then, when Helenus beholds A Grecian and his sword, if he do set The very wings of reason to his heels And fly like chidden Mercury from Jove, Or like a star disorb’d? Nay, if we talk of reason, Let’s shut our gates and sleep. Manhood and honour Should have hare hearts, would they but fat their thoughts With this cramm’d reason. Reason and respect Make livers pale and lustihood deject.

HECTOR. Brother, she is not worth what she doth cost the keeping.

TROILUS. What’s aught but as ’tis valued?

HECTOR. But value dwells not in particular will: It holds his estimate and dignity As well wherein ’tis precious of itself As in the prizer. ’Tis mad idolatry To make the service greater than the god, And the will dotes that is attributive To what infectiously itself affects, Without some image of th’affected merit.

TROILUS. I take today a wife, and my election Is led on in the conduct of my will; My will enkindled by mine eyes and ears, Two traded pilots ’twixt the dangerous shores Of will and judgement: how may I avoid, Although my will distaste what it elected, The wife I chose? There can be no evasion To blench from this and to stand firm by honour. We turn not back the silks upon the merchant When we have soil’d them; nor the remainder viands We do not throw in unrespective sieve, Because we now are full. It was thought meet Paris should do some vengeance on the Greeks; Your breath with full consent bellied his sails; The seas and winds, old wranglers, took a truce, And did him service. He touch’d the ports desir’d; And for an old aunt whom the Greeks held captive He brought a Grecian queen, whose youth and freshness Wrinkles Apollo’s, and makes stale the morning. Why keep we her? The Grecians keep our aunt. Is she worth keeping? Why, she is a pearl Whose price hath launch’d above a thousand ships, And turn’d crown’d kings to merchants. If you’ll avouch ’twas wisdom Paris went— As you must needs, for you all cried ‘Go, go’— If you’ll confess he brought home worthy prize— As you must needs, for you all clapp’d your hands, And cried ‘Inestimable!’—why do you now The issue of your proper wisdoms rate, And do a deed that never Fortune did— Beggar the estimation which you priz’d Richer than sea and land? O theft most base, That we have stol’n what we do fear to keep! But thieves unworthy of a thing so stol’n That in their country did them that disgrace We fear to warrant in our native place!

CASSANDRA. [Within.] Cry, Trojans, cry.

PRIAM. What noise, what shriek is this?

TROILUS. ’Tis our mad sister; I do know her voice.

CASSANDRA. [Within.] Cry, Trojans.

HECTOR. It is Cassandra.

Enter Cassandra, raving.

CASSANDRA. Cry, Trojans, cry. Lend me ten thousand eyes, And I will fill them with prophetic tears.

HECTOR. Peace, sister, peace.

CASSANDRA. Virgins and boys, mid-age and wrinkled eld, Soft infancy, that nothing canst but cry, Add to my clamours. Let us pay betimes A moiety of that mass of moan to come. Cry, Trojans, cry. Practise your eyes with tears. Troy must not be, nor goodly Ilion stand; Our firebrand brother, Paris, burns us all. Cry, Trojans, cry, A Helen and a woe! Cry, cry. Troy burns, or else let Helen go.

[Exit.]

HECTOR. Now, youthful Troilus, do not these high strains Of divination in our sister work Some touches of remorse? Or is your blood So madly hot, that no discourse of reason, Nor fear of bad success in a bad cause, Can qualify the same?

TROILUS. Why, brother Hector, We may not think the justness of each act Such and no other than event doth form it; Nor once deject the courage of our minds Because Cassandra’s mad. Her brain-sick raptures Cannot distaste the goodness of a quarrel Which hath our several honours all engag’d To make it gracious. For my private part, I am no more touch’d than all Priam’s sons; And Jove forbid there should be done amongst us Such things as might offend the weakest spleen To fight for and maintain.

PARIS. Else might the world convince of levity As well my undertakings as your counsels; But I attest the gods, your full consent Gave wings to my propension, and cut off All fears attending on so dire a project. For what, alas, can these my single arms? What propugnation is in one man’s valour To stand the push and enmity of those This quarrel would excite? Yet I protest, Were I alone to pass the difficulties, And had as ample power as I have will, Paris should ne’er retract what he hath done, Nor faint in the pursuit.

PRIAM. Paris, you speak Like one besotted on your sweet delights. You have the honey still, but these the gall; So to be valiant is no praise at all.

PARIS. Sir, I propose not merely to myself The pleasures such a beauty brings with it; But I would have the soil of her fair rape Wip’d off in honourable keeping her. What treason were it to the ransack’d queen, Disgrace to your great worths, and shame to me, Now to deliver her possession up On terms of base compulsion! Can it be, That so degenerate a strain as this Should once set footing in your generous bosoms? There’s not the meanest spirit on our party Without a heart to dare or sword to draw When Helen is defended; nor none so noble Whose life were ill bestow’d or death unfam’d, Where Helen is the subject. Then, I say, Well may we fight for her whom we know well The world’s large spaces cannot parallel.

HECTOR. Paris and Troilus, you have both said well; And on the cause and question now in hand Have gloz’d, but superficially; not much Unlike young men, whom Aristotle thought Unfit to hear moral philosophy. The reasons you allege do more conduce To the hot passion of distemp’red blood Than to make up a free determination ’Twixt right and wrong; for pleasure and revenge Have ears more deaf than adders to the voice Of any true decision. Nature craves All dues be rend’red to their owners. Now, What nearer debt in all humanity Than wife is to the husband? If this law Of nature be corrupted through affection; And that great minds, of partial indulgence To their benumbed wills, resist the same; There is a law in each well-order’d nation To curb those raging appetites that are Most disobedient and refractory. If Helen, then, be wife to Sparta’s king— As it is known she is—these moral laws Of nature and of nations speak aloud To have her back return’d. Thus to persist In doing wrong extenuates not wrong, But makes it much more heavy. Hector’s opinion Is this, in way of truth. Yet, ne’ertheless, My spritely brethren, I propend to you In resolution to keep Helen still; For ’tis a cause that hath no mean dependence Upon our joint and several dignities.

TROILUS. Why, there you touch’d the life of our design. Were it not glory that we more affected Than the performance of our heaving spleens, I would not wish a drop of Trojan blood Spent more in her defence. But, worthy Hector, She is a theme of honour and renown, A spur to valiant and magnanimous deeds, Whose present courage may beat down our foes, And fame in time to come canonize us; For I presume brave Hector would not lose So rich advantage of a promis’d glory As smiles upon the forehead of this action For the wide world’s revenue.

HECTOR. I am yours, You valiant offspring of great Priamus. I have a roisting challenge sent amongst The dull and factious nobles of the Greeks Will strike amazement to their drowsy spirits. I was advertis’d their great general slept, Whilst emulation in the army crept. This, I presume, will wake him.

[Exeunt.]

Act II, Scene III — The Grecian camp. Before the tent of Achilles

Enter Thersites, solus.

THERSITES. How now, Thersites! What, lost in the labyrinth of thy fury? Shall the elephant Ajax carry it thus? He beats me, and I rail at him. O worthy satisfaction! Would it were otherwise: that I could beat him, whilst he rail’d at me! ‘Sfoot, I’ll learn to conjure and raise devils, but I’ll see some issue of my spiteful execrations. Then there’s Achilles, a rare engineer! If Troy be not taken till these two undermine it, the walls will stand till they fall of themselves. O thou great thunder-darter of Olympus, forget that thou art Jove, the king of gods, and, Mercury, lose all the serpentine craft of thy caduceus, if ye take not that little little less than little wit from them that they have! which short-arm’d ignorance itself knows is so abundant scarce, it will not in circumvention deliver a fly from a spider without drawing their massy irons and cutting the web. After this, the vengeance on the whole camp! or, rather, the Neapolitan bone-ache! for that, methinks, is the curse depending on those that war for a placket. I have said my prayers; and devil Envy say ‘Amen.’ What ho! my Lord Achilles!

Enter Patroclus.

PATROCLUS. Who’s there? Thersites! Good Thersites, come in and rail.

THERSITES. If I could a’ rememb’red a gilt counterfeit, thou wouldst not have slipp’d out of my contemplation; but it is no matter; thyself upon thyself! The common curse of mankind, folly and ignorance, be thine in great revenue! Heaven bless thee from a tutor, and discipline come not near thee! Let thy blood be thy direction till thy death. Then if she that lays thee out says thou art a fair corse, I’ll be sworn and sworn upon’t she never shrouded any but lazars. Amen. Where’s Achilles?

PATROCLUS. What, art thou devout? Wast thou in prayer?

THERSITES. Ay, the heavens hear me!

PATROCLUS. Amen.

Enter Achilles.

ACHILLES. Who’s there?

PATROCLUS. Thersites, my lord.

ACHILLES. Where, where? O, where? Art thou come? Why, my cheese, my digestion, why hast thou not served thyself in to my table so many meals? Come, what’s Agamemnon?

THERSITES. Thy commander, Achilles. Then tell me, Patroclus, what’s Achilles?

PATROCLUS. Thy lord, Thersites. Then tell me, I pray thee, what’s Thersites?

THERSITES. Thy knower, Patroclus. Then tell me, Patroclus, what art thou?

PATROCLUS. Thou must tell that knowest.

ACHILLES. O, tell, tell,

THERSITES. I’ll decline the whole question. Agamemnon commands Achilles; Achilles is my lord; I am Patroclus’ knower; and Patroclus is a fool.

PATROCLUS. You rascal!

THERSITES. Peace, fool! I have not done.

ACHILLES. He is a privileg’d man. Proceed, Thersites.

THERSITES. Agamemnon is a fool; Achilles is a fool; Thersites is a fool; and, as aforesaid, Patroclus is a fool.

ACHILLES. Derive this; come.

THERSITES. Agamemnon is a fool to offer to command Achilles; Achilles is a fool to be commanded of Agamemnon; Thersites is a fool to serve such a fool; and this Patroclus is a fool positive.

PATROCLUS. Why am I a fool?

THERSITES. Make that demand of the Creator. It suffices me thou art. Look you, who comes here?

Enter Agamemnon, Ulysses, Nestor, Diomedes, Ajax and Calchas.

ACHILLES. Come, Patroclus, I’ll speak with nobody. Come in with me, Thersites.

[Exit.]

THERSITES. Here is such patchery, such juggling, and such knavery. All the argument is a whore and a cuckold—a good quarrel to draw emulous factions and bleed to death upon. Now the dry serpigo on the subject, and war and lechery confound all!

[Exit.]

AGAMEMNON. Where is Achilles?

PATROCLUS. Within his tent; but ill-dispos’d, my lord.

AGAMEMNON. Let it be known to him that we are here. He shent our messengers; and we lay by Our appertainings, visiting of him. Let him be told so; lest, perchance, he think We dare not move the question of our place Or know not what we are.

PATROCLUS. I shall say so to him.

[Exit.]

ULYSSES. We saw him at the opening of his tent. He is not sick.

AJAX. Yes, lion-sick, sick of proud heart. You may call it melancholy, if you will favour the man; but, by my head, ’tis pride. But why, why? Let him show us a cause. A word, my lord.

[Takes Agamemnon aside.]

NESTOR. What moves Ajax thus to bay at him?

ULYSSES. Achilles hath inveigled his fool from him.

NESTOR. Who, Thersites?

ULYSSES. He.

NESTOR. Then will Ajax lack matter, if he have lost his argument.

ULYSSES. No; you see he is his argument that has his argument, Achilles.

NESTOR. All the better; their fraction is more our wish than their faction. But it was a strong composure a fool could disunite!

ULYSSES. The amity that wisdom knits not, folly may easily untie.

Re-enter Patroclus.

Here comes Patroclus.

NESTOR. No Achilles with him.

ULYSSES. The elephant hath joints, but none for courtesy; his legs are legs for necessity, not for flexure.

PATROCLUS. Achilles bids me say he is much sorry If any thing more than your sport and pleasure Did move your greatness and this noble state To call upon him; he hopes it is no other But for your health and your digestion sake, An after-dinner’s breath.

AGAMEMNON. Hear you, Patroclus. We are too well acquainted with these answers; But his evasion, wing’d thus swift with scorn, Cannot outfly our apprehensions. Much attribute he hath, and much the reason Why we ascribe it to him. Yet all his virtues, Not virtuously on his own part beheld, Do in our eyes begin to lose their gloss; Yea, like fair fruit in an unwholesome dish, Are like to rot untasted. Go and tell him We come to speak with him; and you shall not sin If you do say we think him over-proud And under-honest, in self-assumption greater Than in the note of judgement; and worthier than himself Here tend the savage strangeness he puts on, Disguise the holy strength of their command, And underwrite in an observing kind His humorous predominance; yea, watch His course and time, his ebbs and flows, as if The passage and whole stream of this commencement Rode on his tide. Go tell him this, and add That if he overhold his price so much We’ll none of him, but let him, like an engine Not portable, lie under this report: Bring action hither; this cannot go to war. A stirring dwarf we do allowance give Before a sleeping giant. Tell him so.

PATROCLUS. I shall, and bring his answer presently.

[Exit.]

AGAMEMNON. In second voice we’ll not be satisfied; We come to speak with him. Ulysses, enter you.

[Exit Ulysses.]

AJAX. What is he more than another?

AGAMEMNON. No more than what he thinks he is.

AJAX. Is he so much? Do you not think he thinks himself a better man than I am?

AGAMEMNON. No question.

AJAX. Will you subscribe his thought and say he is?

AGAMEMNON. No, noble Ajax; you are as strong, as valiant, as wise, no less noble, much more gentle, and altogether more tractable.

AJAX. Why should a man be proud? How doth pride grow? I know not what pride is.

AGAMEMNON. Your mind is the clearer, Ajax, and your virtues the fairer. He that is proud eats up himself. Pride is his own glass, his own trumpet, his own chronicle; and whatever praises itself but in the deed devours the deed in the praise.

Re-enter Ulysses.

AJAX. I do hate a proud man as I do hate the engend’ring of toads.

NESTOR. [Aside.] And yet he loves himself: is’t not strange?

ULYSSES. Achilles will not to the field tomorrow.

AGAMEMNON. What’s his excuse?

ULYSSES. He doth rely on none; But carries on the stream of his dispose, Without observance or respect of any, In will peculiar and in self-admission.

AGAMEMNON. Why will he not, upon our fair request, Untent his person and share th’air with us?

ULYSSES. Things small as nothing, for request’s sake only, He makes important; possess’d he is with greatness, And speaks not to himself but with a pride That quarrels at self-breath. Imagin’d worth Holds in his blood such swol’n and hot discourse That ’twixt his mental and his active parts Kingdom’d Achilles in commotion rages, And batters down himself. What should I say? He is so plaguy proud that the death tokens of it Cry ‘No recovery.’

AGAMEMNON. Let Ajax go to him. Dear lord, go you and greet him in his tent. ’Tis said he holds you well; and will be led At your request a little from himself.

ULYSSES. O Agamemnon, let it not be so! We’ll consecrate the steps that Ajax makes When they go from Achilles. Shall the proud lord That bastes his arrogance with his own seam And never suffers matter of the world Enter his thoughts, save such as doth revolve And ruminate himself—shall he be worshipp’d Of that we hold an idol more than he? No, this thrice worthy and right valiant lord Shall not so stale his palm, nobly acquir’d, Nor, by my will, assubjugate his merit, As amply titled as Achilles is, By going to Achilles. That were to enlard his fat-already pride, And add more coals to Cancer when he burns With entertaining great Hyperion. This lord go to him! Jupiter forbid, And say in thunder ‘Achilles go to him.’

NESTOR. [Aside.] O, this is well! He rubs the vein of him.

DIOMEDES. [Aside.] And how his silence drinks up this applause!

AJAX. If I go to him, with my armed fist I’ll pash him o’er the face.

AGAMEMNON. O, no, you shall not go.

AJAX. An a’ be proud with me I’ll pheeze his pride. Let me go to him.

ULYSSES. Not for the worth that hangs upon our quarrel.

AJAX. A paltry, insolent fellow!

NESTOR. [Aside.] How he describes himself!

AJAX. Can he not be sociable?

ULYSSES. [Aside.] The raven chides blackness.

AJAX. I’ll let his humours blood.

AGAMEMNON. [Aside.] He will be the physician that should be the patient.

AJAX. And all men were o’ my mind—

ULYSSES. [Aside.] Wit would be out of fashion.

AJAX. A’ should not bear it so, a’ should eat’s words first. Shall pride carry it?

NESTOR. [Aside.] And ’twould, you’d carry half.

ULYSSES. [Aside.] A’ would have ten shares.

AJAX. I will knead him, I’ll make him supple.

NESTOR. [Aside.] He’s not yet through warm. Force him with praises; pour in, pour in; his ambition is dry.

ULYSSES. [To Agamemnon.] My lord, you feed too much on this dislike.

NESTOR. Our noble general, do not do so.

DIOMEDES. You must prepare to fight without Achilles.

ULYSSES. Why ’tis this naming of him does him harm. Here is a man—but ’tis before his face; I will be silent.

NESTOR. Wherefore should you so? He is not emulous, as Achilles is.

ULYSSES. Know the whole world, he is as valiant.

AJAX. A whoreson dog, that shall palter with us thus! Would he were a Trojan!

NESTOR. What a vice were it in Ajax now—

ULYSSES. If he were proud.

DIOMEDES. Or covetous of praise.

ULYSSES. Ay, or surly borne.

DIOMEDES. Or strange, or self-affected.

ULYSSES. Thank the heavens, lord, thou art of sweet composure. Praise him that gat thee, she that gave thee suck; Fam’d be thy tutor, and thy parts of nature Thrice fam’d beyond, beyond all erudition; But he that disciplin’d thine arms to fight— Let Mars divide eternity in twain And give him half; and, for thy vigour, Bull-bearing Milo his addition yield To sinewy Ajax. I will not praise thy wisdom, Which, like a bourn, a pale, a shore, confines Thy spacious and dilated parts. Here’s Nestor, Instructed by the antiquary times— He must, he is, he cannot but be wise; But pardon, father Nestor, were your days As green as Ajax’ and your brain so temper’d, You should not have the eminence of him, But be as Ajax.

AJAX. Shall I call you father?

NESTOR. Ay, my good son.

DIOMEDES. Be rul’d by him, Lord Ajax.

ULYSSES. There is no tarrying here; the hart Achilles Keeps thicket. Please it our great general To call together all his state of war; Fresh kings are come to Troy. Tomorrow We must with all our main of power stand fast; And here’s a lord—come knights from east to west And cull their flower, Ajax shall cope the best.

AGAMEMNON. Go we to council. Let Achilles sleep. Light boats sail swift, though greater hulks draw deep.

[Exeunt.]

Act III, Scene I — Troy. Priam’s palace

Music sounds within. Enter Pandarus and a Servant.

PANDARUS. Friend, you—pray you, a word. Do you not follow the young Lord Paris?

SERVANT. Ay, sir, when he goes before me.

PANDARUS. You depend upon him, I mean?

SERVANT. Sir, I do depend upon the Lord.

PANDARUS. You depend upon a notable gentleman; I must needs praise him.

SERVANT. The Lord be praised!

PANDARUS. You know me, do you not?

SERVANT. Faith, sir, superficially.

PANDARUS. Friend, know me better: I am the Lord Pandarus.

SERVANT. I hope I shall know your honour better.

PANDARUS. I do desire it.

SERVANT. You are in the state of grace?

PANDARUS. Grace? Not so, friend; honour and lordship are my titles. What music is this?

SERVANT. I do but partly know, sir; it is music in parts.

PANDARUS. Know you the musicians?

SERVANT. Wholly, sir.

PANDARUS. Who play they to?

SERVANT. To the hearers, sir.

PANDARUS. At whose pleasure, friend?

SERVANT. At mine, sir, and theirs that love music.

PANDARUS. Command, I mean, friend.

SERVANT. Who shall I command, sir?

PANDARUS. Friend, we understand not one another: I am too courtly, and thou art too cunning. At whose request do these men play?

SERVANT. That’s to’t, indeed, sir. Marry, sir, at the request of Paris my lord, who is there in person; with him the mortal Venus, the heart-blood of beauty, love’s invisible soul—

PANDARUS. Who, my cousin, Cressida?

SERVANT. No, sir, Helen. Could not you find out that by her attributes?

PANDARUS. It should seem, fellow, that thou hast not seen the Lady Cressida. I come to speak with Paris from the Prince Troilus; I will make a complimental assault upon him, for my business seethes.

SERVANT. Sodden business! There’s a stew’d phrase indeed!

Enter Paris and Helen, attended.

PANDARUS. Fair be to you, my lord, and to all this fair company! Fair desires, in all fair measure, fairly guide them—especially to you, fair queen! Fair thoughts be your fair pillow.

HELEN. Dear lord, you are full of fair words.

PANDARUS. You speak your fair pleasure, sweet queen. Fair prince, here is good broken music.

PARIS. You have broke it, cousin; and by my life, you shall make it whole again; you shall piece it out with a piece of your performance.

HELEN. He is full of harmony.

PANDARUS. Truly, lady, no.

HELEN. O, sir—

PANDARUS. Rude, in sooth; in good sooth, very rude.

PARIS. Well said, my lord. Well, you say so in fits.

PANDARUS. I have business to my lord, dear queen. My lord, will you vouchsafe me a word?

HELEN. Nay, this shall not hedge us out. We’ll hear you sing, certainly—

PANDARUS. Well sweet queen, you are pleasant with me. But, marry, thus, my lord: my dear lord and most esteemed friend, your brother Troilus—

HELEN. My Lord Pandarus, honey-sweet lord—

PANDARUS. Go to, sweet queen, go to—commends himself most affectionately to you—

HELEN. You shall not bob us out of our melody. If you do, our melancholy upon your head!

PANDARUS. Sweet queen, sweet queen; that’s a sweet queen, i’ faith.

HELEN. And to make a sweet lady sad is a sour offence.

PANDARUS. Nay, that shall not serve your turn; that shall it not, in truth, la. Nay, I care not for such words; no, no.—And, my lord, he desires you that, if the King call for him at supper, you will make his excuse.

HELEN. My Lord Pandarus!

PANDARUS. What says my sweet queen, my very very sweet queen?

PARIS. What exploit’s in hand? Where sups he tonight?

HELEN. Nay, but, my lord—

PANDARUS. What says my sweet queen?—My cousin will fall out with you.

HELEN. You must not know where he sups.

PARIS. I’ll lay my life, with my disposer Cressida.

PANDARUS. No, no, no such matter; you are wide. Come, your disposer is sick.

PARIS. Well, I’ll make’s excuse.

PANDARUS. Ay, good my lord. Why should you say Cressida? No, your poor disposer’s sick.

PARIS. I spy.

PANDARUS. You spy! What do you spy?—Come, give me an instrument. Now, sweet queen.

HELEN. Why, this is kindly done.

PANDARUS. My niece is horribly in love with a thing you have, sweet queen.

HELEN. She shall have it, my lord, if it be not my Lord Paris.

PANDARUS. He? No, she’ll none of him; they two are twain.

HELEN. Falling in, after falling out, may make them three.

PANDARUS. Come, come. I’ll hear no more of this; I’ll sing you a song now.

HELEN. Ay, ay, prithee now. By my troth, sweet lord, thou hast a fine forehead.

PANDARUS. Ay, you may, you may.

HELEN. Let thy song be love. This love will undo us all. O Cupid, Cupid, Cupid!

PANDARUS. Love! Ay, that it shall, i’ faith.

PARIS. Ay, good now, love, love, nothing but love.

PANDARUS. In good troth, it begins so.

[Sings.]

_Love, love, nothing but love, still love, still more! For, oh, love’s bow Shoots buck and doe; The shaft confounds Not that it wounds, But tickles still the sore. These lovers cry, O ho, they die! Yet that which seems the wound to kill Doth turn O ho! to ha! ha! he! So dying love lives still. O ho! a while, but ha! ha! ha! O ho! groans out for ha! ha! ha!—hey ho!_

HELEN. In love, i’ faith, to the very tip of the nose.

PARIS. He eats nothing but doves, love; and that breeds hot blood, and hot blood begets hot thoughts, and hot thoughts beget hot deeds, and hot deeds is love.

PANDARUS. Is this the generation of love: hot blood, hot thoughts, and hot deeds? Why, they are vipers. Is love a generation of vipers? Sweet lord, who’s a-field today?

PARIS. Hector, Deiphobus, Helenus, Antenor, and all the gallantry of Troy. I would fain have arm’d today, but my Nell would not have it so. How chance my brother Troilus went not?

HELEN. He hangs the lip at something. You know all, Lord Pandarus.

PANDARUS. Not I, honey-sweet queen. I long to hear how they spend today. You’ll remember your brother’s excuse?

PARIS. To a hair.

PANDARUS. Farewell, sweet queen.

HELEN. Commend me to your niece.

PANDARUS. I will, sweet queen.

[Exit. Sound a retreat.]

PARIS. They’re come from the field. Let us to Priam’s hall To greet the warriors. Sweet Helen, I must woo you To help unarm our Hector. His stubborn buckles, With these your white enchanting fingers touch’d, Shall more obey than to the edge of steel Or force of Greekish sinews; you shall do more Than all the island kings—disarm great Hector.

HELEN. ’Twill make us proud to be his servant, Paris; Yea, what he shall receive of us in duty Gives us more palm in beauty than we have, Yea, overshines ourself.

PARIS. Sweet, above thought I love thee.

[Exeunt.]

Act III, Scene II — Troy. Pandarus’ orchard

Enter Pandarus and Troilus’ Boy, meeting.

PANDARUS. How now! Where’s thy master? At my cousin Cressida’s?

BOY. No, sir; he stays for you to conduct him thither.

Enter Troilus.

PANDARUS. O, here he comes. How now, how now?

TROILUS. Sirrah, walk off.

[Exit Boy.]

PANDARUS. Have you seen my cousin?

TROILUS. No, Pandarus. I stalk about her door Like a strange soul upon the Stygian banks Staying for waftage. O, be thou my Charon, And give me swift transportance to these fields Where I may wallow in the lily beds Propos’d for the deserver! O gentle Pandar, from Cupid’s shoulder pluck his painted wings, and fly with me to Cressid!

PANDARUS. Walk here i’ th’ orchard, I’ll bring her straight.

[Exit.]

TROILUS. I am giddy; expectation whirls me round. Th’imaginary relish is so sweet That it enchants my sense; what will it be When that the wat’ry palate tastes indeed Love’s thrice-repured nectar? Death, I fear me; Sounding destruction; or some joy too fine, Too subtle-potent, tun’d too sharp in sweetness, For the capacity of my ruder powers. I fear it much; and I do fear besides That I shall lose distinction in my joys; As doth a battle, when they charge on heaps The enemy flying.

Re-enter Pandarus.

PANDARUS. She’s making her ready, she’ll come straight; you must be witty now. She does so blush, and fetches her wind so short, as if she were fray’d with a sprite. I’ll fetch her. It is the prettiest villain; she fetches her breath as short as a new-ta’en sparrow.

[Exit.]

TROILUS. Even such a passion doth embrace my bosom. My heart beats thicker than a feverous pulse, And all my powers do their bestowing lose, Like vassalage at unawares encount’ring The eye of majesty.

Re-enter Pandarus with Cressida.

PANDARUS. Come, come, what need you blush? Shame’s a baby. Here she is now; swear the oaths now to her that you have sworn to me.—What, are you gone again? You must be watch’d ere you be made tame, must you? Come your ways, come your ways; and you draw backward, we’ll put you i’ th’ fills. Why do you not speak to her? Come, draw this curtain and let’s see your picture. Alas the day, how loath you are to offend daylight! And ’twere dark, you’d close sooner. So, so; rub on, and kiss the mistress. How now, a kiss in fee-farm! Build there, carpenter; the air is sweet. Nay, you shall fight your hearts out ere I part you. The falcon as the tercel, for all the ducks i’ th’ river. Go to, go to.

TROILUS. You have bereft me of all words, lady.

PANDARUS. Words pay no debts, give her deeds; but she’ll bereave you o’ th’ deeds too, if she call your activity in question. What, billing again? Here’s ‘In witness whereof the parties interchangeably.’ Come in, come in; I’ll go get a fire.

[Exit.]

CRESSIDA. Will you walk in, my lord?

TROILUS. O Cressid, how often have I wish’d me thus!

CRESSIDA. Wish’d, my lord! The gods grant—O my lord!

TROILUS. What should they grant? What makes this pretty abruption? What too curious dreg espies my sweet lady in the fountain of our love?

CRESSIDA. More dregs than water, if my fears have eyes.

TROILUS. Fears make devils of cherubins; they never see truly.

CRESSIDA. Blind fear, that seeing reason leads, finds safer footing than blind reason stumbling without fear. To fear the worst oft cures the worse.

TROILUS. O, let my lady apprehend no fear! In all Cupid’s pageant there is presented no monster.

CRESSIDA. Nor nothing monstrous neither?

TROILUS. Nothing, but our undertakings when we vow to weep seas, live in fire, eat rocks, tame tigers; thinking it harder for our mistress to devise imposition enough than for us to undergo any difficulty imposed. This is the monstruosity in love, lady, that the will is infinite, and the execution confin’d; that the desire is boundless, and the act a slave to limit.

CRESSIDA. They say all lovers swear more performance than they are able, and yet reserve an ability that they never perform; vowing more than the perfection of ten, and discharging less than the tenth part of one. They that have the voice of lions and the act of hares, are they not monsters?

TROILUS. Are there such? Such are not we. Praise us as we are tasted, allow us as we prove; our head shall go bare till merit crown it. No perfection in reversion shall have a praise in present. We will not name desert before his birth; and, being born, his addition shall be humble. Few words to fair faith: Troilus shall be such to Cressid as what envy can say worst shall be a mock for his truth; and what truth can speak truest not truer than Troilus.

CRESSIDA. Will you walk in, my lord?

Re-enter Pandarus.

PANDARUS. What, blushing still? Have you not done talking yet?

CRESSIDA. Well, uncle, what folly I commit, I dedicate to you.

PANDARUS. I thank you for that; if my lord get a boy of you, you’ll give him me. Be true to my lord; if he flinch, chide me for it.

TROILUS. You know now your hostages: your uncle’s word and my firm faith.

PANDARUS. Nay, I’ll give my word for her too: our kindred, though they be long ere they are wooed, they are constant being won; they are burs, I can tell you; they’ll stick where they are thrown.

CRESSIDA. Boldness comes to me now and brings me heart. Prince Troilus, I have lov’d you night and day For many weary months.

TROILUS. Why was my Cressid then so hard to win?

CRESSIDA. Hard to seem won; but I was won, my lord, With the first glance that ever—pardon me. If I confess much, you will play the tyrant. I love you now; but till now not so much But I might master it. In faith, I lie; My thoughts were like unbridled children, grown Too headstrong for their mother. See, we fools! Why have I blabb’d? Who shall be true to us, When we are so unsecret to ourselves? But, though I lov’d you well, I woo’d you not; And yet, good faith, I wish’d myself a man, Or that we women had men’s privilege Of speaking first. Sweet, bid me hold my tongue, For in this rapture I shall surely speak The thing I shall repent. See, see, your silence, Cunning in dumbness, from my weakness draws My very soul of counsel. Stop my mouth.

TROILUS. And shall, albeit sweet music issues thence.

PANDARUS. Pretty, i’ faith.

CRESSIDA. My lord, I do beseech you, pardon me; ’Twas not my purpose thus to beg a kiss. I am asham’d. O heavens! what have I done? For this time will I take my leave, my lord.

TROILUS. Your leave, sweet Cressid!

PANDARUS. Leave! And you take leave till tomorrow morning—

CRESSIDA. Pray you, content you.

TROILUS. What offends you, lady?

CRESSIDA. Sir, mine own company.

TROILUS. You cannot shun yourself.

CRESSIDA. Let me go and try. I have a kind of self resides with you; But an unkind self, that itself will leave To be another’s fool. I would be gone. Where is my wit? I know not what I speak.

TROILUS. Well know they what they speak that speak so wisely.

CRESSIDA. Perchance, my lord, I show more craft than love; And fell so roundly to a large confession To angle for your thoughts; but you are wise— Or else you love not; for to be wise and love Exceeds man’s might; that dwells with gods above.

TROILUS. O that I thought it could be in a woman— As, if it can, I will presume in you— To feed for aye her lamp and flames of love; To keep her constancy in plight and youth, Outliving beauty’s outward, with a mind That doth renew swifter than blood decays! Or that persuasion could but thus convince me That my integrity and truth to you Might be affronted with the match and weight Of such a winnowed purity in love. How were I then uplifted! But, alas, I am as true as truth’s simplicity, And simpler than the infancy of truth.

CRESSIDA. In that I’ll war with you.

TROILUS. O virtuous fight, When right with right wars who shall be most right! True swains in love shall in the world to come Approve their truth by Troilus, when their rhymes, Full of protest, of oath, and big compare, Want similes, truth tir’d with iteration— As true as steel, as plantage to the moon, As sun to day, as turtle to her mate, As iron to adamant, as earth to th’ centre— Yet, after all comparisons of truth, As truth’s authentic author to be cited, ‘As true as Troilus’ shall crown up the verse And sanctify the numbers.

CRESSIDA. Prophet may you be! If I be false, or swerve a hair from truth, When time is old and hath forgot itself, When waterdrops have worn the stones of Troy, And blind oblivion swallow’d cities up, And mighty states characterless are grated To dusty nothing—yet let memory From false to false, among false maids in love, Upbraid my falsehood when th’ have said ‘As false As air, as water, wind, or sandy earth, As fox to lamb, or wolf to heifer’s calf, Pard to the hind, or stepdame to her son’— Yea, let them say, to stick the heart of falsehood, ‘As false as Cressid.’

PANDARUS. Go to, a bargain made; seal it, seal it; I’ll be the witness. Here I hold your hand; here my cousin’s. If ever you prove false one to another, since I have taken such pains to bring you together, let all pitiful goers-between be call’d to the world’s end after my name—call them all Pandars; let all constant men be Troiluses, all false women Cressids, and all brokers between Pandars. Say ‘Amen.’

TROILUS. Amen.

CRESSIDA. Amen.

PANDARUS. Amen. Whereupon I will show you a chamber and a bed; which bed, because it shall not speak of your pretty encounters, press it to death. Away!

[Exeunt Troilus and Cressida.]

And Cupid grant all tongue-tied maidens here, Bed, chamber, pander, to provide this gear!

[Exit.]

Act III, Scene III — The Greek camp

Flourish. Enter Agamemnon, Ulysses, Diomedes, Nestor, Ajax, Menelaus and Calchas.

CALCHAS. Now, Princes, for the service I have done, Th’advantage of the time prompts me aloud To call for recompense. Appear it to your mind That, through the sight I bear in things to come, I have abandon’d Troy, left my possession, Incurr’d a traitor’s name, expos’d myself From certain and possess’d conveniences To doubtful fortunes, sequest’ring from me all That time, acquaintance, custom, and condition, Made tame and most familiar to my nature; And here, to do you service, am become As new into the world, strange, unacquainted— I do beseech you, as in way of taste, To give me now a little benefit Out of those many regist’red in promise, Which you say live to come in my behalf.

AGAMEMNON. What wouldst thou of us, Trojan? Make demand.

CALCHAS. You have a Trojan prisoner call’d Antenor, Yesterday took; Troy holds him very dear. Oft have you—often have you thanks therefore— Desir’d my Cressid in right great exchange, Whom Troy hath still denied; but this Antenor, I know, is such a wrest in their affairs That their negotiations all must slack Wanting his manage; and they will almost Give us a prince of blood, a son of Priam, In change of him. Let him be sent, great Princes, And he shall buy my daughter; and her presence Shall quite strike off all service I have done In most accepted pain.

AGAMEMNON. Let Diomedes bear him, And bring us Cressid hither. Calchas shall have What he requests of us. Good Diomed, Furnish you fairly for this interchange; Withal, bring word if Hector will tomorrow Be answer’d in his challenge. Ajax is ready.

DIOMEDES. This shall I undertake; and ’tis a burden Which I am proud to bear.

[Exeunt Diomedes and Calchas.]

[Achilles and Patroclus stand in their tent.]

ULYSSES. Achilles stands i’ th’entrance of his tent. Please it our general pass strangely by him, As if he were forgot; and, Princes all, Lay negligent and loose regard upon him. I will come last. ’Tis like he’ll question me Why such unplausive eyes are bent, why turn’d on him. If so, I have derision med’cinable To use between your strangeness and his pride, Which his own will shall have desire to drink. It may do good. Pride hath no other glass To show itself but pride; for supple knees Feed arrogance and are the proud man’s fees.

AGAMEMNON. We’ll execute your purpose, and put on A form of strangeness as we pass along. So do each lord; and either greet him not, Or else disdainfully, which shall shake him more Than if not look’d on. I will lead the way.

ACHILLES. What comes the general to speak with me? You know my mind. I’ll fight no more ’gainst Troy.

AGAMEMNON. What says Achilles? Would he aught with us?

NESTOR. Would you, my lord, aught with the general?

ACHILLES. No.

NESTOR. Nothing, my lord.

AGAMEMNON. The better.

[Exeunt Agamemnon and Nestor.]

ACHILLES. Good day, good day.

MENELAUS. How do you? How do you?

[Exit.]

ACHILLES. What, does the cuckold scorn me?

AJAX. How now, Patroclus?

ACHILLES. Good morrow, Ajax.

AJAX. Ha?

ACHILLES. Good morrow.

AJAX. Ay, and good next day too.

[Exit.]

ACHILLES. What mean these fellows? Know they not Achilles?

PATROCLUS. They pass by strangely. They were us’d to bend, To send their smiles before them to Achilles, To come as humbly as they us’d to creep To holy altars.

ACHILLES. What, am I poor of late? ’Tis certain, greatness, once fall’n out with fortune, Must fall out with men too. What the declin’d is, He shall as soon read in the eyes of others As feel in his own fall; for men, like butterflies, Show not their mealy wings but to the summer; And not a man for being simply man Hath any honour, but honour for those honours That are without him, as place, riches, and favour, Prizes of accident, as oft as merit; Which when they fall, as being slippery standers, The love that lean’d on them as slippery too, Doth one pluck down another, and together Die in the fall. But ’tis not so with me: Fortune and I are friends; I do enjoy At ample point all that I did possess Save these men’s looks; who do, methinks, find out Something not worth in me such rich beholding As they have often given. Here is Ulysses. I’ll interrupt his reading. How now, Ulysses!

ULYSSES. Now, great Thetis’ son!

ACHILLES. What are you reading?

ULYSSES. A strange fellow here Writes me that man—how dearly ever parted, How much in having, or without or in— Cannot make boast to have that which he hath, Nor feels not what he owes, but by reflection; As when his virtues shining upon others Heat them, and they retort that heat again To the first giver.

ACHILLES. This is not strange, Ulysses. The beauty that is borne here in the face The bearer knows not, but commends itself To others’ eyes; nor doth the eye itself— That most pure spirit of sense—behold itself, Not going from itself; but eye to eye opposed Salutes each other with each other’s form; For speculation turns not to itself Till it hath travell’d, and is mirror’d there Where it may see itself. This is not strange at all.

ULYSSES. I do not strain at the position— It is familiar—but at the author’s drift; Who, in his circumstance, expressly proves That no man is the lord of anything, Though in and of him there be much consisting, Till he communicate his parts to others; Nor doth he of himself know them for aught Till he behold them formed in the applause Where th’are extended; who, like an arch, reverb’rate The voice again; or, like a gate of steel Fronting the sun, receives and renders back His figure and his heat. I was much rapt in this; And apprehended here immediately Th’unknown Ajax. Heavens, what a man is there! A very horse that has he knows not what! Nature, what things there are Most abject in regard and dear in use! What things again most dear in the esteem And poor in worth! Now shall we see tomorrow— An act that very chance doth throw upon him— Ajax renown’d. O heavens, what some men do, While some men leave to do! How some men creep in skittish Fortune’s hall, Whiles others play the idiots in her eyes! How one man eats into another’s pride, While pride is fasting in his wantonness! To see these Grecian lords!—why, even already They clap the lubber Ajax on the shoulder, As if his foot were on brave Hector’s breast, And great Troy shrieking.

ACHILLES. I do believe it; for they pass’d by me As misers do by beggars, neither gave to me Good word nor look. What, are my deeds forgot?

ULYSSES. Time hath, my lord, a wallet at his back, Wherein he puts alms for oblivion, A great-siz’d monster of ingratitudes. Those scraps are good deeds past, which are devour’d As fast as they are made, forgot as soon As done. Perseverance, dear my lord, Keeps honour bright. To have done is to hang Quite out of fashion, like a rusty mail In monumental mock’ry. Take the instant way; For honour travels in a strait so narrow— Where one but goes abreast. Keep then the path, For emulation hath a thousand sons That one by one pursue; if you give way, Or hedge aside from the direct forthright, Like to an ent’red tide they all rush by And leave you hindmost; Or, like a gallant horse fall’n in first rank, Lie there for pavement to the abject rear, O’er-run and trampled on. Then what they do in present, Though less than yours in past, must o’ertop yours; For Time is like a fashionable host, That slightly shakes his parting guest by th’hand; And with his arms out-stretch’d, as he would fly, Grasps in the comer. The welcome ever smiles, And farewell goes out sighing. O, let not virtue seek Remuneration for the thing it was; For beauty, wit, High birth, vigour of bone, desert in service, Love, friendship, charity, are subjects all To envious and calumniating Time. One touch of nature makes the whole world kin— That all with one consent praise new-born gauds, Though they are made and moulded of things past, And give to dust that is a little gilt More laud than gilt o’er-dusted. The present eye praises the present object. Then marvel not, thou great and complete man, That all the Greeks begin to worship Ajax, Since things in motion sooner catch the eye Than what stirs not. The cry went once on thee, And still it might, and yet it may again, If thou wouldst not entomb thyself alive And case thy reputation in thy tent, Whose glorious deeds but in these fields of late Made emulous missions ’mongst the gods themselves, And drave great Mars to faction.

ACHILLES. Of this my privacy I have strong reasons.

ULYSSES. But ’gainst your privacy The reasons are more potent and heroical. ’Tis known, Achilles, that you are in love With one of Priam’s daughters.

ACHILLES. Ha! known!

ULYSSES. Is that a wonder? The providence that’s in a watchful state Knows almost every grain of Plutus’ gold; Finds bottom in th’uncomprehensive deeps; Keeps place with thought, and almost, like the gods, Do thoughts unveil in their dumb cradles. There is a mystery—with whom relation Durst never meddle—in the soul of state, Which hath an operation more divine Than breath or pen can give expressure to. All the commerce that you have had with Troy As perfectly is ours as yours, my lord; And better would it fit Achilles much To throw down Hector than Polyxena. But it must grieve young Pyrrhus now at home, When fame shall in our island sound her trump, And all the Greekish girls shall tripping sing ‘Great Hector’s sister did Achilles win; But our great Ajax bravely beat down him.’ Farewell, my lord. I as your lover speak. The fool slides o’er the ice that you should break.

[Exit.]

PATROCLUS. To this effect, Achilles, have I mov’d you. A woman impudent and mannish grown Is not more loath’d than an effeminate man In time of action. I stand condemn’d for this; They think my little stomach to the war And your great love to me restrains you thus. Sweet, rouse yourself; and the weak wanton Cupid Shall from your neck unloose his amorous fold, And, like a dew-drop from the lion’s mane, Be shook to air.

ACHILLES. Shall Ajax fight with Hector?

PATROCLUS. Ay, and perhaps receive much honour by him.

ACHILLES. I see my reputation is at stake; My fame is shrewdly gor’d.

PATROCLUS. O, then, beware: Those wounds heal ill that men do give themselves; Omission to do what is necessary Seals a commission to a blank of danger; And danger, like an ague, subtly taints Even then when they sit idly in the sun.

ACHILLES. Go call Thersites hither, sweet Patroclus. I’ll send the fool to Ajax, and desire him T’invite the Trojan lords, after the combat, To see us here unarm’d. I have a woman’s longing, An appetite that I am sick withal, To see great Hector in his weeds of peace; To talk with him, and to behold his visage, Even to my full of view.

Enter Thersites.

A labour sav’d!

THERSITES. A wonder!

ACHILLES. What?

THERSITES. Ajax goes up and down the field asking for himself.

ACHILLES. How so?

THERSITES. He must fight singly tomorrow with Hector, and is so prophetically proud of an heroical cudgelling that he raves in saying nothing.

ACHILLES. How can that be?

THERSITES. Why, a’ stalks up and down like a peacock—a stride and a stand; ruminates like an hostess that hath no arithmetic but her brain to set down her reckoning, bites his lip with a politic regard, as who should say ‘There were wit in this head, and ’twould out’; and so there is; but it lies as coldly in him as fire in a flint, which will not show without knocking. The man’s undone for ever; for if Hector break not his neck i’ th’ combat, he’ll break’t himself in vainglory. He knows not me. I said ‘Good morrow, Ajax’; and he replies ‘Thanks, Agamemnon.’ What think you of this man that takes me for the general? He’s grown a very land fish, languageless, a monster. A plague of opinion! A man may wear it on both sides, like leather jerkin.

ACHILLES. Thou must be my ambassador to him, Thersites.

THERSITES. Who, I? Why, he’ll answer nobody; he professes not answering. Speaking is for beggars: he wears his tongue in’s arms. I will put on his presence. Let Patroclus make his demands to me, you shall see the pageant of Ajax.

ACHILLES. To him, Patroclus. Tell him I humbly desire the valiant Ajax to invite the most valorous Hector to come unarm’d to my tent; and to procure safe conduct for his person of the magnanimous and most illustrious six-or-seven-times-honour’d Captain General of the Grecian army, Agamemnon. Do this.

PATROCLUS. Jove bless great Ajax!

THERSITES. Hum!

PATROCLUS. I come from the worthy Achilles—

THERSITES. Ha!

PATROCLUS. Who most humbly desires you to invite Hector to his tent—

THERSITES. Hum!

PATROCLUS. And to procure safe conduct from Agamemnon.

THERSITES. Agamemnon?

PATROCLUS. Ay, my lord.

THERSITES. Ha!

PATROCLUS. What you say to’t?

THERSITES. God buy you, with all my heart.

PATROCLUS. Your answer, sir.

THERSITES. If tomorrow be a fair day, by eleven of the clock it will go one way or other. Howsoever, he shall pay for me ere he has me.

PATROCLUS. Your answer, sir.

THERSITES. Fare ye well, with all my heart.

ACHILLES. Why, but he is not in this tune, is he?

THERSITES. No, but out of tune thus. What music will be in him when Hector has knock’d out his brains, I know not; but, I am sure, none; unless the fiddler Apollo get his sinews to make catlings on.

ACHILLES. Come, thou shalt bear a letter to him straight.

THERSITES. Let me bear another to his horse; for that’s the more capable creature.

ACHILLES. My mind is troubled, like a fountain stirr’d; And I myself see not the bottom of it.

[Exeunt Achilles and Patroclus.]

THERSITES. Would the fountain of your mind were clear again, that I might water an ass at it. I had rather be a tick in a sheep than such a valiant ignorance.

[Exit.]

Act IV, Scene I — Troy. A street

Enter, at one side, Aeneas and servant with a torch; at another Paris, Deiphobus, Antenor, Diomedes the Grecian, and others, with torches.

PARIS. See, ho! Who is that there?

DEIPHOBUS. It is the Lord Aeneas.

AENEAS. Is the Prince there in person? Had I so good occasion to lie long As you, Prince Paris, nothing but heavenly business Should rob my bed-mate of my company.

DIOMEDES. That’s my mind too. Good morrow, Lord Aeneas.

PARIS. A valiant Greek, Aeneas—take his hand: Witness the process of your speech, wherein You told how Diomed, a whole week by days, Did haunt you in the field.

AENEAS. Health to you, valiant sir, During all question of the gentle truce; But when I meet you arm’d, as black defiance As heart can think or courage execute.

DIOMEDES. The one and other Diomed embraces. Our bloods are now in calm; and so long health! But when contention and occasion meet, By Jove, I’ll play the hunter for thy life With all my force, pursuit, and policy.

AENEAS. And thou shalt hunt a lion that will fly With his face backward. In humane gentleness, Welcome to Troy! Now, by Anchises’ life, Welcome indeed! By Venus’ hand I swear No man alive can love in such a sort The thing he means to kill, more excellently.

DIOMEDES. We sympathise. Jove let Aeneas live, If to my sword his fate be not the glory, A thousand complete courses of the sun! But in mine emulous honour let him die With every joint a wound, and that tomorrow!

AENEAS. We know each other well.

DIOMEDES. We do; and long to know each other worse.

PARIS. This is the most despiteful gentle greeting, The noblest hateful love, that e’er I heard of. What business, lord, so early?

AENEAS. I was sent for to the King; but why, I know not.

PARIS. His purpose meets you: ’twas to bring this Greek To Calchas’ house, and there to render him, For the enfreed Antenor, the fair Cressid. Let’s have your company; or, if you please, Haste there before us. I constantly believe— Or rather call my thought a certain knowledge— My brother Troilus lodges there tonight. Rouse him and give him note of our approach, With the whole quality wherefore; I fear We shall be much unwelcome.

AENEAS. That I assure you: Troilus had rather Troy were borne to Greece Than Cressid borne from Troy.

PARIS. There is no help; The bitter disposition of the time Will have it so. On, lord; we’ll follow you.

AENEAS. Good morrow, all.

[Exit with servant.]

PARIS. And tell me, noble Diomed, faith, tell me true, Even in the soul of sound good-fellowship, Who in your thoughts deserves fair Helen best, Myself, or Menelaus?

DIOMEDES. Both alike: He merits well to have her that doth seek her, Not making any scruple of her soilure, With such a hell of pain and world of charge; And you as well to keep her that defend her, Not palating the taste of her dishonour, With such a costly loss of wealth and friends. He like a puling cuckold would drink up The lees and dregs of a flat tamed piece; You, like a lecher, out of whorish loins Are pleas’d to breed out your inheritors. Both merits pois’d, each weighs nor less nor more, But he as he, the heavier for a whore.

PARIS. You are too bitter to your country-woman.

DIOMEDES. She’s bitter to her country. Hear me, Paris: For every false drop in her bawdy veins A Grecian’s life hath sunk; for every scruple Of her contaminated carrion weight A Trojan hath been slain. Since she could speak, She hath not given so many good words breath As for her Greeks and Trojans suff’red death.

PARIS. Fair Diomed, you do as chapmen do, Dispraise the thing that you desire to buy; But we in silence hold this virtue well, We’ll not commend what we intend to sell. Here lies our way.

[Exeunt.]

Act IV, Scene II — Troy. The court of Pandarus’ house

Enter Troilus and Cressida.

TROILUS. Dear, trouble not yourself; the morn is cold.

CRESSIDA. Then, sweet my lord, I’ll call mine uncle down; He shall unbolt the gates.

TROILUS. Trouble him not; To bed, to bed! Sleep kill those pretty eyes, And give as soft attachment to thy senses As infants empty of all thought!

CRESSIDA. Good morrow, then.

TROILUS. I prithee now, to bed.

CRESSIDA. Are you aweary of me?

TROILUS. O Cressida! but that the busy day, Wak’d by the lark, hath rous’d the ribald crows, And dreaming night will hide our joys no longer, I would not from thee.

CRESSIDA. Night hath been too brief.

TROILUS. Beshrew the witch! with venomous wights she stays As tediously as hell, but flies the grasps of love With wings more momentary-swift than thought. You will catch cold, and curse me.

CRESSIDA. Prithee tarry. You men will never tarry. O foolish Cressid! I might have still held off, And then you would have tarried. Hark! there’s one up.

PANDARUS. [Within.] What’s all the doors open here?

TROILUS. It is your uncle.

Enter Pandarus.

CRESSIDA. A pestilence on him! Now will he be mocking. I shall have such a life!

PANDARUS. How now, how now! How go maidenheads? Here, you maid! Where’s my cousin Cressid?

CRESSIDA. Go hang yourself, you naughty mocking uncle. You bring me to do, and then you flout me too.

PANDARUS. To do what? to do what? Let her say what. What have I brought you to do?

CRESSIDA. Come, come, beshrew your heart! You’ll ne’er be good, nor suffer others.

PANDARUS. Ha, ha! Alas, poor wretch! Ah, poor capocchia! Hast not slept tonight? Would he not, a naughty man, let it sleep? A bugbear take him!

CRESSIDA. Did not I tell you? Would he were knock’d i’ th’ head!

[One knocks.]

Who’s that at door? Good uncle, go and see. My lord, come you again into my chamber. You smile and mock me, as if I meant naughtily.

TROILUS. Ha! ha!

CRESSIDA. Come, you are deceiv’d, I think of no such thing.

[Knock.]

How earnestly they knock! Pray you come in: I would not for half Troy have you seen here.

[Exeunt Troilus and Cressida.]

PANDARUS. Who’s there? What’s the matter? Will you beat down the door? How now? What’s the matter?

Enter Aeneas.

AENEAS. Good morrow, lord, good morrow.

PANDARUS. Who’s there? My lord Aeneas? By my troth, I knew you not. What news with you so early?

AENEAS. Is not Prince Troilus here?

PANDARUS. Here! What should he do here?

AENEAS. Come, he is here, my lord; do not deny him. It doth import him much to speak with me.

PANDARUS. Is he here, say you? It’s more than I know, I’ll be sworn. For my own part, I came in late. What should he do here?

AENEAS. Who, nay then! Come, come, you’ll do him wrong ere you are ware; you’ll be so true to him to be false to him. Do not you know of him, but yet go fetch him hither; go.

Re-enter Troilus.

TROILUS. How now! What’s the matter?

AENEAS. My lord, I scarce have leisure to salute you, My matter is so rash. There is at hand Paris your brother, and Deiphobus, The Grecian Diomed, and our Antenor Deliver’d to us; and for him forthwith, Ere the first sacrifice, within this hour, We must give up to Diomedes’ hand The Lady Cressida.

TROILUS. Is it so concluded?

AENEAS. By Priam and the general state of Troy. They are at hand, and ready to effect it.

TROILUS. How my achievements mock me! I will go meet them; and, my Lord Aeneas, We met by chance; you did not find me here.

AENEAS. Good, good, my lord, the secrets of neighbour Pandar Have not more gift in taciturnity.

[Exeunt Troilus and Aeneas.]

PANDARUS. Is’t possible? No sooner got but lost? The devil take Antenor! The young prince will go mad. A plague upon Antenor! I would they had broke’s neck.

Re-enter Cressida.

CRESSIDA. How now! What’s the matter? Who was here?

PANDARUS. Ah, ah!

CRESSIDA. Why sigh you so profoundly? Where’s my lord? Gone? Tell me, sweet uncle, what’s the matter?

PANDARUS. Would I were as deep under the earth as I am above!

CRESSIDA. O the gods! What’s the matter?

PANDARUS. Pray thee get thee in. Would thou hadst ne’er been born! I knew thou wouldst be his death! O, poor gentleman! A plague upon Antenor!

CRESSIDA. Good uncle, I beseech you, on my knees I beseech you, what’s the matter?

PANDARUS. Thou must be gone, wench, thou must be gone; thou art chang’d for Antenor; thou must to thy father, and be gone from Troilus. ’Twill be his death; ’twill be his bane; he cannot bear it.

CRESSIDA. O you immortal gods! I will not go.

PANDARUS. Thou must.

CRESSIDA. I will not, uncle. I have forgot my father; I know no touch of consanguinity, No kin, no love, no blood, no soul so near me As the sweet Troilus. O you gods divine, Make Cressid’s name the very crown of falsehood, If ever she leave Troilus! Time, force, and death, Do to this body what extremes you can, But the strong base and building of my love Is as the very centre of the earth, Drawing all things to it. I’ll go in and weep—

PANDARUS. Do, do.

CRESSIDA. Tear my bright hair, and scratch my praised cheeks, Crack my clear voice with sobs and break my heart, With sounding ‘Troilus.’ I will not go from Troy.

[Exeunt.]

Act IV, Scene III — Troy. A street before Pandarus’ house

Enter Paris, Troilus, Aeneas, Deiphobus, Antenor and Diomedes.

PARIS. It is great morning; and the hour prefix’d For her delivery to this valiant Greek Comes fast upon. Good my brother Troilus, Tell you the lady what she is to do And haste her to the purpose.

TROILUS. Walk into her house. I’ll bring her to the Grecian presently; And to his hand when I deliver her, Think it an altar, and thy brother Troilus A priest, there off’ring to it his own heart.

[Exit.]

PARIS. I know what ’tis to love, And would, as I shall pity, I could help! Please you walk in, my lords?

[Exeunt.]

Act IV, Scene IV — Troy. Pandarus’ house

Enter Pandarus and Cressida.

PANDARUS. Be moderate, be moderate.

CRESSIDA. Why tell you me of moderation? The grief is fine, full, perfect, that I taste, And violenteth in a sense as strong As that which causeth it. How can I moderate it? If I could temporize with my affections Or brew it to a weak and colder palate, The like allayment could I give my grief. My love admits no qualifying dross; No more my grief, in such a precious loss.

Enter Troilus.

PANDARUS. Here, here, here he comes. Ah, sweet ducks!

CRESSIDA. [Embracing him.] O Troilus! Troilus!

PANDARUS. What a pair of spectacles is here! Let me embrace too. ‘O heart,’ as the goodly saying is,—

O heart, heavy heart, Why sigh’st thou without breaking?

where he answers again

Because thou canst not ease thy smart By friendship nor by speaking.

There was never a truer rhyme. Let us cast away nothing, for we may live to have need of such a verse. We see it, we see it. How now, lambs!

TROILUS. Cressid, I love thee in so strain’d a purity That the bless’d gods, as angry with my fancy, More bright in zeal than the devotion which Cold lips blow to their deities, take thee from me.

CRESSIDA. Have the gods envy?

PANDARUS. Ay, ay, ay, ay; ’tis too plain a case.

CRESSIDA. And is it true that I must go from Troy?

TROILUS. A hateful truth.

CRESSIDA. What! and from Troilus too?

TROILUS. From Troy and Troilus.

CRESSIDA. Is’t possible?

TROILUS. And suddenly; where injury of chance Puts back leave-taking, justles roughly by All time of pause, rudely beguiles our lips Of all rejoindure, forcibly prevents Our lock’d embrasures, strangles our dear vows Even in the birth of our own labouring breath. We two, that with so many thousand sighs Did buy each other, must poorly sell ourselves With the rude brevity and discharge of one. Injurious time now with a robber’s haste Crams his rich thiev’ry up, he knows not how. As many farewells as be stars in heaven, With distinct breath and consign’d kisses to them, He fumbles up into a loose adieu, And scants us with a single famish’d kiss, Distasted with the salt of broken tears.

AENEAS. [Within.] My lord, is the lady ready?

TROILUS. Hark! you are call’d. Some say the Genius Cries so to him that instantly must die. Bid them have patience; she shall come anon.

PANDARUS. Where are my tears? Rain, to lay this wind, or my heart will be blown up by my throat!

[Exit.]

CRESSIDA. I must then to the Grecians?

TROILUS. No remedy.

CRESSIDA. A woeful Cressid ’mongst the merry Greeks! When shall we see again?

TROILUS. Hear me, my love. Be thou but true of heart.

CRESSIDA. I true? How now! What wicked deem is this?

TROILUS. Nay, we must use expostulation kindly, For it is parting from us. I speak not ‘Be thou true’ as fearing thee, For I will throw my glove to Death himself That there’s no maculation in thy heart; But ‘Be thou true’ say I to fashion in My sequent protestation: be thou true, And I will see thee.

CRESSIDA. O! you shall be expos’d, my lord, to dangers As infinite as imminent! But I’ll be true.

TROILUS. And I’ll grow friend with danger. Wear this sleeve.

CRESSIDA. And you this glove. When shall I see you?

TROILUS. I will corrupt the Grecian sentinels To give thee nightly visitation. But yet be true.

CRESSIDA. O heavens! ‘Be true’ again!

TROILUS. Hear why I speak it, love. The Grecian youths are full of quality; They’re loving, well compos’d, with gifts of nature, Flowing and swelling o’er with arts and exercise. How novelty may move, and parts with person, Alas, a kind of godly jealousy, Which, I beseech you, call a virtuous sin, Makes me afear’d.

CRESSIDA. O heavens! you love me not!

TROILUS. Die I a villain then! In this I do not call your faith in question So mainly as my merit. I cannot sing, Nor heel the high lavolt, nor sweeten talk, Nor play at subtle games; fair virtues all, To which the Grecians are most prompt and pregnant; But I can tell that in each grace of these There lurks a still and dumb-discoursive devil That tempts most cunningly. But be not tempted.

CRESSIDA. Do you think I will?

TROILUS. No. But something may be done that we will not; And sometimes we are devils to ourselves, When we will tempt the frailty of our powers, Presuming on their changeful potency.

AENEAS. [Within.] Nay, good my lord!

TROILUS. Come, kiss; and let us part.

PARIS. [Within.] Brother Troilus!

TROILUS. Good brother, come you hither; And bring Aeneas and the Grecian with you.

CRESSIDA. My lord, will you be true?

TROILUS. Who, I? Alas, it is my vice, my fault! Whiles others fish with craft for great opinion, I with great truth catch mere simplicity; Whilst some with cunning gild their copper crowns, With truth and plainness I do wear mine bare. Fear not my truth: the moral of my wit Is plain and true; there’s all the reach of it.

Enter Aeneas, Paris, Antenor, Deiphobus and Diomedes.

Welcome, Sir Diomed! Here is the lady Which for Antenor we deliver you; At the port, lord, I’ll give her to thy hand, And by the way possess thee what she is. Entreat her fair; and, by my soul, fair Greek, If e’er thou stand at mercy of my sword, Name Cressid, and thy life shall be as safe As Priam is in Ilion.

DIOMEDES. Fair Lady Cressid, So please you, save the thanks this prince expects. The lustre in your eye, heaven in your cheek, Pleads your fair usage; and to Diomed You shall be mistress, and command him wholly.

TROILUS. Grecian, thou dost not use me courteously To shame the zeal of my petition to thee In praising her. I tell thee, lord of Greece, She is as far high-soaring o’er thy praises As thou unworthy to be call’d her servant. I charge thee use her well, even for my charge; For, by the dreadful Pluto, if thou dost not, Though the great bulk Achilles be thy guard, I’ll cut thy throat.

DIOMEDES. O, be not mov’d, Prince Troilus. Let me be privileg’d by my place and message To be a speaker free: when I am hence I’ll answer to my lust. And know you, lord, I’ll nothing do on charge: to her own worth She shall be priz’d. But that you say ‘Be’t so,’ I speak it in my spirit and honour, ‘No.’

TROILUS. Come, to the port. I’ll tell thee, Diomed, This brave shall oft make thee to hide thy head. Lady, give me your hand; and, as we walk, To our own selves bend we our needful talk.

[Exeunt Troilus, Cressida and Diomedes.]

[Sound trumpet.]

PARIS. Hark! Hector’s trumpet.

AENEAS. How have we spent this morning! The Prince must think me tardy and remiss, That swore to ride before him to the field.

PARIS. ’Tis Troilus’ fault. Come, come to field with him.

DEIPHOBUS. Let us make ready straight.

AENEAS. Yea, with a bridegroom’s fresh alacrity Let us address to tend on Hector’s heels. The glory of our Troy doth this day lie On his fair worth and single chivalry.

[Exeunt.]