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Act IV, Scene I — The same…

Part 7 of 60 · William Shakespeare · Public domain text

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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 IV, Scene I — The same

Enter Merchant, Angelo and an Officer.

MERCHANT. You know since Pentecost the sum is due, And since I have not much importun’d you, Nor now I had not, but that I am bound To Persia, and want guilders for my voyage; Therefore make present satisfaction, Or I’ll attach you by this officer.

ANGELO. Even just the sum that I do owe to you Is growing to me by Antipholus, And in the instant that I met with you He had of me a chain; at five o’clock I shall receive the money for the same. Pleaseth you walk with me down to his house, I will discharge my bond, and thank you too.

Enter Antipholus of Ephesus and Dromio of Ephesus from the Courtesan’s.

OFFICER. That labour may you save. See where he comes.

ANTIPHOLUS OF EPHESUS. While I go to the goldsmith’s house, go thou And buy a rope’s end; that will I bestow Among my wife and her confederates For locking me out of my doors by day. But soft, I see the goldsmith; get thee gone; Buy thou a rope, and bring it home to me.

DROMIO OF EPHESUS. I buy a thousand pound a year! I buy a rope!

[Exit Dromio.]

ANTIPHOLUS OF EPHESUS. A man is well holp up that trusts to you, I promised your presence and the chain, But neither chain nor goldsmith came to me. Belike you thought our love would last too long If it were chain’d together, and therefore came not.

ANGELO. Saving your merry humour, here’s the note How much your chain weighs to the utmost carat, The fineness of the gold, and chargeful fashion, Which doth amount to three odd ducats more Than I stand debted to this gentleman. I pray you, see him presently discharg’d, For he is bound to sea, and stays but for it.

ANTIPHOLUS OF EPHESUS. I am not furnished with the present money; Besides, I have some business in the town. Good signior, take the stranger to my house, And with you take the chain, and bid my wife Disburse the sum on the receipt thereof; Perchance I will be there as soon as you.

ANGELO. Then you will bring the chain to her yourself.

ANTIPHOLUS OF EPHESUS. No, bear it with you, lest I come not time enough.

ANGELO. Well, sir, I will. Have you the chain about you?

ANTIPHOLUS OF EPHESUS. And if I have not, sir, I hope you have, Or else you may return without your money.

ANGELO. Nay, come, I pray you, sir, give me the chain; Both wind and tide stays for this gentleman, And I, to blame, have held him here too long.

ANTIPHOLUS OF EPHESUS. Good Lord, you use this dalliance to excuse Your breach of promise to the Porpentine. I should have chid you for not bringing it, But, like a shrew, you first begin to brawl.

MERCHANT. The hour steals on; I pray you, sir, dispatch.

ANGELO. You hear how he importunes me. The chain!

ANTIPHOLUS OF EPHESUS. Why, give it to my wife, and fetch your money.

ANGELO. Come, come, you know I gave it you even now. Either send the chain or send by me some token.

ANTIPHOLUS OF EPHESUS. Fie, now you run this humour out of breath. Come, where’s the chain? I pray you, let me see it.

MERCHANT. My business cannot brook this dalliance. Good sir, say whe’er you’ll answer me or no; If not, I’ll leave him to the officer.

ANTIPHOLUS OF EPHESUS. I answer you? What should I answer you?

ANGELO. The money that you owe me for the chain.

ANTIPHOLUS OF EPHESUS. I owe you none till I receive the chain.

ANGELO. You know I gave it you half an hour since.

ANTIPHOLUS OF EPHESUS. You gave me none. You wrong me much to say so.

ANGELO. You wrong me more, sir, in denying it. Consider how it stands upon my credit.

MERCHANT. Well, officer, arrest him at my suit.

OFFICER. I do, and charge you in the duke’s name to obey me.

ANGELO. This touches me in reputation. Either consent to pay this sum for me, Or I attach you by this officer.

ANTIPHOLUS OF EPHESUS. Consent to pay thee that I never had? Arrest me, foolish fellow, if thou dar’st.

ANGELO. Here is thy fee; arrest him, officer. I would not spare my brother in this case If he should scorn me so apparently.

OFFICER. I do arrest you, sir. You hear the suit.

ANTIPHOLUS OF EPHESUS. I do obey thee till I give thee bail. But, sirrah, you shall buy this sport as dear As all the metal in your shop will answer.

ANGELO. Sir, sir, I shall have law in Ephesus, To your notorious shame, I doubt it not.

Enter Dromio of Syracuse from the bay.

DROMIO OF SYRACUSE. Master, there’s a bark of Epidamnum That stays but till her owner comes aboard, And then, sir, bears away. Our fraughtage, sir, I have convey’d aboard, and I have bought The oil, the balsamum, and aqua-vitae. The ship is in her trim; the merry wind Blows fair from land; they stay for nought at all But for their owner, master, and yourself.

ANTIPHOLUS OF EPHESUS. How now? a madman? Why, thou peevish sheep, What ship of Epidamnum stays for me?

DROMIO OF SYRACUSE. A ship you sent me to, to hire waftage.

ANTIPHOLUS OF EPHESUS. Thou drunken slave, I sent thee for a rope, And told thee to what purpose and what end.

DROMIO OF SYRACUSE. You sent me for a rope’s end as soon. You sent me to the bay, sir, for a bark.

ANTIPHOLUS OF EPHESUS. I will debate this matter at more leisure, And teach your ears to list me with more heed. To Adriana, villain, hie thee straight: Give her this key, and tell her in the desk That’s cover’d o’er with Turkish tapestry There is a purse of ducats; let her send it. Tell her I am arrested in the street, And that shall bail me. Hie thee, slave; be gone. On, officer, to prison till it come.

[Exeunt Merchant, Angelo, Officer and Antipholus of Ephesus.]

DROMIO OF SYRACUSE. To Adriana, that is where we din’d, Where Dowsabel did claim me for her husband. She is too big, I hope, for me to compass. Thither I must, although against my will, For servants must their masters’ minds fulfil.

[Exit.]

Act IV, Scene II — The same

Enter Adriana and Luciana.

ADRIANA. Ah, Luciana, did he tempt thee so? Might’st thou perceive austerely in his eye That he did plead in earnest, yea or no? Look’d he or red or pale, or sad or merrily? What observation mad’st thou in this case Of his heart’s meteors tilting in his face?

LUCIANA. First he denied you had in him no right.

ADRIANA. He meant he did me none; the more my spite.

LUCIANA. Then swore he that he was a stranger here.

ADRIANA. And true he swore, though yet forsworn he were.

LUCIANA. Then pleaded I for you.

ADRIANA. And what said he?

LUCIANA. That love I begg’d for you he begg’d of me.

ADRIANA. With what persuasion did he tempt thy love?

LUCIANA. With words that in an honest suit might move. First he did praise my beauty, then my speech.

ADRIANA. Did’st speak him fair?

LUCIANA. Have patience, I beseech.

ADRIANA. I cannot, nor I will not hold me still. My tongue, though not my heart, shall have his will. He is deformed, crooked, old, and sere, Ill-fac’d, worse bodied, shapeless everywhere; Vicious, ungentle, foolish, blunt, unkind, Stigmatical in making, worse in mind.

LUCIANA. Who would be jealous then of such a one? No evil lost is wail’d when it is gone.

ADRIANA. Ah, but I think him better than I say, And yet would herein others’ eyes were worse: Far from her nest the lapwing cries away; My heart prays for him, though my tongue do curse.

Enter Dromio of Syracuse.

DROMIO OF SYRACUSE. Here, go; the desk, the purse, sweet now, make haste.

LUCIANA. How hast thou lost thy breath?

DROMIO OF SYRACUSE. By running fast.

ADRIANA. Where is thy master, Dromio? is he well?

DROMIO OF SYRACUSE. No, he’s in Tartar limbo, worse than hell. A devil in an everlasting garment hath him, One whose hard heart is button’d up with steel; A fiend, a fairy, pitiless and rough; A wolf, nay worse, a fellow all in buff; A back-friend, a shoulder-clapper, one that countermands The passages of alleys, creeks, and narrow lands; A hound that runs counter, and yet draws dryfoot well, One that, before the judgement, carries poor souls to hell.

ADRIANA. Why, man, what is the matter?

DROMIO OF SYRACUSE. I do not know the matter. He is ’rested on the case.

ADRIANA. What, is he arrested? Tell me at whose suit?

DROMIO OF SYRACUSE. I know not at whose suit he is arrested, well; But he’s in a suit of buff which ’rested him, that can I tell. Will you send him, mistress, redemption, the money in his desk?

ADRIANA. Go fetch it, sister. This I wonder at,

[Exit Luciana.]

Thus he unknown to me should be in debt. Tell me, was he arrested on a band?

DROMIO OF SYRACUSE. Not on a band, but on a stronger thing; A chain, a chain. Do you not hear it ring?

ADRIANA. What, the chain?

DROMIO OF SYRACUSE. No, no, the bell, ’tis time that I were gone. It was two ere I left him, and now the clock strikes one.

ADRIANA. The hours come back! That did I never hear.

DROMIO OF SYRACUSE. O yes, if any hour meet a sergeant, ’a turns back for very fear.

ADRIANA. As if time were in debt. How fondly dost thou reason!

DROMIO OF SYRACUSE. Time is a very bankrupt, and owes more than he’s worth to season. Nay, he’s a thief too. Have you not heard men say That time comes stealing on by night and day? If he be in debt and theft, and a sergeant in the way, Hath he not reason to turn back an hour in a day?

Enter Luciana.

ADRIANA. Go, Dromio, there’s the money, bear it straight, And bring thy master home immediately. Come, sister, I am press’d down with conceit; Conceit, my comfort and my injury.

[Exeunt.]

Act IV, Scene III — The same

Enter Antipholus of Syracuse.

ANTIPHOLUS OF SYRACUSE. There’s not a man I meet but doth salute me As if I were their well-acquainted friend, And everyone doth call me by my name. Some tender money to me, some invite me; Some other give me thanks for kindnesses; Some offer me commodities to buy. Even now a tailor call’d me in his shop, And show’d me silks that he had bought for me, And therewithal took measure of my body. Sure, these are but imaginary wiles, And Lapland sorcerers inhabit here.

Enter Dromio of Syracuse.

DROMIO OF SYRACUSE. Master, here’s the gold you sent me for. What, have you got the picture of old Adam new apparelled?

ANTIPHOLUS OF SYRACUSE. What gold is this? What Adam dost thou mean?

DROMIO OF SYRACUSE. Not that Adam that kept the paradise, but that Adam that keeps the prison; he that goes in the calf’s skin that was killed for the Prodigal; he that came behind you, sir, like an evil angel, and bid you forsake your liberty.

ANTIPHOLUS OF SYRACUSE. I understand thee not.

DROMIO OF SYRACUSE. No? Why, ’tis a plain case: he that went like a bass-viol in a case of leather; the man, sir, that, when gentlemen are tired, gives them a sob, and ’rests them; he, sir, that takes pity on decayed men and gives them suits of durance; he that sets up his rest to do more exploits with his mace than a morris-pike.

ANTIPHOLUS OF SYRACUSE. What! thou mean’st an officer?

DROMIO OF SYRACUSE. Ay, sir, the sergeant of the band; he that brings any man to answer it that breaks his band; one that thinks a man always going to bed, and says, “God give you good rest.”

ANTIPHOLUS OF SYRACUSE. Well, sir, there rest in your foolery. Is there any ship puts forth tonight? may we be gone?

DROMIO OF SYRACUSE. Why, sir, I brought you word an hour since that the bark Expedition put forth tonight, and then were you hindered by the sergeant to tarry for the hoy Delay. Here are the angels that you sent for to deliver you.

ANTIPHOLUS OF SYRACUSE. The fellow is distract, and so am I, And here we wander in illusions. Some blessed power deliver us from hence!

Enter a Courtesan.

COURTESAN. Well met, well met, Master Antipholus. I see, sir, you have found the goldsmith now. Is that the chain you promis’d me today?

ANTIPHOLUS OF SYRACUSE. Satan, avoid! I charge thee, tempt me not.

DROMIO OF SYRACUSE. Master, is this Mistress Satan?

ANTIPHOLUS OF SYRACUSE. It is the devil.

DROMIO OF SYRACUSE. Nay, she is worse, she is the devil’s dam; and here she comes in the habit of a light wench, and thereof comes that the wenches say “God damn me”, that’s as much to say, “God make me a light wench.” It is written they appear to men like angels of light. Light is an effect of fire, and fire will burn; ergo, light wenches will burn. Come not near her.

COURTESAN. Your man and you are marvellous merry, sir. Will you go with me? We’ll mend our dinner here.

DROMIO OF SYRACUSE. Master, if you do, expect spoon-meat, or bespeak a long spoon.

ANTIPHOLUS OF SYRACUSE. Why, Dromio?

DROMIO OF SYRACUSE. Marry, he must have a long spoon that must eat with the devil.

ANTIPHOLUS OF SYRACUSE. Avoid then, fiend! What tell’st thou me of supping? Thou art, as you are all, a sorceress. I conjure thee to leave me and be gone.

COURTESAN. Give me the ring of mine you had at dinner, Or, for my diamond, the chain you promis’d, And I’ll be gone, sir, and not trouble you.

DROMIO OF SYRACUSE. Some devils ask but the paring of one’s nail, A rush, a hair, a drop of blood, a pin, A nut, a cherry-stone; but she, more covetous, Would have a chain. Master, be wise; and if you give it her, The devil will shake her chain and fright us with it.

COURTESAN. I pray you, sir, my ring, or else the chain; I hope you do not mean to cheat me so.

ANTIPHOLUS OF SYRACUSE. Avaunt, thou witch! Come, Dromio, let us go.

DROMIO OF SYRACUSE. Fly pride, says the peacock. Mistress, that you know.

[Exeunt Antipholus of Syracuse and Dromio of Syracuse.]

COURTESAN. Now, out of doubt Antipholus is mad, Else would he never so demean himself. A ring he hath of mine worth forty ducats, And for the same he promis’d me a chain; Both one and other he denies me now. The reason that I gather he is mad, Besides this present instance of his rage, Is a mad tale he told today at dinner Of his own doors being shut against his entrance. Belike his wife, acquainted with his fits, On purpose shut the doors against his way. My way is now to hie home to his house, And tell his wife that, being lunatic, He rush’d into my house and took perforce My ring away. This course I fittest choose, For forty ducats is too much to lose.

[Exit.]

Act IV, Scene IV — The same

Enter Antipholus of Ephesus with an Officer.

ANTIPHOLUS OF EPHESUS. Fear me not, man, I will not break away: I’ll give thee ere I leave thee so much money, To warrant thee, as I am ’rested for. My wife is in a wayward mood today, And will not lightly trust the messenger That I should be attach’d in Ephesus; I tell you ’twill sound harshly in her ears.

Enter Dromio of Ephesus with a rope’s end.

Here comes my man. I think he brings the money. How now, sir! have you that I sent you for?

DROMIO OF EPHESUS. Here’s that, I warrant you, will pay them all.

ANTIPHOLUS OF EPHESUS. But where’s the money?

DROMIO OF EPHESUS. Why, sir, I gave the money for the rope.

ANTIPHOLUS OF EPHESUS. Five hundred ducats, villain, for a rope?

DROMIO OF EPHESUS. I’ll serve you, sir, five hundred at the rate.

ANTIPHOLUS OF EPHESUS. To what end did I bid thee hie thee home?

DROMIO OF EPHESUS. To a rope’s end, sir; and to that end am I return’d.

ANTIPHOLUS OF EPHESUS. And to that end, sir, I will welcome you.

[Beating him.]

OFFICER. Good sir, be patient.

DROMIO OF EPHESUS. Nay, ’tis for me to be patient. I am in adversity.

OFFICER. Good now, hold thy tongue.

DROMIO OF EPHESUS. Nay, rather persuade him to hold his hands.

ANTIPHOLUS OF EPHESUS. Thou whoreson, senseless villain.

DROMIO OF EPHESUS. I would I were senseless, sir, that I might not feel your blows.

ANTIPHOLUS OF EPHESUS. Thou art sensible in nothing but blows, and so is an ass.

DROMIO OF EPHESUS. I am an ass indeed; you may prove it by my long ears. I have served him from the hour of my nativity to this instant, and have nothing at his hands for my service but blows. When I am cold, he heats me with beating; when I am warm he cools me with beating. I am waked with it when I sleep, raised with it when I sit, driven out of doors with it when I go from home, welcomed home with it when I return. Nay, I bear it on my shoulders as a beggar wont her brat; and I think when he hath lamed me, I shall beg with it from door to door.

Enter Adriana, Luciana, Courtesan and a Schoolmaster called Pinch.

ANTIPHOLUS OF EPHESUS. Come, go along, my wife is coming yonder.

DROMIO OF EPHESUS. Mistress, respice finem, respect your end, or rather, the prophesy like the parrot, “Beware the rope’s end.”

ANTIPHOLUS OF EPHESUS. Wilt thou still talk?

[Beats him.]

COURTESAN. How say you now? Is not your husband mad?

ADRIANA. His incivility confirms no less. Good Doctor Pinch, you are a conjurer; Establish him in his true sense again, And I will please you what you will demand.

LUCIANA. Alas, how fiery and how sharp he looks!

COURTESAN. Mark how he trembles in his ecstasy.

PINCH. Give me your hand, and let me feel your pulse.

ANTIPHOLUS OF EPHESUS. There is my hand, and let it feel your ear.

PINCH. I charge thee, Satan, hous’d within this man, To yield possession to my holy prayers, And to thy state of darkness hie thee straight. I conjure thee by all the saints in heaven.

ANTIPHOLUS OF EPHESUS. Peace, doting wizard, peace; I am not mad.

ADRIANA. O, that thou wert not, poor distressed soul!

ANTIPHOLUS OF EPHESUS. You minion, you, are these your customers? Did this companion with the saffron face Revel and feast it at my house today, Whilst upon me the guilty doors were shut, And I denied to enter in my house?

ADRIANA. O husband, God doth know you din’d at home, Where would you had remain’d until this time, Free from these slanders and this open shame.

ANTIPHOLUS OF EPHESUS. Din’d at home? Thou villain, what sayest thou?

DROMIO OF EPHESUS. Sir, sooth to say, you did not dine at home.

ANTIPHOLUS OF EPHESUS. Were not my doors lock’d up and I shut out?

DROMIO OF EPHESUS. Perdy, your doors were lock’d, and you shut out.

ANTIPHOLUS OF EPHESUS. And did not she herself revile me there?

DROMIO OF EPHESUS. Sans fable, she herself revil’d you there.

ANTIPHOLUS OF EPHESUS. Did not her kitchen-maid rail, taunt, and scorn me?

DROMIO OF EPHESUS. Certes, she did, the kitchen-vestal scorn’d you.

ANTIPHOLUS OF EPHESUS. And did not I in rage depart from thence?

DROMIO OF EPHESUS. In verity, you did; my bones bear witness, That since have felt the vigour of his rage.

ADRIANA. Is’t good to soothe him in these contraries?

PINCH. It is no shame; the fellow finds his vein, And yielding to him, humours well his frenzy.

ANTIPHOLUS OF EPHESUS. Thou hast suborn’d the goldsmith to arrest me.

ADRIANA. Alas! I sent you money to redeem you By Dromio here, who came in haste for it.

DROMIO OF EPHESUS. Money by me? Heart and goodwill you might, But surely, master, not a rag of money.

ANTIPHOLUS OF EPHESUS. Went’st not thou to her for a purse of ducats?

ADRIANA. He came to me, and I deliver’d it.

LUCIANA. And I am witness with her that she did.

DROMIO OF EPHESUS. God and the rope-maker bear me witness That I was sent for nothing but a rope.

PINCH. Mistress, both man and master is possess’d, I know it by their pale and deadly looks. They must be bound and laid in some dark room.

ANTIPHOLUS OF EPHESUS. Say, wherefore didst thou lock me forth today, And why dost thou deny the bag of gold?

ADRIANA. I did not, gentle husband, lock thee forth.

DROMIO OF EPHESUS. And gentle master, I receiv’d no gold; But I confess, sir, that we were lock’d out.

ADRIANA. Dissembling villain, thou speak’st false in both.

ANTIPHOLUS OF EPHESUS. Dissembling harlot, thou art false in all, And art confederate with a damned pack To make a loathsome abject scorn of me. But with these nails I’ll pluck out these false eyes That would behold in me this shameful sport.

[_Enter three or four, and offer to bind him. He strives. _]

ADRIANA. O, bind him, bind him; let him not come near me.

PINCH. More company; the fiend is strong within him.

LUCIANA. Ay me, poor man, how pale and wan he looks!

ANTIPHOLUS OF EPHESUS. What, will you murder me? Thou jailer, thou, I am thy prisoner. Wilt thou suffer them To make a rescue?

OFFICER. Masters, let him go. He is my prisoner, and you shall not have him.

PINCH. Go, bind this man, for he is frantic too.

ADRIANA. What wilt thou do, thou peevish officer? Hast thou delight to see a wretched man Do outrage and displeasure to himself?

OFFICER. He is my prisoner. If I let him go, The debt he owes will be requir’d of me.

ADRIANA. I will discharge thee ere I go from thee; Bear me forthwith unto his creditor, And knowing how the debt grows, I will pay it. Good master doctor, see him safe convey’d Home to my house. O most unhappy day!

ANTIPHOLUS OF EPHESUS. O most unhappy strumpet!

DROMIO OF EPHESUS. Master, I am here enter’d in bond for you.

ANTIPHOLUS OF EPHESUS. Out on thee, villain! wherefore dost thou mad me?

DROMIO OF EPHESUS. Will you be bound for nothing? Be mad, good master; cry, “the devil”.

LUCIANA. God help, poor souls, how idly do they talk!

ADRIANA. Go bear him hence. Sister, go you with me.

[Exeunt Pinch and Assistants, with Antipholus of Ephesus and Dromio of Ephesus.]

Say now, whose suit is he arrested at?

OFFICER. One Angelo, a goldsmith; do you know him?

ADRIANA. I know the man. What is the sum he owes?

OFFICER. Two hundred ducats.

ADRIANA. Say, how grows it due?

OFFICER. Due for a chain your husband had of him.

ADRIANA. He did bespeak a chain for me, but had it not.

COURTESAN. When as your husband, all in rage, today Came to my house and took away my ring, The ring I saw upon his finger now, Straight after did I meet him with a chain.

ADRIANA. It may be so, but I did never see it. Come, jailer, bring me where the goldsmith is, I long to know the truth hereof at large.

Enter Antipholus of Syracuse with his rapier drawn, and Dromio of Syracuse.

LUCIANA. God, for thy mercy, they are loose again!

ADRIANA. And come with naked swords. Let’s call more help To have them bound again.

OFFICER. Away, they’ll kill us.

[Exeunt, as fast as may be, frighted.]

ANTIPHOLUS OF SYRACUSE. I see these witches are afraid of swords.

DROMIO OF SYRACUSE. She that would be your wife now ran from you.

ANTIPHOLUS OF SYRACUSE. Come to the Centaur, fetch our stuff from thence. I long that we were safe and sound aboard.

DROMIO OF SYRACUSE. Faith, stay here this night, they will surely do us no harm; you saw they speak us fair, give us gold. Methinks they are such a gentle nation that, but for the mountain of mad flesh that claims marriage of me, I could find in my heart to stay here still and turn witch.

ANTIPHOLUS OF SYRACUSE. I will not stay tonight for all the town; Therefore away, to get our stuff aboard.

[Exeunt.]

Act V, Scene I — The same

Enter Merchant and Angelo.

ANGELO. I am sorry, sir, that I have hinder’d you, But I protest he had the chain of me, Though most dishonestly he doth deny it.

MERCHANT. How is the man esteem’d here in the city?

ANGELO. Of very reverend reputation, sir, Of credit infinite, highly belov’d, Second to none that lives here in the city. His word might bear my wealth at any time.

MERCHANT. Speak softly. Yonder, as I think, he walks.

Enter Antipholus of Syracuse and Dromio of Syracuse.

ANGELO. ’Tis so; and that self chain about his neck Which he forswore most monstrously to have. Good sir, draw near to me, I’ll speak to him. Signior Antipholus, I wonder much That you would put me to this shame and trouble, And not without some scandal to yourself, With circumstance and oaths so to deny This chain, which now you wear so openly. Beside the charge, the shame, imprisonment, You have done wrong to this my honest friend, Who, but for staying on our controversy, Had hoisted sail and put to sea today. This chain you had of me, can you deny it?

ANTIPHOLUS OF SYRACUSE. I think I had: I never did deny it.

MERCHANT. Yes, that you did, sir, and forswore it too.

ANTIPHOLUS OF SYRACUSE. Who heard me to deny it or forswear it?

MERCHANT. These ears of mine, thou know’st, did hear thee. Fie on thee, wretch. ’Tis pity that thou liv’st To walk where any honest men resort.

ANTIPHOLUS OF SYRACUSE. Thou art a villain to impeach me thus; I’ll prove mine honour and mine honesty Against thee presently, if thou dar’st stand.

MERCHANT. I dare, and do defy thee for a villain.

[They draw.]

Enter Adriana, Luciana, Courtesan and others.

ADRIANA. Hold, hurt him not, for God’s sake, he is mad. Some get within him, take his sword away. Bind Dromio too, and bear them to my house.

DROMIO OF SYRACUSE. Run, master, run, for God’s sake, take a house. This is some priory; in, or we are spoil’d.

[Exeunt Antipholus of Syracuse and Dromio of Syracuse to the priory.]

Enter Lady Abbess.

ABBESS. Be quiet, people. Wherefore throng you hither?

ADRIANA. To fetch my poor distracted husband hence. Let us come in, that we may bind him fast And bear him home for his recovery.

ANGELO. I knew he was not in his perfect wits.

MERCHANT. I am sorry now that I did draw on him.

ABBESS. How long hath this possession held the man?

ADRIANA. This week he hath been heavy, sour, sad, And much different from the man he was. But till this afternoon his passion Ne’er brake into extremity of rage.

ABBESS. Hath he not lost much wealth by wreck of sea? Buried some dear friend? Hath not else his eye Stray’d his affection in unlawful love? A sin prevailing much in youthful men Who give their eyes the liberty of gazing? Which of these sorrows is he subject to?

ADRIANA. To none of these, except it be the last, Namely, some love that drew him oft from home.

ABBESS. You should for that have reprehended him.

ADRIANA. Why, so I did.

ABBESS. Ay, but not rough enough.

ADRIANA. As roughly as my modesty would let me.

ABBESS. Haply in private.

ADRIANA. And in assemblies too.

ABBESS. Ay, but not enough.

ADRIANA. It was the copy of our conference. In bed he slept not for my urging it; At board he fed not for my urging it; Alone, it was the subject of my theme; In company I often glanced it; Still did I tell him it was vile and bad.

ABBESS. And thereof came it that the man was mad. The venom clamours of a jealous woman Poisons more deadly than a mad dog’s tooth. It seems his sleeps were hindered by thy railing, And thereof comes it that his head is light. Thou say’st his meat was sauc’d with thy upbraidings. Unquiet meals make ill digestions; Thereof the raging fire of fever bred, And what’s a fever but a fit of madness? Thou say’st his sports were hinder’d by thy brawls. Sweet recreation barr’d, what doth ensue But moody and dull melancholy, Kinsman to grim and comfortless despair, And at her heels a huge infectious troop Of pale distemperatures and foes to life? In food, in sport, and life-preserving rest To be disturb’d would mad or man or beast. The consequence is, then, thy jealous fits Hath scar’d thy husband from the use of’s wits.

LUCIANA. She never reprehended him but mildly, When he demean’d himself rough, rude, and wildly. Why bear you these rebukes and answer not?

ADRIANA. She did betray me to my own reproof. Good people, enter and lay hold on him.

ABBESS. No, not a creature enters in my house.

ADRIANA. Then let your servants bring my husband forth.

ABBESS. Neither. He took this place for sanctuary, And it shall privilege him from your hands Till I have brought him to his wits again, Or lose my labour in assaying it.

ADRIANA. I will attend my husband, be his nurse, Diet his sickness, for it is my office, And will have no attorney but myself; And therefore let me have him home with me.

ABBESS. Be patient, for I will not let him stir Till I have used the approved means I have, With wholesome syrups, drugs, and holy prayers, To make of him a formal man again. It is a branch and parcel of mine oath, A charitable duty of my order; Therefore depart, and leave him here with me.

ADRIANA. I will not hence and leave my husband here; And ill it doth beseem your holiness To separate the husband and the wife.

ABBESS. Be quiet and depart. Thou shalt not have him.

[Exit Abbess.]

LUCIANA. Complain unto the duke of this indignity.

ADRIANA. Come, go. I will fall prostrate at his feet, And never rise until my tears and prayers Have won his grace to come in person hither And take perforce my husband from the abbess.

MERCHANT. By this, I think, the dial points at five. Anon, I’m sure, the Duke himself in person Comes this way to the melancholy vale, The place of death and sorry execution Behind the ditches of the abbey here.

ANGELO. Upon what cause?

MERCHANT. To see a reverend Syracusian merchant, Who put unluckily into this bay Against the laws and statutes of this town, Beheaded publicly for his offence.

ANGELO. See where they come. We will behold his death.

LUCIANA. Kneel to the Duke before he pass the abbey.

Enter the Duke, attended; Egeon, bareheaded; with the Headsman and other Officers.

DUKE. Yet once again proclaim it publicly, If any friend will pay the sum for him, He shall not die; so much we tender him.

ADRIANA. Justice, most sacred duke, against the abbess!

DUKE. She is a virtuous and a reverend lady, It cannot be that she hath done thee wrong.

ADRIANA. May it please your grace, Antipholus, my husband, Who I made lord of me and all I had At your important letters, this ill day A most outrageous fit of madness took him; That desp’rately he hurried through the street, With him his bondman all as mad as he, Doing displeasure to the citizens By rushing in their houses, bearing thence Rings, jewels, anything his rage did like. Once did I get him bound and sent him home, Whilst to take order for the wrongs I went, That here and there his fury had committed. Anon, I wot not by what strong escape, He broke from those that had the guard of him, And with his mad attendant and himself, Each one with ireful passion, with drawn swords, Met us again, and, madly bent on us, Chased us away; till raising of more aid, We came again to bind them. Then they fled Into this abbey, whither we pursued them. And here the abbess shuts the gates on us, And will not suffer us to fetch him out, Nor send him forth that we may bear him hence. Therefore, most gracious duke, with thy command Let him be brought forth and borne hence for help.

DUKE. Long since thy husband serv’d me in my wars, And I to thee engag’d a prince’s word, When thou didst make him master of thy bed, To do him all the grace and good I could. Go, some of you, knock at the abbey gate, And bid the lady abbess come to me. I will determine this before I stir.

Enter a Messenger.

MESSENGER. O mistress, mistress, shift and save yourself. My master and his man are both broke loose, Beaten the maids a-row, and bound the doctor, Whose beard they have singed off with brands of fire, And ever as it blazed they threw on him Great pails of puddled mire to quench the hair. My master preaches patience to him, and the while His man with scissors nicks him like a fool; And sure (unless you send some present help) Between them they will kill the conjurer.

ADRIANA. Peace, fool, thy master and his man are here, And that is false thou dost report to us.

MESSENGER. Mistress, upon my life, I tell you true. I have not breath’d almost since I did see it. He cries for you, and vows, if he can take you, To scorch your face and to disfigure you.

[Cry within.]

Hark, hark, I hear him, mistress. Fly, be gone!

DUKE. Come, stand by me, fear nothing. Guard with halberds.

ADRIANA. Ay me, it is my husband. Witness you That he is borne about invisible. Even now we hous’d him in the abbey here, And now he’s there, past thought of human reason.

Enter Antipholus and Dromio of Ephesus.

ANTIPHOLUS OF EPHESUS. Justice, most gracious duke; O, grant me justice! Even for the service that long since I did thee When I bestrid thee in the wars, and took Deep scars to save thy life; even for the blood That then I lost for thee, now grant me justice.

EGEON. Unless the fear of death doth make me dote, I see my son Antipholus and Dromio.

ANTIPHOLUS OF EPHESUS. Justice, sweet prince, against that woman there. She whom thou gav’st to me to be my wife; That hath abused and dishonour’d me Even in the strength and height of injury. Beyond imagination is the wrong That she this day hath shameless thrown on me.

DUKE. Discover how, and thou shalt find me just.

ANTIPHOLUS OF EPHESUS. This day, great duke, she shut the doors upon me While she with harlots feasted in my house.

DUKE. A grievous fault. Say, woman, didst thou so?

ADRIANA. No, my good lord. Myself, he, and my sister Today did dine together. So befall my soul As this is false he burdens me withal.

LUCIANA. Ne’er may I look on day nor sleep on night But she tells to your highness simple truth.

ANGELO. O perjur’d woman! They are both forsworn. In this the madman justly chargeth them.

ANTIPHOLUS OF EPHESUS. My liege, I am advised what I say, Neither disturb’d with the effect of wine, Nor heady-rash, provok’d with raging ire, Albeit my wrongs might make one wiser mad. This woman lock’d me out this day from dinner. That goldsmith there, were he not pack’d with her, Could witness it, for he was with me then, Who parted with me to go fetch a chain, Promising to bring it to the Porpentine, Where Balthasar and I did dine together. Our dinner done, and he not coming thither, I went to seek him. In the street I met him, And in his company that gentleman. There did this perjur’d goldsmith swear me down That I this day of him receiv’d the chain, Which, God he knows, I saw not. For the which He did arrest me with an officer. I did obey, and sent my peasant home For certain ducats. He with none return’d. Then fairly I bespoke the officer To go in person with me to my house. By th’ way we met My wife, her sister, and a rabble more Of vile confederates. Along with them They brought one Pinch, a hungry lean-faced villain, A mere anatomy, a mountebank, A threadbare juggler, and a fortune-teller; A needy, hollow-ey’d, sharp-looking wretch; A living dead man. This pernicious slave, Forsooth, took on him as a conjurer, And gazing in mine eyes, feeling my pulse, And with no face (as ’twere) outfacing me, Cries out, I was possess’d. Then altogether They fell upon me, bound me, bore me thence, And in a dark and dankish vault at home There left me and my man, both bound together, Till gnawing with my teeth my bonds in sunder, I gain’d my freedom and immediately Ran hither to your Grace, whom I beseech To give me ample satisfaction For these deep shames and great indignities.

ANGELO. My lord, in truth, thus far I witness with him, That he din’d not at home, but was lock’d out.

DUKE. But had he such a chain of thee, or no?

ANGELO. He had, my lord, and when he ran in here These people saw the chain about his neck.

MERCHANT. Besides, I will be sworn these ears of mine Heard you confess you had the chain of him, After you first forswore it on the mart, And thereupon I drew my sword on you; And then you fled into this abbey here, From whence I think you are come by miracle.

ANTIPHOLUS OF EPHESUS. I never came within these abbey walls, Nor ever didst thou draw thy sword on me. I never saw the chain, so help me heaven; And this is false you burden me withal.

DUKE. Why, what an intricate impeach is this! I think you all have drunk of Circe’s cup. If here you hous’d him, here he would have been. If he were mad, he would not plead so coldly. You say he din’d at home, the goldsmith here Denies that saying. Sirrah, what say you?

DROMIO OF EPHESUS. Sir, he dined with her there, at the Porpentine.

COURTESAN. He did, and from my finger snatch’d that ring.

ANTIPHOLUS OF EPHESUS. ’Tis true, my liege, this ring I had of her.

DUKE. Saw’st thou him enter at the abbey here?

COURTESAN. As sure, my liege, as I do see your grace.

DUKE. Why, this is strange. Go call the abbess hither. I think you are all mated, or stark mad.

[Exit one to the Abbess.]

EGEON. Most mighty Duke, vouchsafe me speak a word; Haply I see a friend will save my life And pay the sum that may deliver me.

DUKE. Speak freely, Syracusian, what thou wilt.

EGEON. Is not your name, sir, call’d Antipholus? And is not that your bondman Dromio?

DROMIO OF EPHESUS. Within this hour I was his bondman, sir, But he, I thank him, gnaw’d in two my cords. Now am I Dromio, and his man, unbound.

EGEON. I am sure you both of you remember me.

DROMIO OF EPHESUS. Ourselves we do remember, sir, by you. For lately we were bound as you are now. You are not Pinch’s patient, are you, sir?

EGEON. Why look you strange on me? you know me well.

ANTIPHOLUS OF EPHESUS. I never saw you in my life till now.

EGEON. O! grief hath chang’d me since you saw me last, And careful hours with time’s deformed hand, Have written strange defeatures in my face. But tell me yet, dost thou not know my voice?

ANTIPHOLUS OF EPHESUS. Neither.

EGEON. Dromio, nor thou?

DROMIO OF EPHESUS. No, trust me, sir, nor I.

EGEON. I am sure thou dost.

DROMIO OF EPHESUS. Ay, sir, but I am sure I do not, and whatsoever a man denies, you are now bound to believe him.

EGEON. Not know my voice! O time’s extremity, Hast thou so crack’d and splitted my poor tongue In seven short years that here my only son Knows not my feeble key of untun’d cares? Though now this grained face of mine be hid In sap-consuming winter’s drizzled snow, And all the conduits of my blood froze up, Yet hath my night of life some memory, My wasting lamps some fading glimmer left, My dull deaf ears a little use to hear. All these old witnesses, I cannot err, Tell me thou art my son Antipholus.

ANTIPHOLUS OF EPHESUS. I never saw my father in my life.

EGEON. But seven years since, in Syracusa, boy, Thou know’st we parted; but perhaps, my son, Thou sham’st to acknowledge me in misery.

ANTIPHOLUS OF EPHESUS. The duke and all that know me in the city, Can witness with me that it is not so. I ne’er saw Syracusa in my life.

DUKE. I tell thee, Syracusian, twenty years Have I been patron to Antipholus, During which time he ne’er saw Syracusa. I see thy age and dangers make thee dote.

Enter the Abbess with Antipholus of Syracuse and Dromio of Syracuse.

ABBESS. Most mighty duke, behold a man much wrong’d.

[All gather to see them.]

ADRIANA. I see two husbands, or mine eyes deceive me.

DUKE. One of these men is genius to the other; And so of these, which is the natural man, And which the spirit? Who deciphers them?

DROMIO OF SYRACUSE. I, sir, am Dromio, command him away.

DROMIO OF EPHESUS. I, sir, am Dromio, pray let me stay.

ANTIPHOLUS OF SYRACUSE. Egeon, art thou not? or else his ghost?

DROMIO OF SYRACUSE. O, my old master, who hath bound him here?

ABBESS. Whoever bound him, I will loose his bonds, And gain a husband by his liberty. Speak, old Egeon, if thou be’st the man That hadst a wife once called Emilia, That bore thee at a burden two fair sons. O, if thou be’st the same Egeon, speak, And speak unto the same Emilia!

DUKE. Why, here begins his morning story right: These two Antipholus’, these two so like, And these two Dromios, one in semblance, Besides her urging of her wreck at sea. These are the parents to these children, Which accidentally are met together.

EGEON. If I dream not, thou art Emilia. If thou art she, tell me where is that son That floated with thee on the fatal raft?

ABBESS. By men of Epidamnum, he and I And the twin Dromio, all were taken up; But, by and by, rude fishermen of Corinth By force took Dromio and my son from them, And me they left with those of Epidamnum. What then became of them I cannot tell; I to this fortune that you see me in.

DUKE. Antipholus, thou cam’st from Corinth first?

ANTIPHOLUS OF SYRACUSE. No, sir, not I, I came from Syracuse.

DUKE. Stay, stand apart, I know not which is which.

ANTIPHOLUS OF EPHESUS. I came from Corinth, my most gracious lord.

DROMIO OF EPHESUS. And I with him.

ANTIPHOLUS OF EPHESUS. Brought to this town by that most famous warrior, Duke Menaphon, your most renowned uncle.

ADRIANA. Which of you two did dine with me today?

ANTIPHOLUS OF SYRACUSE. I, gentle mistress.

ADRIANA. And are not you my husband?

ANTIPHOLUS OF EPHESUS. No, I say nay to that.

ANTIPHOLUS OF SYRACUSE. And so do I, yet did she call me so; And this fair gentlewoman, her sister here, Did call me brother. What I told you then, I hope I shall have leisure to make good, If this be not a dream I see and hear.

ANGELO. That is the chain, sir, which you had of me.

ANTIPHOLUS OF SYRACUSE. I think it be, sir. I deny it not.

ANTIPHOLUS OF EPHESUS. And you, sir, for this chain arrested me.

ANGELO. I think I did, sir. I deny it not.

ADRIANA. I sent you money, sir, to be your bail By Dromio, but I think he brought it not.

DROMIO OF EPHESUS. No, none by me.

ANTIPHOLUS OF SYRACUSE. This purse of ducats I receiv’d from you, And Dromio my man did bring them me. I see we still did meet each other’s man, And I was ta’en for him, and he for me, And thereupon these errors are arose.

ANTIPHOLUS OF EPHESUS. These ducats pawn I for my father here.

DUKE. It shall not need, thy father hath his life.

COURTESAN. Sir, I must have that diamond from you.

ANTIPHOLUS OF EPHESUS. There, take it, and much thanks for my good cheer.

ABBESS. Renowned duke, vouchsafe to take the pains To go with us into the abbey here, And hear at large discoursed all our fortunes; And all that are assembled in this place, That by this sympathised one day’s error Have suffer’d wrong, go, keep us company, And we shall make full satisfaction. Thirty-three years have I but gone in travail Of you, my sons, and till this present hour My heavy burden ne’er delivered. The duke, my husband, and my children both, And you, the calendars of their nativity, Go to a gossips’ feast, and go with me. After so long grief, such nativity.

DUKE. With all my heart, I’ll gossip at this feast.

[Exeunt except the two Dromios and two Brothers.]

DROMIO OF SYRACUSE. Master, shall I fetch your stuff from shipboard?

ANTIPHOLUS OF EPHESUS. Dromio, what stuff of mine hast thou embark’d?

DROMIO OF SYRACUSE. Your goods that lay at host, sir, in the Centaur.

ANTIPHOLUS OF SYRACUSE. He speaks to me; I am your master, Dromio. Come, go with us. We’ll look to that anon. Embrace thy brother there, rejoice with him.

[Exeunt Antipholus of Syracuse and Antipholus of Ephesus.]

DROMIO OF SYRACUSE. There is a fat friend at your master’s house, That kitchen’d me for you today at dinner. She now shall be my sister, not my wife.

DROMIO OF EPHESUS. Methinks you are my glass, and not my brother. I see by you I am a sweet-faced youth. Will you walk in to see their gossiping?

DROMIO OF SYRACUSE. Not I, sir, you are my elder.

DROMIO OF EPHESUS. That’s a question, how shall we try it?

DROMIO OF SYRACUSE. We’ll draw cuts for the senior. Till then, lead thou first.

DROMIO OF EPHESUS. Nay, then, thus: We came into the world like brother and brother, And now let’s go hand in hand, not one before another.

[Exeunt.]

THE TRAGEDY OF CORIOLANUS

Dramatis Personæ

CAIUS MARTIUS CORIOLANUS, a noble Roman VOLUMNIA, his mother VIRGILIA, his wife YOUNG MARTIUS, their son VALERIA, friend to Volumnia and Virgilia A GENTLEWOMAN, Volumnia’s attendant

MENENIUS AGRIPPA, Friend to Coriolanus COMINIUS, General against the Volscians TITUS LARTIUS, General against the Volscians SICINIUS VELUTUS, Tribune of the People JUNIUS BRUTUS, Tribune of the People A ROMAN HERALD

TULLUS AUFIDIUS, General of the Volscians LIEUTENANT, to Aufidius Conspirators with Aufidius A CITIZEN of Antium TWO VOLSCIAN GUARDS

Roman and Volscian Senators, Patricians, Aediles, Lictors, Soldiers, Citizens, Messengers, Servants to Aufidius, and other Attendants

SCENE: Partly in Rome, and partly in the territories of the Volscians and Antiates.

Act I, Scene I — Rome. A street

Enter a company of mutinous Citizens, with staves, clubs, and other weapons.

FIRST CITIZEN. Before we proceed any further, hear me speak.

ALL. Speak, speak!

FIRST CITIZEN. You are all resolved rather to die than to famish?

ALL. Resolved, resolved!

FIRST CITIZEN. First, you know Caius Martius is chief enemy to the people.

ALL. We know’t, we know’t!

FIRST CITIZEN. Let us kill him, and we’ll have corn at our own price. Is’t a verdict?

ALL. No more talking on’t; let it be done. Away, away!

SECOND CITIZEN. One word, good citizens.

FIRST CITIZEN. We are accounted poor citizens, the patricians good. What authority surfeits on would relieve us. If they would yield us but the superfluity while it were wholesome, we might guess they relieved us humanely. But they think we are too dear. The leanness that afflicts us, the object of our misery, is as an inventory to particularize their abundance; our sufferance is a gain to them. Let us revenge this with our pikes ere we become rakes; for the gods know I speak this in hunger for bread, not in thirst for revenge.

SECOND CITIZEN. Would you proceed especially against Caius Martius?

FIRST CITIZEN. Against him first. He’s a very dog to the commonalty.

SECOND CITIZEN. Consider you what services he has done for his country?

FIRST CITIZEN. Very well, and could be content to give him good report for’t, but that he pays himself with being proud.

SECOND CITIZEN. Nay, but speak not maliciously.

FIRST CITIZEN. I say unto you, what he hath done famously he did it to that end. Though soft-conscienced men can be content to say it was for his country, he did it to please his mother and to be partly proud, which he is, even to the altitude of his virtue.

SECOND CITIZEN. What he cannot help in his nature you account a vice in him. You must in no way say he is covetous.

FIRST CITIZEN. If I must not, I need not be barren of accusations. He hath faults, with surplus, to tire in repetition. [Shouts within.] What shouts are these? The other side o’ th’ city is risen. Why stay we prating here? To th’ Capitol!

ALL. Come, come!

Enter Menenius Agrippa.

FIRST CITIZEN. Soft, who comes here?

SECOND CITIZEN. Worthy Menenius Agrippa, one that hath always loved the people.

FIRST CITIZEN. He’s one honest enough. Would all the rest were so!

MENENIUS. What work’s, my countrymen, in hand? Where go you With bats and clubs? The matter? Speak, I pray you.

FIRST CITIZEN. Our business is not unknown to th’ Senate. They have had inkling this fortnight what we intend to do, which now we’ll show ’em in deeds. They say poor suitors have strong breaths; they shall know we have strong arms too.

MENENIUS. Why, masters, my good friends, mine honest neighbours, Will you undo yourselves?

FIRST CITIZEN. We cannot, sir; we are undone already.

MENENIUS. I tell you, friends, most charitable care Have the patricians of you. For your wants, Your suffering in this dearth, you may as well Strike at the heaven with your staves as lift them Against the Roman state, whose course will on The way it takes, cracking ten thousand curbs Of more strong link asunder than can ever Appear in your impediment. For the dearth, The gods, not the patricians, make it, and Your knees to them, not arms, must help. Alack, You are transported by calamity Thither where more attends you, and you slander The helms o’ th’ state, who care for you like fathers, When you curse them as enemies.

FIRST CITIZEN. Care for us? True, indeed! They ne’er cared for us yet. Suffer us to famish, and their storehouses crammed with grain; make edicts for usury to support usurers; repeal daily any wholesome act established against the rich, and provide more piercing statutes daily to chain up and restrain the poor. If the wars eat us not up, they will; and there’s all the love they bear us.

MENENIUS. Either you must confess yourselves wondrous malicious Or be accused of folly. I shall tell you A pretty tale. It may be you have heard it, But since it serves my purpose, I will venture To stale’t a little more.

FIRST CITIZEN. Well, I’ll hear it, sir; yet you must not think to fob off our disgrace with a tale. But, an’t please you, deliver.

MENENIUS. There was a time when all the body’s members Rebelled against the belly, thus accused it: That only like a gulf it did remain I’ th’ midst o’ th’ body, idle and unactive, Still cupboarding the viand, never bearing Like labour with the rest, where th’ other instruments Did see and hear, devise, instruct, walk, feel, And, mutually participate, did minister Unto the appetite and affection common Of the whole body. The belly answered—

FIRST CITIZEN. Well, sir, what answer made the belly?

MENENIUS. Sir, I shall tell you. With a kind of smile, Which ne’er came from the lungs, but even thus— For, look you, I may make the belly smile As well as speak—it tauntingly replied To th’ discontented members, the mutinous parts That envied his receipt; even so most fitly As you malign our senators for that They are not such as you.

FIRST CITIZEN. Your belly’s answer—what? The kingly crowned head, the vigilant eye, The counsellor heart, the arm our soldier, Our steed the leg, the tongue our trumpeter, With other muniments and petty helps Is this our fabric, if that they—

MENENIUS. What then? ’Fore me, this fellow speaks. What then? What then?

FIRST CITIZEN. Should by the cormorant belly be restrained, Who is the sink o’ th’ body—

MENENIUS. Well, what then?

FIRST CITIZEN. The former agents, if they did complain, What could the belly answer?

MENENIUS. I will tell you, If you’ll bestow a small—of what you have little— Patience awhile, you’st hear the belly’s answer.

FIRST CITIZEN. You are long about it.

MENENIUS. Note me this, good friend; Your most grave belly was deliberate, Not rash like his accusers, and thus answered: “True is it, my incorporate friends,” quoth he, “That I receive the general food at first Which you do live upon; and fit it is, Because I am the storehouse and the shop Of the whole body. But, if you do remember, I send it through the rivers of your blood Even to the court, the heart, to th’ seat o’ th’ brain; And, through the cranks and offices of man, The strongest nerves and small inferior veins From me receive that natural competency Whereby they live. And though that all at once, You, my good friends”—this says the belly, mark me—

FIRST CITIZEN. Ay, sir, well, well.

MENENIUS. “Though all at once cannot See what I do deliver out to each, Yet I can make my audit up, that all From me do back receive the flour of all, And leave me but the bran.” What say you to’t?

FIRST CITIZEN. It was an answer. How apply you this?

MENENIUS. The senators of Rome are this good belly, And you the mutinous members. For examine Their counsels and their cares, digest things rightly Touching the weal o’ th’ common, you shall find No public benefit which you receive But it proceeds or comes from them to you And no way from yourselves. What do you think, You, the great toe of this assembly?

FIRST CITIZEN. I the great toe? Why the great toe?

MENENIUS. For that, being one o’ th’ lowest, basest, poorest, Of this most wise rebellion, thou goest foremost. Thou rascal, that art worst in blood to run, Lead’st first to win some vantage. But make you ready your stiff bats and clubs. Rome and her rats are at the point of battle; The one side must have bale.

Enter Caius Martius.

Hail, noble Martius.

MARTIUS. Thanks.—What’s the matter, you dissentious rogues, That, rubbing the poor itch of your opinion, Make yourselves scabs?

FIRST CITIZEN. We have ever your good word.

MARTIUS. He that will give good words to thee will flatter Beneath abhorring. What would you have, you curs, That like nor peace nor war? The one affrights you; The other makes you proud. He that trusts to you, Where he should find you lions, finds you hares; Where foxes, geese. You are no surer, no, Than is the coal of fire upon the ice Or hailstone in the sun. Your virtue is To make him worthy whose offence subdues him, And curse that justice did it. Who deserves greatness Deserves your hate; and your affections are A sick man’s appetite, who desires most that Which would increase his evil. He that depends Upon your favours swims with fins of lead, And hews down oaks with rushes. Hang ye! Trust ye? With every minute you do change a mind And call him noble that was now your hate, Him vile that was your garland. What’s the matter, That in these several places of the city You cry against the noble senate, who, Under the gods, keep you in awe, which else Would feed on one another?—What’s their seeking?

MENENIUS. For corn at their own rates, whereof they say The city is well stored.

MARTIUS. Hang ’em! They say? They’ll sit by th’ fire and presume to know What’s done i’ th’ Capitol, who’s like to rise, Who thrives and who declines; side factions and give out Conjectural marriages, making parties strong And feebling such as stand not in their liking Below their cobbled shoes. They say there’s grain enough? Would the nobility lay aside their ruth And let me use my sword, I’d make a quarry With thousands of these quartered slaves as high As I could pick my lance.

MENENIUS. Nay, these are almost thoroughly persuaded; For though abundantly they lack discretion, Yet are they passing cowardly. But I beseech you, What says the other troop?

MARTIUS. They are dissolved. Hang ’em! They said they were an-hungry, sighed forth proverbs That hunger broke stone walls, that dogs must eat, That meat was made for mouths, that the gods sent not Corn for the rich men only. With these shreds They vented their complainings, which being answered And a petition granted them—a strange one, To break the heart of generosity And make bold power look pale—they threw their caps As they would hang them on the horns o’ th’ moon, Shouting their emulation.

MENENIUS. What is granted them?

MARTIUS. Five tribunes to defend their vulgar wisdoms, Of their own choice. One’s Junius Brutus, Sicinius Velutus, and I know not. ’Sdeath! The rabble should have first unroofed the city Ere so prevailed with me. It will in time Win upon power and throw forth greater themes For insurrection’s arguing.

MENENIUS. This is strange.

MARTIUS. Go get you home, you fragments.

Enter a Messenger hastily.

MESSENGER. Where’s Caius Martius?

MARTIUS. Here. What’s the matter?

MESSENGER. The news is, sir, the Volsces are in arms.

MARTIUS. I am glad on’t. Then we shall ha’ means to vent Our musty superfluity.

Enter Sicinius Velutus, Junius Brutus, two Tribunes; Cominius, Titus Lartius with other Senators.

See, our best elders.

FIRST SENATOR. Martius, ’tis true that you have lately told us: The Volsces are in arms.

MARTIUS. They have a leader, Tullus Aufidius, that will put you to’t. I sin in envying his nobility, And, were I anything but what I am, I would wish me only he.

COMINIUS. You have fought together.

MARTIUS. Were half to half the world by th’ ears and he Upon my party, I’d revolt, to make Only my wars with him. He is a lion That I am proud to hunt.

FIRST SENATOR. Then, worthy Martius, Attend upon Cominius to these wars.

COMINIUS. It is your former promise.

MARTIUS. Sir, it is, And I am constant.—Titus Lartius, thou Shalt see me once more strike at Tullus’ face. What, art thou stiff? Stand’st out?

TITUS LARTIUS. No, Caius Martius, I’ll lean upon one crutch and fight with th’ other Ere stay behind this business.

MENENIUS. O, true bred!

FIRST SENATOR. Your company to th’ Capitol, where I know Our greatest friends attend us.

TITUS LARTIUS. Lead you on. Follow Cominius. We must follow you; Right worthy your priority.

COMINIUS. Noble Martius.

FIRST SENATOR. [To the Citizens.] Hence to your homes, begone.

MARTIUS. Nay, let them follow. The Volsces have much corn; take these rats thither To gnaw their garners. Worshipful mutineers, Your valour puts well forth. Pray follow.

[Exeunt. Sicinius and Brutus remain.]

SICINIUS. Was ever man so proud as is this Martius?

BRUTUS. He has no equal.

SICINIUS. When we were chosen tribunes for the people—

BRUTUS. Marked you his lip and eyes?

SICINIUS. Nay, but his taunts.

BRUTUS. Being moved, he will not spare to gird the gods.

SICINIUS. Bemock the modest moon.

BRUTUS. The present wars devour him! He is grown Too proud to be so valiant.

SICINIUS. Such a nature, Tickled with good success, disdains the shadow Which he treads on at noon. But I do wonder His insolence can brook to be commanded Under Cominius.

BRUTUS. Fame, at the which he aims, In whom already he’s well graced, cannot Better be held nor more attained than by A place below the first; for what miscarries Shall be the General’s fault, though he perform To th’ utmost of a man, and giddy censure Will then cry out of Martius “O, if he Had borne the business!”

SICINIUS. Besides, if things go well, Opinion that so sticks on Martius shall Of his demerits rob Cominius.

BRUTUS. Come. Half all Cominius’ honours are to Martius, Though Martius earned them not, and all his faults To Martius shall be honours, though indeed In aught he merit not.

SICINIUS. Let’s hence and hear How the dispatch is made, and in what fashion, More than in singularity, he goes Upon this present action.

BRUTUS. Let’s along.

[Exeunt.]

Act I, Scene II — Corioles. The Senate House

Enter Tullus Aufidius with Senators of Corioles.

FIRST SENATOR. So, your opinion is, Aufidius, That they of Rome are entered in our counsels And know how we proceed.

AUFIDIUS. Is it not yours? What ever have been thought on in this state That could be brought to bodily act ere Rome Had circumvention? ’Tis not four days gone Since I heard thence. These are the words—I think I have the letter here. Yes, here it is. [Reads.] _They have pressed a power, but it is not known Whether for east or west. The dearth is great. The people mutinous; and, it is rumoured, Cominius, Martius your old enemy, Who is of Rome worse hated than of you,— And Titus Lartius, a most valiant Roman, These three lead on this preparation Whither ’tis bent. Most likely ’tis for you. Consider of it._

FIRST SENATOR. Our army’s in the field. We never yet made doubt but Rome was ready To answer us.

AUFIDIUS. Nor did you think it folly To keep your great pretences veiled till when They needs must show themselves, which, in the hatching, It seemed, appeared to Rome. By the discovery We shall be shortened in our aim, which was To take in many towns ere almost Rome Should know we were afoot.

SECOND SENATOR. Noble Aufidius, Take your commission; hie you to your bands. Let us alone to guard Corioles. If they set down before’s, for the remove Bring up your army. But I think you’ll find They’ve not prepared for us.

AUFIDIUS. O, doubt not that; I speak from certainties. Nay, more, Some parcels of their power are forth already, And only hitherward. I leave your Honours. If we and Caius Martius chance to meet, ’Tis sworn between us we shall ever strike Till one can do no more.

ALL. The gods assist you!

AUFIDIUS. And keep your Honours safe!

FIRST SENATOR. Farewell.

SECOND SENATOR. Farewell.

ALL. Farewell.

[Exeunt.]

Act I, Scene III — Rome. An apartment in Martius’ house

Enter Volumnia and Virgilia, mother and wife to Martius. They set them down on two low stools and sew.

VOLUMNIA. I pray you, daughter, sing, or express yourself in a more comfortable sort. If my son were my husband, I should freelier rejoice in that absence wherein he won honour than in the embracements of his bed where he would show most love. When yet he was but tender-bodied and the only son of my womb, when youth with comeliness plucked all gaze his way, when for a day of kings’ entreaties a mother should not sell him an hour from her beholding, I, considering how honour would become such a person—that it was no better than picture-like to hang by th’ wall, if renown made it not stir—was pleased to let him seek danger where he was like to find fame. To a cruel war I sent him, from whence he returned, his brows bound with oak. I tell thee, daughter, I sprang not more in joy at first hearing he was a man-child than now in first seeing he had proved himself a man.

VIRGILIA. But had he died in the business, madam, how then?

VOLUMNIA. Then his good report should have been my son; I therein would have found issue. Hear me profess sincerely: had I a dozen sons, each in my love alike and none less dear than thine and my good Martius, I had rather had eleven die nobly for their country than one voluptuously surfeit out of action.

Enter a Gentlewoman.

GENTLEWOMAN. Madam, the Lady Valeria is come to visit you.

VIRGILIA. Beseech you, give me leave to retire myself.

VOLUMNIA. Indeed you shall not. Methinks I hear hither your husband’s drum, See him pluck Aufidius down by th’ hair; As children from a bear, the Volsces shunning him. Methinks I see him stamp thus and call thus: “Come on, you cowards! You were got in fear, Though you were born in Rome.” His bloody brow With his mailed hand then wiping, forth he goes Like to a harvestman that’s tasked to mow Or all or lose his hire.

VIRGILIA. His bloody brow? O Jupiter, no blood!

VOLUMNIA. Away, you fool! It more becomes a man Than gilt his trophy. The breasts of Hecuba, When she did suckle Hector, looked not lovelier Than Hector’s forehead when it spit forth blood At Grecian sword, contemning.—Tell Valeria We are fit to bid her welcome.

[Exit Gentlewoman.]

VIRGILIA. Heavens bless my lord from fell Aufidius!

VOLUMNIA. He’ll beat Aufidius’ head below his knee And tread upon his neck.

Enter Valeria with an Usher and a Gentlewoman.

VALERIA. My ladies both, good day to you.

VOLUMNIA. Sweet madam.

VIRGILIA. I am glad to see your Ladyship.

VALERIA. How do you both? You are manifest housekeepers. What are you sewing here? A fine spot, in good faith. How does your little son?

VIRGILIA. I thank your Ladyship; well, good madam.

VOLUMNIA. He had rather see the swords and hear a drum than look upon his schoolmaster.

VALERIA. O’ my word, the father’s son! I’ll swear ’tis a very pretty boy. O’ my troth, I looked upon him o’ Wednesday half an hour together. H’as such a confirmed countenance. I saw him run after a gilded butterfly, and when he caught it, he let it go again, and after it again, and over and over he comes, and up again, catched it again. Or whether his fall enraged him or how ’twas, he did so set his teeth and tear it. O, I warrant how he mammocked it!

VOLUMNIA. One on’s father’s moods.

VALERIA. Indeed, la, ’tis a noble child.

VIRGILIA. A crack, madam.

VALERIA. Come, lay aside your stitchery. I must have you play the idle huswife with me this afternoon.

VIRGILIA. No, good madam, I will not out of doors.

VALERIA. Not out of doors?

VOLUMNIA. She shall, she shall.

VIRGILIA. Indeed, no, by your patience. I’ll not over the threshold till my lord return from the wars.

VALERIA. Fie, you confine yourself most unreasonably. Come, you must go visit the good lady that lies in.

VIRGILIA. I will wish her speedy strength and visit her with my prayers, but I cannot go thither.

VOLUMNIA. Why, I pray you?

VIRGILIA. ’Tis not to save labour, nor that I want love.

VALERIA. You would be another Penelope. Yet they say all the yarn she spun in Ulysses’ absence did but fill Ithaca full of moths. Come, I would your cambric were sensible as your finger, that you might leave pricking it for pity. Come, you shall go with us.

VIRGILIA. No, good madam, pardon me; indeed, I will not forth.

VALERIA. In truth, la, go with me, and I’ll tell you excellent news of your husband.

VIRGILIA. O, good madam, there can be none yet.

VALERIA. Verily, I do not jest with you. There came news from him last night.

VIRGILIA. Indeed, madam!

VALERIA. In earnest, it’s true. I heard a senator speak it. Thus it is: the Volsces have an army forth, against whom Cominius the General is gone with one part of our Roman power. Your lord and Titus Lartius are set down before their city Corioles. They nothing doubt prevailing, and to make it brief wars. This is true, on mine honour, and so, I pray, go with us.

VIRGILIA. Give me excuse, good madam. I will obey you in everything hereafter.

VOLUMNIA. Let her alone, lady. As she is now, she will but disease our better mirth.

VALERIA. In troth, I think she would.—Fare you well, then.—Come, good sweet lady.—Prithee, Virgilia, turn thy solemness out o’ door, and go along with us.

VIRGILIA. No, at a word, madam. Indeed I must not. I wish you much mirth.

VALERIA. Well then, farewell.

[Exeunt.]

Act I, Scene IV — Before Corioles

Enter Martius, Titus Lartius, with drum and colours, with Captains and Soldiers, as before the city of Corioles. To them a Messenger.

MARTIUS. Yonder comes news. A wager they have met.

LARTIUS. My horse to yours, no.

MARTIUS. ’Tis done.

LARTIUS. Agreed.

MARTIUS. [To Messenger.] Say, has our general met the enemy?

MESSENGER. They lie in view but have not spoke as yet.

LARTIUS. So the good horse is mine.

MARTIUS. I’ll buy him of you.

LARTIUS. No, I’ll nor sell nor give him. Lend you him I will For half a hundred years.—Summon the town.

MARTIUS. How far off lie these armies?

MESSENGER. Within this mile and half.

MARTIUS. Then shall we hear their ’larum, and they ours. Now, Mars, I prithee, make us quick in work, That we with smoking swords may march from hence To help our fielded friends!—Come, blow thy blast.

[They sound a parley.]

Enter two Senators with others on the walls of Corioles.

Tullus Aufidius, is he within your walls?

FIRST SENATOR. No, nor a man that fears you less than he: That’s lesser than a little. [Drum afar off.] Hark, our drums Are bringing forth our youth. We’ll break our walls Rather than they shall pound us up. Our gates, Which yet seem shut, we have but pinned with rushes. They’ll open of themselves. [Alarum far off.] Hark you, far off! There is Aufidius. List what work he makes Amongst your cloven army.

MARTIUS. O, they are at it!

LARTIUS. Their noise be our instruction.—Ladders, ho!

Enter the Army of the Volsces as through the city gates.

MARTIUS. They fear us not but issue forth their city.— Now put your shields before your hearts, and fight With hearts more proof than shields.—Advance, brave Titus. They do disdain us much beyond our thoughts, Which makes me sweat with wrath.—Come on, my fellows! He that retires, I’ll take him for a Volsce, And he shall feel mine edge.

[Alarums. The Romans are beat back to their trenches. They exit, with the Volsces following.]

Enter Martius cursing, with Roman soldiers.

MARTIUS. All the contagion of the south light on you, You shames of Rome! You herd of—Boils and plagues Plaster you o’er, that you may be abhorred Farther than seen, and one infect another Against the wind a mile! You souls of geese, That bear the shapes of men, how have you run From slaves that apes would beat! Pluto and hell! All hurt behind. Backs red, and faces pale With flight and agued fear! Mend, and charge home, Or, by the fires of heaven, I’ll leave the foe And make my wars on you. Look to’t. Come on! If you’ll stand fast we’ll beat them to their wives, As they us to our trenches. Follow’s!

[Another alarum. The Volsces re-enter and are driven back to the gates of Corioles, which open to admit them.]

So, now the gates are ope. Now prove good seconds! ’Tis for the followers fortune widens them, Not for the fliers. Mark me, and do the like.

[Martius follows the fleeing Volsces through the gates, and is shut in.]

FIRST SOLDIER. Foolhardiness, not I.

SECOND SOLDIER. Nor I.

FIRST SOLDIER. See, they have shut him in.

[Alarum continues.]

ALL. To th’ pot, I warrant him.

Enter Titus Lartius.

LARTIUS. What is become of Martius?

ALL. Slain, sir, doubtless.

FIRST SOLDIER. Following the fliers at the very heels, With them he enters, who upon the sudden Clapped to their gates. He is himself alone, To answer all the city.

LARTIUS. O noble fellow, Who sensibly outdares his senseless sword, And when it bows, stand’st up! Thou art left, Martius. A carbuncle entire, as big as thou art, Were not so rich a jewel. Thou wast a soldier Even to Cato’s wish, not fierce and terrible Only in strokes, but with thy grim looks and The thunderlike percussion of thy sounds Thou mad’st thine enemies shake, as if the world Were feverous and did tremble.

Enter Martius, bleeding, assaulted by the enemy.

FIRST SOLDIER. Look, sir.

LARTIUS. O, ’tis Martius! Let’s fetch him off or make remain alike.

[They fight, and all enter the city.]

Act I, Scene V — Within Corioles. A street

Enter certain Romans, with spoils.

FIRST ROMAN. This will I carry to Rome.

SECOND ROMAN. And I this.

THIRD ROMAN. A murrain on’t! I took this for silver.

Enter Martius and Titus Lartius with a Trumpet.

MARTIUS. See here these movers that do prize their hours At a cracked drachma. Cushions, leaden spoons, Irons of a doit, doublets that hangmen would Bury with those that wore them, these base slaves, Ere yet the fight be done, pack up. Down with them!

[Exit the Romans with spoils.]

[Alarum continues still afar off.]

And hark, what noise the General makes! To him! There is the man of my soul’s hate, Aufidius, Piercing our Romans. Then, valiant Titus, take Convenient numbers to make good the city, Whilst I, with those that have the spirit, will haste To help Cominius.

LARTIUS. Worthy sir, thou bleed’st. Thy exercise hath been too violent For a second course of fight.

MARTIUS. Sir, praise me not. My work hath yet not warmed me. Fare you well. The blood I drop is rather physical Than dangerous to me. To Aufidius thus I will appear and fight.

LARTIUS. Now the fair goddess Fortune Fall deep in love with thee, and her great charms Misguide thy opposers’ swords! Bold gentleman, Prosperity be thy page!

MARTIUS. Thy friend no less Than those she placeth highest! So farewell.

LARTIUS. Thou worthiest Martius!

[Exit Martius.]

Go sound thy trumpet in the marketplace. Call thither all the officers o’ th’ town, Where they shall know our mind. Away!

[Exeunt.]

Act I, Scene VI — Near the camp of Cominius

Enter Cominius as it were in retire, with Soldiers.

COMINIUS. Breathe you, my friends. Well fought! We are come off Like Romans, neither foolish in our stands Nor cowardly in retire. Believe me, sirs, We shall be charged again. Whiles we have struck, By interims and conveying gusts we have heard The charges of our friends. The Roman gods Lead their successes as we wish our own, That both our powers, with smiling fronts encount’ring, May give you thankful sacrifice!

Enter a Messenger.

Thy news?

MESSENGER. The citizens of Corioles have issued, And given to Lartius and to Martius battle. I saw our party to their trenches driven, And then I came away.

COMINIUS. Though thou speakest truth, Methinks thou speak’st not well. How long is’t since?

MESSENGER. Above an hour, my lord.

COMINIUS. ’Tis not a mile; briefly we heard their drums. How couldst thou in a mile confound an hour And bring thy news so late?

MESSENGER. Spies of the Volsces Held me in chase, that I was forced to wheel Three or four miles about; else had I, sir, Half an hour since brought my report.

[Exit Messenger.]

Enter Martius, bloody.

COMINIUS. Who’s yonder, That does appear as he were flayed? O gods, He has the stamp of Martius, and I have Before-time seen him thus.

MARTIUS. Come I too late?

COMINIUS. The shepherd knows not thunder from a tabor More than I know the sound of Martius’ tongue From every meaner man.

MARTIUS. Come I too late?

COMINIUS. Ay, if you come not in the blood of others, But mantled in your own.

MARTIUS. O, let me clip you In arms as sound as when I wooed, in heart As merry as when our nuptial day was done And tapers burned to bedward!

COMINIUS. Flower of warriors, how is’t with Titus Lartius?

MARTIUS. As with a man busied about decrees, Condemning some to death and some to exile; Ransoming him or pitying, threat’ning the other; Holding Corioles in the name of Rome Even like a fawning greyhound in the leash, To let him slip at will.

COMINIUS. Where is that slave Which told me they had beat you to your trenches? Where’s he? Call him hither.

MARTIUS. Let him alone. He did inform the truth. But for our gentlemen, The common file—a plague! Tribunes for them!— The mouse ne’er shunned the cat as they did budge From rascals worse than they.

COMINIUS. But how prevailed you?

MARTIUS. Will the time serve to tell? I do not think. Where is the enemy? Are you lords o’ th’ field? If not, why cease you till you are so?

COMINIUS. Martius, we have at disadvantage fought, And did retire to win our purpose.

MARTIUS. How lies their battle? Know you on which side They have placed their men of trust?

COMINIUS. As I guess, Martius, Their bands i’ th’ vaward are the Antiates, Of their best trust; o’er them Aufidius, Their very heart of hope.

MARTIUS. I do beseech you, By all the battles wherein we have fought, By th’ blood we have shed together, by th’ vows we have made To endure friends, that you directly set me Against Aufidius and his Antiates, And that you not delay the present, but, Filling the air with swords advanced and darts, We prove this very hour.

COMINIUS. Though I could wish You were conducted to a gentle bath And balms applied to you, yet dare I never Deny your asking. Take your choice of those That best can aid your action.

MARTIUS. Those are they That most are willing. If any such be here— As it were sin to doubt—that love this painting Wherein you see me smeared; if any fear Lesser his person than an ill report; If any think brave death outweighs bad life, And that his country’s dearer than himself; Let him alone, or so many so minded, Wave thus to express his disposition And follow Martius.

[He waves his sword.]

[They all shout and wave their swords, take him up in their arms, and cast up their caps.]

O, me alone! Make you a sword of me? If these shows be not outward, which of you But is four Volsces? None of you but is Able to bear against the great Aufidius A shield as hard as his. A certain number, Though thanks to all, must I select from all. The rest shall bear the business in some other fight, As cause will be obeyed. Please you to march, And I shall quickly draw out my command, Which men are best inclined.

COMINIUS. March on, my fellows. Make good this ostentation, and you shall Divide in all with us.

[Exeunt.]

Act I, Scene VII — The gates of Corioles

Titus Lartius, having set a guard upon Corioles, going with drum and trumpet toward Cominius and Caius Martius, enters with a Lieutenant, other Soldiers, and a Scout.

LARTIUS. So, let the ports be guarded. Keep your duties As I have set them down. If I do send, dispatch Those centuries to our aid; the rest will serve For a short holding. If we lose the field, We cannot keep the town.

LIEUTENANT. Fear not our care, sir.

LARTIUS. Hence, and shut your gates upon’s. Our guider, come. To th’ Roman camp conduct us.

[Exeunt.]

Act I, Scene VIII — A field of battle between the Roman and the Volscian camps

Alarum, as in battle. Enter Martius and Aufidius at several doors.

MARTIUS. I’ll fight with none but thee, for I do hate thee Worse than a promise-breaker.

AUFIDIUS. We hate alike. Not Afric owns a serpent I abhor More than thy fame and envy. Fix thy foot.

MARTIUS. Let the first budger die the other’s slave, And the gods doom him after!

AUFIDIUS. If I fly, Martius, Hollo me like a hare.

MARTIUS. Within these three hours, Tullus, Alone I fought in your Corioles’ walls, And made what work I pleased. ’Tis not my blood Wherein thou seest me masked. For thy revenge Wrench up thy power to th’ highest.

AUFIDIUS. Wert thou the Hector That was the whip of your bragged progeny, Thou shouldst not scape me here.

[Here they fight, and certain Volsces come to the aid of Aufidius.]

Officious and not valiant, you have shamed me In your condemned seconds.

[Martius fights till they be driven in breathless. Aufidius and Martius exit, separately.]

Act I, Scene IX — The Roman camp

Alarum. A retreat is sounded. Flourish. Enter, at one door, Cominius with the Romans; at another door, Martius, with his arm in a scarf.

COMINIUS. If I should tell thee o’er this thy day’s work, Thou’t not believe thy deeds. But I’ll report it Where senators shall mingle tears with smiles; Where great patricians shall attend and shrug, I’ th’ end admire; where ladies shall be frighted And, gladly quaked, hear more; where the dull tribunes, That with the fusty plebeians hate thine honours, Shall say against their hearts “We thank the gods Our Rome hath such a soldier.” Yet cam’st thou to a morsel of this feast, Having fully dined before.

Enter Titus Lartius with his power, from the pursuit.

LARTIUS. O general, Here is the steed, we the caparison. Hadst thou beheld—

MARTIUS. Pray now, no more. My mother, Who has a charter to extol her blood, When she does praise me grieves me. I have done As you have done—that’s what I can; Induced as you have been—that’s for my country. He that has but effected his good will Hath overta’en mine act.

COMINIUS. You shall not be The grave of your deserving. Rome must know The value of her own. ’Twere a concealment Worse than a theft, no less than a traducement, To hide your doings and to silence that Which, to the spire and top of praises vouched, Would seem but modest. Therefore, I beseech you— In sign of what you are, not to reward What you have done—before our army hear me.

MARTIUS. I have some wounds upon me, and they smart To hear themselves remembered.

COMINIUS. Should they not, Well might they fester ’gainst ingratitude And tent themselves with death. Of all the horses— Whereof we have ta’en good and good store—of all The treasure in this field achieved and city, We render you the tenth, to be ta’en forth Before the common distribution At your only choice.

MARTIUS. I thank you, general, But cannot make my heart consent to take A bribe to pay my sword. I do refuse it; And stand upon my common part with those That have beheld the doing.

[A long flourish. They all cry “Martius, Martius!” and cast up their caps and lances. Cominius and Lartius stand bare.]

May these same instruments which, you profane, Never sound more! When drums and trumpets shall I’ th’ field prove flatterers, let courts and cities be Made all of false-faced soothing! When steel grows soft Soft as the parasite’s silk, let him be made An ovator for the wars! No more, I say. For that I have not washed my nose that bled, Or foiled some debile wretch—which, without note, Here’s many else have done—you shout me forth In acclamations hyperbolical, As if I loved my little should be dieted In praises sauced with lies.

COMINIUS. Too modest are you, More cruel to your good report than grateful To us that give you truly. By your patience, If ’gainst yourself you be incensed, we’ll put you, Like one that means his proper harm, in manacles, Then reason safely with you. Therefore be it known, As to us to all the world, that Caius Martius Wears this war’s garland, in token of the which My noble steed, known to the camp, I give him, With all his trim belonging. And from this time, For what he did before Corioles, call him, With all th’ applause and clamour of the host, Caius Martius Coriolanus! Bear Th’ addition nobly ever!

[Flourish. Trumpets sound, and drums.]

ALL. Caius Martius Coriolanus!

CORIOLANUS. I will go wash; And when my face is fair, you shall perceive Whether I blush or no. Howbeit, I thank you. I mean to stride your steed and at all times To undercrest your good addition To th’ fairness of my power.

COMINIUS. So, to our tent, Where, ere we do repose us, we will write To Rome of our success.—You, Titus Lartius, Must to Corioles back. Send us to Rome The best, with whom we may articulate For their own good and ours.

LARTIUS. I shall, my lord.

CORIOLANUS. The gods begin to mock me. I, that now Refused most princely gifts, am bound to beg Of my lord general.

COMINIUS. Take’t, ’tis yours. What is’t?

CORIOLANUS. I sometime lay here in Corioles At a poor man’s house; he used me kindly. He cried to me; I saw him prisoner; But then Aufidius was within my view, And wrath o’erwhelmed my pity. I request you To give my poor host freedom.

COMINIUS. O, well begged! Were he the butcher of my son, he should Be free as is the wind.—Deliver him, Titus.

LARTIUS. Martius, his name?

CORIOLANUS. By Jupiter, forgot! I am weary; yea, my memory is tired. Have we no wine here?

COMINIUS. Go we to our tent. The blood upon your visage dries; ’tis time It should be looked to. Come.

[A flourish of cornets. Exeunt.]

Act I, Scene X — The camp of the Volsces

A flourish. Cornets. Enter Tullus Aufidius, bloody, with two or three soldiers.

AUFIDIUS. The town is ta’en.

SOLDIER. ’Twill be delivered back on good condition.

AUFIDIUS. Condition? I would I were a Roman, for I cannot, Being a Volsce, be that I am. Condition? What good condition can a treaty find I’ th’ part that is at mercy? Five times, Martius, I have fought with thee; so often hast thou beat me And wouldst do so, I think, should we encounter As often as we eat. By th’ elements, If e’er again I meet him beard to beard, He’s mine or I am his. Mine emulation Hath not that honour in’t it had; for where I thought to crush him in an equal force, True sword to sword, I’ll potch at him some way, Or wrath or craft may get him.

SOLDIER. He’s the devil.

AUFIDIUS. Bolder, though not so subtle. My valour’s poisoned With only suff’ring stain by him; for him Shall fly out of itself. Nor sleep nor sanctuary, Being naked, sick, nor fane nor Capitol, The prayers of priests nor times of sacrifice, Embarquements all of fury, shall lift up Their rotten privilege and custom ’gainst My hate to Martius. Where I find him, were it At home, upon my brother’s guard, even there, Against the hospitable canon, would I Wash my fierce hand in’s heart. Go you to th’ city; Learn how ’tis held and what they are that must Be hostages for Rome.

SOLDIER. Will not you go?

AUFIDIUS. I am attended at the cypress grove. I pray you— ’Tis south the city mills,—bring me word thither How the world goes, that to the pace of it I may spur on my journey.

SOLDIER. I shall, sir.

[Exeunt.]